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Mood Boards

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Within this Super Mario 64 level, we see many minor details that may alter and develop the players gameplay. The initial look is almost childish, so as to appear non-threatening and easy to play. The most common image we see is the brick, which encourages the player to break it, this symbol very obviously continues throughout the game. The visual design of the game ensures even novice players almost immediately know what to do, thereby making this one of the best ‘gateway’ games of all time. There are noticeably clear and distinct areas that the player can explore. This exploration is encouraged via the lure of the gold coins, which works on the most basic psychology of effort and reward. Visually, each area looks very distinct from each other in both colour and form, this is to create contrasting atmosphere in each area. The whole design ethic is about propelling the game forward. Encouraging the player to get to the next level.

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Many elements mentioned above continue and are developed in the game Crash Bandicoot. Similar colour palettes are used, creating an almost sumptuous environment, incorporating greens, deep reds and browns. Other components such as reward and the destruction of objects are present. The added jeopardy of a chase and explosions make the game feel more challenging and slightly riskier. The character they created, the perpetually happy, smiling ‘dude’ is a positive-feeling avatar for the player to control.

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A vastly different visual aesthetic can be found in the game Limbo. This monochrome landscape offers none of the frivolous or friendly feel of the games mentioned previously. The beautifully rendered graphics offer a sense of doom and urgency, making the player almost fearful of failing. The fact that the avatar is a child passing through this threatening wasteland adds to the oppressive feel of the game. although the child’s journey is set out in front of him, there seems a sense of constant, imminent threat. The whole game looks like something dark lurking in the shadows. They have created exceptionally memorable visuals and graphics.

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Pacman is designed in such a way as to provide the player with a sense of happiness. The iconic imagery, now a part of everybody’s gaming knowledge, cannot help but make you smile. The use of primary colours is a simplistic mechanism, resulting in mass appeal. The perpetual reward of eating the dots ensures an ongoing sense of accomplishment by the player. The forward-thinking element, planning your route to avoid death, makes the player feel as if their skills are the deciding factor as to what will happen next. In addition to that, the opportunity to switch roles and become the pursuer incentivizes the player to work to have more control.

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The almost childlike, self-drawn visuals of Doodle Jump appear initially unsophisticated. However, this immensely addictive game, provides players the constant opportunity to improve on your previous performance. The various different platforms offer the player the chance to progress or fail in different ways. Some break, some move and some float, giving the player the excitement of having to make a split-second decision that could end in failure. The constantly scrolling screen adds a sense of urgency, but the game also offers improvement items such as spring-shoes and jetpacks. This presents the player with something they can strive to obtain. The notion of doodles, sketches done when we should almost be doing something else, add an element of common understanding.

Level Maps

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Documentation

In existing 2D platform games I have studied, the visual languages being used initially seem very explicit. The use of very bright, almost welcoming colours in games such as Super Mario and Crash Bandicoot allow the game to ‘speak’ to a wider age range and audience. It offers access to younger players, appears more ‘frivolous’ and therefore appeals to adults and children alike. Not only offering more revenue but this also adds to the appeal and elements of fun.

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Darker visual games, such as Limbo, appear more niche. The audience for this game is naturally more limited bit its atmospheric nature ensures that the audience becomes drawn in and involved and therefore more dedicated to the overall mission. It feels almost more immersive and mentally more demanding. Its illicit and almost emotional response because of the visual elements portrayed. It remains in the consciousness and is very memorable.

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Player prompts vary too. The simplistic nature of these, in Super Mario for example, does not require any game-playing experience. Everything is very obvious and figurative, so that the player does not even require reading skills. The player prompts in Limbo, for example, are far more haunting, using almost emotional trigger to propel the player forward.

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Comparing fully formed video games such as Crash Bandicoot with the bare­-bone floor plans that I have created is a little challenging. However, it is clear from my plans that I am using bright and enticing colours which would follow through into the game itself. My intention would be to have simple prompts, ensuring the player has clear direction and structure to the game. I would intend to avoid being too psychologically challenging, creating a game where clues and tests were achievable without a great sense of peril. Further development of the mood of the piece and progressing difficulty of levels will take place as the game is further developed.

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Image References

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