TAILIEUCHUNG - Exploring Aesthetic Ideals of Gameplay

Some persons enjoy landscapes rather like big art. Landscape paintings give us a taste for the real thing. What we want is not ecology, but natural art. Consider the autumn leaves in their colour, so much admired by my mother and father, indeed by us all. If one is a formalist, then it does not matter how the landscape originated. Find a vantage point where trees near and far, foreground and background, are pleasantly framed, and admire the vista. The historical genesis is irrelevant. A drive through the countryside is something like a walk through a museum of landscape paintings | Exploring Aesthetic Ideals of Gameplay Sus Lundgren1 interaction Design Collegium Department of CS E Chalmers University of Technology SE-412 96 Goteborg Sweden Karl J. Bergstrom2 2Game Studio Interactive Institute SE-164 26 Kista SWEDEN karlb@ Staffan Bjork2 3 3Department of CS E Gothenburg University SE-412 96 Goteborg Sweden ABSTRACT This paper describes a theoretical exploration of aesthetics ideals of gameplay. Starting from observations about the game artifact several gameplay properties that can affect the aesthetical experience are identified . tempting challenges cohesion and gamer interaction. These properties are then used to describe several aesthetical ideals of gameplay . emergence reenactment meditative and camaraderie. The properties and ideals provide concepts for how games attribute aesthetical value to gameplay design and how they distinguish their own preferences from inherent qualities of a game artifact. Author Keywords Gameplay Aesthetics INTRODUCTION What makes a game well-designed or good Is it possible to suggest good games to others even if oneself does not find the games entertaining Trying to answer the first question is difficult - or impossible if one wishes to allow for different subjective views - whilst the second question suggests that people have concepts of good games that they do not think are fun to play. In this paper we explore these questions through theoretical reasoning on gameplay aesthetics. We see this subfield of aesthetics as one of many possible fields that together create the overall aesthetics of a specific game but the one which unarguably affects all games. This is in line with seeing that both virtual rules and real themes affect a game experience 16 and that games are trans-medial . independent of the media it is instantiated in. Although this paper focuses on gameplay aesthetics we acknowledge that this is not always the key component of the .

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