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  Staying Power: Rethinking Feedback to Keep Players in the Game
by Bruce Phillips [Design, Game Developer Magazine]
15 comments Share on Twitter Share on Facebook RSS
 
 
October 27, 2009 Article Start Previous Page 3 of 4 Next
 

Examples of Feedback

There are several good examples of feedback in games that teach strategy. The most common are the in-game hints players get at appropriate moments, such as after a death. The Call of Duty series has been doing this for a while, leaving a message for players when a they die from a grenade in Modern Combat, for example, or are stabbed in World at War.

These messages ask players to focus on developing strategies to avoid dying in similar situations in the future. (Although in practice, these indicators can be frustrating as well, if the player sees a grenade death but feels it was unfair -- the message then becomes insult to injury.)



Less common are feedback systems that inform players about their improvement at the game. One great example happens in Team Fortress 2. When players die, a message informs them about how they did relative to previous attempts, for example: "On the bright side... You came close to your record for time alive as a Scout in that round." The message goes on to indicate how long the player lived that round and what his previous personal best was. This is excellent feedback.

We also may want to shift our thinking about tutorials. Tutorials should not be considered the 10 minutes of instruction players get when they first start playing, or the part of the game we develop at the last minute after we finish making the "real" game.

Tutorials (perhaps we should stop using that word, too, as instruction needn't simply be text-based information) are the game and should occur over the course of the entire experience. Players are constantly learning to play, right until the end, and we need to provide relevant and informative feedback to them.

When we think about the game this way, we force ourselves to think about what players need to know at each point in the game, when to deliver that information, and how to track the data we need to provide this feedback. Sure, the bulk of what the player needs to know to get up and running happens early, but most good games require players to learn and adapt throughout. We should be doing our part to feed players the information and encouragement they need to keep up with these changes (though the "how" of this could take up an entire article on its own).

Creating Goals

The second thing we need to get better at is creating goals for players. Research has shown that the goals created for people -- by teachers, bosses, parents, and game designers -- go a long way toward shaping their mindsets about prospects for success and how they respond to setbacks. Most relevant to game developers are two types of goals: performance goals and learning goals.

Performance goals. Performance goals (or outcome goals) represent the most prevalent goal type in video games. There are three defining characteristics of performance goals. 

First, either people achieve the goal or they don't. There is no middle ground. Examples of performance goals include finishing a level in a platformer, getting the "Overkill" achievement in Halo 3, or finishing a race in Forza Motorsport in under two minutes. Examples of performance goals outside games are grades in school, or medals at the Olympics. There is no reward for progress toward the goal; you don't get half a driver's license for denting only one side of the car.

Second, the criteria for success are typically not defined by the goal-seekers.

Third, performance goals are usually complex activities that encompass a variety of smaller component skills. Passing a driver's license test requires many different skills, such as understanding the rules of the road, parallel parking, and braking safely.

What's wrong with performance goals? While performance goals are pervasive in school, work, and games, research on learning and motivation has shown that they often produce perceptions of lack of ability as well as decreased motivation. This is particularly true in cases where rewards or praise are contingent on successful completion. Further, negative feelings resulting from failed performance goals are more likely when a person's perception of their ability is already low, as may be the case with novice game players.

Consider this example. A child gets an A on his math test (a performance goal) and his parents tell him how smart he is. Maybe he even gets a reward. These are good parents. It is a popular belief that rewarding and praising abilities in situations like this is good parenting.

However, this kind of feedback can also have negative results. If the child's parents have consistently rewarded him for his ability, and because his parents made their praise contingent on a performance outcome (success on tests), it may backfire in situations where performance is poor. He will view his failures, like his successes, as a measure or indicator of ability, and failure equals lack of ability.

Now consider a player who believes he has low game-playing ability. A performance goal, such as completing a level in a shooter, will lower his motivation to continue trying, if he fails repeatedly.

When the goal focuses on ability, and the individual believes he does not have that ability, motivation and performance suffer. To extrapolate from the research further, he is less likely to focus on strategies for improvement if he views success as being contingent on a skill or ability he doesn't have. 

I don't think we should remove performance goals from games. A lot of players enjoy these types of challenges, and most games are structured around activities such as levels, rounds, races, and so on. However, we should consider incorporating other types of goals into games, too, specifically those focused on learning.

Learning goals. In many ways, learning goals are the opposite of performance goals. While performance goals focus on ability, learning goals focus on effort. It's not so much about doing as it is about trying. Improvement and progress toward the goal is as important as success.

It's important to explain that learning goals are not simply smaller or more frequent performance goals. Rather, they involve a philosophical shift in thinking about how we reward player progress.

To illustrate the differences between these goals, consider the performance goal of finishing a level in a FPS. At a low level, a player typically has to cross some boundary that triggers the level completion event, or maybe has to reduce a boss' hit points to zero. These events either happen or they don't. Additionally, the player is usually rewarded -- the story advances, the player gets a new weapon, and so on.

However, despite whether they complete the level, most players will improve their abilities over the course of playing. Some will finish faster and experience fewer frustrations, some will take longer, and some will eventually give up, but most will show signs of improvement.

This is good stuff to call out. It stands to reason that adding learning goals -- which focus on the skills and abilities that, when improved, make it possible for players to achieve performance goals -- would enhance players' appreciation of their own abilities. All this takes is a little more time focusing on the journey, versus the destination.

Learning goals make people try harder, take more risks, spend more time on a task, become less discouraged when facing setbacks, and, in the end, succeed more frequently (also see the sidebar, above). Doesn't that sound like the kind of player we should be cultivating?

 
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Comments

Sam Anderson
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Dweck's book Mindset is one of the only self-help books I've been able to stomach.

Damien King
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Great article. I think this covers some very important points. Focusing design around player motivation and encouragement is still in it's infancy I think - its easy to overlook player feedback when you're busy tweaking Awesome Boss Monster #4.



Console based games seem to be growing into the habits of showing real time advice, likely due to it's (generally) more casual audiences. For example, Ninja Gaiden Sigma 2 will remind the player about blocking (and which button to use for it) if they're taking a lot of hits and not blocking them. Little things like this make a big difference, in my opinion.

Christopher Braithwaite
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Excellent article! I do have one request, can you give a more concrete example of how a learning goal would be implemented in a game?

Jesse Crimson
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Nice article.



Small point of contention: while your ideas and suggestions are sound, your interpretation of the achievement data isn't. In your second table on the first page (campaign completion percentage), you assume this is a sign of how many people "quit" playing the game. That's an unsupported jump in logic. All it says is that people quit playing the campaign. Seven of the nine games listed have very heavy multiplayer components, and the other two (Fable II and GTAIV) are open-world titles. This data might be more useful on a per-genre basis rather than a top-nine or top-13 basis. You suggest that there might be other explanations, but I'm not sure that it's reasonable to assume that "frustration" is the most significant one (at least in the case of the games listed in those tables).

Jonathon Walsh
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Also doesn't the data miss how many people STARTED the campaign. All of those games except Fable II feature prominent multiplayer components that are a draw. For example. I brought CoD4 for PC and never even tried to complete the campaign. I think I maybe played 5 missions of it while I was without internet connection once. I think the data would stand on its own better if it had a metric for starting the campaign.



Also some achievements are multiplayer based vs single player so that will also throw the gamerscore completion % off won't it?

Dan Wilson
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Two popular games without any multiplayer component that I never finished are Bioshock and Dead Rising. There was too much hype, so I lost the feeling of personal investment in the game -- millions of other people were doing the same thing and probably enjoying it much more than I was. Then I had friends constantly updating me on their progress (achievements don't help, either).



These two games felt more like an obligation and catch-up than fun and compelling. It was a chore to play them because I felt like I was not playing on my own terms.

John Petersen
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I think they just get bored silly. I know I do. I can only do the same thing over and over and over and over and over and over and over again, for so long.



I don't have to tell you that there is alot more reasons they are putting down the controller. You know already that.



But until you start giving gamers what they really desire, the number of "Ditractors" is going to continually rise until they just say "F" it, and take up knitting or something.

Moeez Siddiqui
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"Prototype" and "Left 4 Dead" are examples of games giving tutorials throughout the entire game, telling the player hints and learning goals. A few more is the excellent positive reinforcement game from 2008, "Prince of Persia" where you never get a game over, get tutorials throughout in the same vein of "Left 4 Dead", and get visually pleasing performance goal completion in the form of healed regions of the world.

Dave Blanpied
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Great article. Thanks. Something to think about indeed.

Ashwin Ram
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Interesting article. There is some recent work on "drama managers" which orchestrate the game to improve the player experience. For example, the game could provide hints by inferring the player's ability, or vary the storyline based on player satisfaction models. See for example: http://tr.im/DlgT



Much of this work is still in research phase but I hope industry-academia collaborations will begin to transition these techniques into production in the near future.

Bart Stewart
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As a bit of additional feedback, I've urged others to come to Gamasutra to read this article.



Along with many approving comments, the criticisms I've heard elsewhere and in the comments here appear to center on two things:



1. The data showing how many people don't finish games do not show *why* people aren't finishing games. This fails to provide adequate support for the author's later analysis and recommendations, which rest on an assumption that at least some players quit a game because they're failing at performance-based goals and not getting any help or encouragement for improvement.



2. The *how* matters, too. Like most people, critics tend to be practical -- they want to see how something will really work before they will accept that it can work at all. The author indicated that describing ways to implement effective feedback would be a complete article in itself -- so perhaps this criticism may actually be taken as encouragement for writing just such an article.



I'd very much enjoy reading that article.

Mark Kelly
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Further to previous comments, as well as 'why', I'd like to also see 'how long'- to use one of the games mentioned in the article as an example, I only acquired a copy of Fable 2 in the last week or so, so while I'm very much part of the 40-odd percent that haven't completed the campaign, the sole reason I haven't completed it is because I haven't completed it /yet/.



This also gives rise to another question- what else is the player also playing at the time? This is perhaps less easily measured- while it would be very easy to see that my progress through Fable 2 has been hampered by my also playing Saint's Row 2 (or that somebody who came late to the GHIII party has moved onto World Tour, Aerosmith, Van Halen, GH5 etc), it is perhaps less clear that I have also been making bits of progress through Little King's Story on Wii, which is something I've been playing in short bursts- which, if it was a 360 game, would also fall foul of my first point.



This is, of course, stat-pedantry, and not directly related to the issue of frustration, which I accept the statistics are simply a framing device. However, without taking these into account, we risk making some very wrong conclusions.



One question I do feel the need to ask, though: GTA IV has a lot of gamerscore dedicated to two large, expensive packages of downloadable content, one of which is not yet available to the general public. How have these been handled in working out the stats for the title in the first graph?

tuan kuranes
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Totally agree, consistent with latest findings too in neuroscience too:

http://www.neurosciencemarketing.com/blog/articles/praise-your-child.htm

Hint: "praise the effort, not the abilities."



Still, statistics here needs to be more precise indeed, with more structure :

- hardcore gamers stats and numbers, casual gamers stats and numbers, etc...) using consecutives hours played. we need percentile categories, here because of the highly separate by nature of profiles (hardcode gamers "always" finish games... even multiple times). So average here might not be as interesting.

Luis Guimaraes
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I think the main reason I don't finish games is because they are too long and become boring, or there's a lot of hassle within it, like I must pay 30 minutes of puzzle-solving for each 5 minutes of worth gameplay, and so on... It's a change in the whole game what's needed.



I never had patience to finish the UT3 campaing, but I may had around 100 or 200 hours of gameplay with it... I don't care about achievements and completing or goals, and in FEAR2 it was common to kill myself just to play a nice grunt fight again, since the game have a checkpoint system...

Jimmy Sieben
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Nice article. You should really give credit for the game screenshots.


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