Visby Treasure Haunt
- an evaluation of impactful design patterns in a pervasive horror game
Author: Evelina Foxberg
Faculty of Arts
Department of Game Design
Bachelor’s Thesis in Game Design, 15 hp
Program: Game Design & Graphics
Supervisor: Henrik Warpefelt
Examiner: Magnus Johansson
June, 2017
Abstract
Treasure hunts are one of the earliest forms of pervasive games, and there are documentations of them since the mid 19
thcentury. In this study, the work by Björk & Pietz on design patterns in pervasive games are used as a base for analysing the impact of design patterns in a horror themed treasure hunt, a so called Treasure haunt. Through focus group interviews and theoretical thematic analysis, 16 different patterns were analysed.
The most prominent themes found were Player-player proximity which was expressed through the teams' interest in each other's activities and whereabouts, and Common experience which was evident in the interviews when the participants excitedly helped each other retelling their experience of the Treasure haunt. It is also strongly suggested that the execution of game design patterns affect how impactful players perceive the individual patterns, and the methods used in this study could be useful to test out game prototypes by game designers who want to create more impactful pervasive games. Still it could be useful to consider Player-player proximity as a useful tool to create suspenseful pervasive games, and to consider the value of a shared experience between players.
Key words: Pervasive games, treasure hunt, horror, location based games, game design
patterns
Abstrakt
Skattjakter är en av de tidigaste formen av ubika spel, och det finns dokumentation på dessa sedan mitten av 1800-talet. I denna studie använder vi Björk och Pietz arbete om speldesignmönster som en bas för att analysera effekten av designmönster i en skattjakt med skräcktema, en så kallad spökrunda. Genom gruppintervjuer och teoretisk tematisk analys analyserades 16 olika designmönster.
De mest utmärkande teman som upptäcktes var Player-player proximity (närhet mellan spelare) vilket uttrycktes genom de tävlande gruppernas intresse för varandras förehavanden och ställning i rundan, samt Common experience (gemensam upplevelse) vilket visades under intervjuerna när deltagarna engagerat hjälpte varandra återberätta sin upplevelse av spökrundan. Vi föreslår även att utförandet av speldesignmönstren påverkar hur effektiva spelare upplevde de enskilda mönstren, och att metoden vi använt kan vara användbart för speldesigners som vill skapa mer effektfulla ubika spel. Det kan dock fortfarande vara användbart att överväga Player-player proximity som ett effektfullt verktyg för att skapa mer spännande ubika spel, samt att utvärdera värdet av att spelare har en gemensam upplevelse av rundan.
Nyckelord: Ubika spel, skattjakt, skräck, platsbaserade spel, speldesignmönster
Table of Contents
1 Introduction………...…………...…1
1.1 Aim of study………...…………...…1
1.2 Method overview………...…………1
2 Background………..…..….…3
2.1 Previous works on Pervasive games……….…..….…3
2.2 Horror in Games and other media……....………...….…3
2.3 Purpose………...…………...……5
3 Method and Materials………….…….………...………….6
3.1 Choosing design patterns………...………….6
3.2 Creating the Treasure haunt……….………...………….6
3.3 The narrative and artifacts…….………...…………...9
3.4 Identifying design patterns in the Treasure haunt………….………...……….…....9
3.5 The study and interview setup…….………...….………10
3.6 Analysing the data...……….………...…………12
4 Results & Analysis………...………...…...….13
4.1 The presence of the Other team.……….13
4.2 Location and checkpoints………...………...….13
4.3 The narrative………...………14
4.4 The puzzles………...…………...15
4.5 Other minor themes………...………...………...….16
5 Discussion………..……….………...……….……...…...….17
5.1 The themes found and the patterns affecting players….……….………17
5.2 Biases and limitations……….……17
5.3 Differences between the competing teams………...………...18
5.4 Future use of this study………...19
6 Conclusion………...………..20
References………...………..……21
Appendix A: Interview setup and questions ………23
Appendix B: Interview transcriptions………...…24
Appendix C: The narrative………35
Appendix D: Björk and Pietz (2007) design patterns………40
Appendix E: Björk and Pietz (2007) design patterns present in the Treasure haunt………….42
1 Introduction
Although the concept of pervasive games have been around for a long time, with early documented examples dating back to the 19
thcentury (Montola, 2005; Stenros & Montola, 2009), they have become increasingly popular in the recent years.
Montola (2005) found three different characteristics that can be considered defining for pervasive games as a genre, namely spatial, social and temporal expansion of the gameplay.
These characteristics are important to have in mind when designing pervasive games, but as Björk & Pietz (2007) point out they are not mutually exclusive, and there could also be more patterns added with the same relevance. In their study, Björk & Peitz (2007) analysed 120 games that in one form or another could be classified as pervasive games, and found roughly 70 different gameplay design patterns in the games. The patterns were clustered together, and formed groups of patterns representing core aspects of different kinds of pervasive games (Björk and Peitz, 2007). The biggest clusters were found to be Obvious games (defined as
"games where it is obvious for both the player and non-players that a game is being played"
by the authors) and Location Based games ("where playing the game may not be detected simply because players’ movement fit in with other types of movement"), out of which Location Based games especially could be directly applied to the pervasive games genre Treasure hunts (Stenros & Montola, 2009).
Treasure hunts belong to the oldest kinds of pervasive games, and can contain elements from all three defining characteristics for pervasive games defined by Montola (2005). It's roots can be found in folk games (Stenros & Montola 2009; Clark & Glazer, 2004), while there has also emerged a number of modern variations of the traditional treasure hunt combining the old style games with today's technology, for example geocaching which is a modern style treasure hunt that has been around in different forms since 2000 (Stenros & Montola, 2009).
1.1 Aim of study
The aim of this study is to examine different gameplay design patterns in practise on a non- digital pervasive game, to find out the impact they make on players and to discuss how the same patterns can be used in the future to design more impactful pervasive games. The question that we are trying to answer is “Which gameplay design patterns are relevant for creating impactful, non-digital pervasive games?”.
1.2 Method Overview
For this report, gameplay design patterns from Björk and Piertz (2007) for pervasive games were used to create a game similar in nature to a Montola & Stenros' (2009) Treasure hunt.
The finished product is a pervasive game with a horror inspired narrative, or a “Treasure
haunt” as it henceforth will be referred to in this report. The design patterns found present in
the final Treasure haunt are then analysed in terms of how players perceive them.
Players are invited to participate in the Haunt in groups of 6-8 people, and are interviewed in
the same groups directly after completion of the Haunt as a means of data collection. The
interviews will be semi-structured group interviews with a mix of loosely designed questions
and a discussion with the participants, and the results will be analysed using methods for
theoretical thematic analysis (Cote & Raz, 2015).
2 Background
Below follows a brief background on pervasive games as well as how horror is portrayed in media.
2.1 Previous works on Pervasive games
There has been a number of studies and works done on pervasive games, the most extensive one possibly being Pervasive Games, Theory and Design by authors and researchers Markus Montola, Jaakko Stenros, and Annika Waern (2009). In their book, a large number of contributors investigate what a pervasive game is, different genres that are present in pervasive games (including treasure hunts), and provide tools for designing pervasive games.
In their 2007 study, associate professor Staffan Björk at Göteborg University and technical director Johan Piertz went through 120 different pervasive games to identify design patterns, and found 75 patterns that were present in the games they analysed. The games they chose as a base for their study included a wide range of games that can be considered pervasive, from games that you can literally carry with you (Leaky gameplay cluster games such as Pokemon Sapphire (Game Freak, 2002) to games that represent the quintessence of a pervasive game (Location based games such as Deathgame (Drakontia, 2003), LaserDome (Bradley, 1979)).
Their study will be particularly interesting for this report, as the design patterns they identified are used as a base from which to draw patterns whose effects are investigated in the Treasure haunt.
To define what can be used as a pervasive game for the subject of their 2007 study, Björk and Pietz used “the structures of player interaction with the game system and with other players in the game” (Björk & Holopainen, 2004, in Björk & Pietz, 2007). Not all of the patterns they found will be applicable to Treasure hunts, so for this study it is important to effectively elicit patterns that could be useful within the chosen genre.
Pattern clusters that they found which included games that are in some way similar to Treasure hunts were used to indicate which patterns could be relevant for the study. An example of this was the cluster Location Based Team Games, which included LaserDome and LARPS. Also the cluster GPS games included relevant games such as Geocaching and Extreme Geocaching, in which players also use real world navigation to discover hidden artifacts to be explored.
2.2 Horror in Games and other media
Horror is a basic human emotion, and as such it has played a part of the stories that we as
humans have told since the beginning of storytelling. Horror exists in early folk tales from
practically all continents and cultures, taking the form of forest creatures luring unknowing
bachelors into the forest to never be seen again ("Skogsrå", Nordic folklore), floating heads
without bodies who drink the blood from its victims ("Rokurokubi", Japanese folklore), or
ghoul-like Berbalangs whose souls hunt anyone not possessing adequate protection (Filipino
folklore, San Souci, 2000), among others. Horror stories such as the one about Näcken, a man
with a fiddle luring kids into the rivers to drown (Nordic folclore), were used as guiding
examples on how to avoid dying in gruesome ways, using fear to make its audeince stay alert
of the dangers that lurk around them. This kind of story also allows the listernerst to learn from the mistakes that others made before them.
As the author H.P. Lovecraft puts it, "The oldest and strongest emotion of mankind is fear, and the oldest and strongest kind of fear is fear of the unknown" (1927). What is not known, you can not protect or defend youself from.
The theories on why we enjoy horror stories are many, but at the very least it could be argued that most horror stories of today serve a different purpose compared to the warning examples of old. Psychologist Griffiths put down an overview of the contemporary theories regarding why humans enjoy horror (2015). Experiencing horror through the protecting layer of a TV- or a computer screen, or the pages of a book, provides a disconnect that allows us to experience the horror while still feeling safe and secure. This in turn can enhance the positive feelings when the story ends well. Horror stories can provide a catharctic experience and release pent-up feelings in the viewer, provide an output for sensation-seekers, and can also be used to portray and reflect on fears that we have as a society, by creating a platform to bring them to light. As Griffiths concludes - while there are many theories, none of them could be considered to paint the complete picture.
Through the evolution of human history, horror that previously took place in stories told around a campfire, or in books read by candlelight, has followed us into the new media formats we create. With many modern digital games titles that delve into the horror genre such as Amnesia – the Dark Descent, Dead Space, and Left 4 Dead, it is apparent that the horror genre is popular among video gamers today.
There are uncountable different ways that horror creators use to convey tension and stimulate fear in a story. One common practise among horror writers is to increase suspense and tension in their readers by not fully describing the monster, and instead simply hinting at certain aspects of it while allowing the reader's imagination to do the final polish of the scare. This is the case in the poem The Kraken by Alfred Tennyson (1830), in which an enormous sea creature is hinted at with few descriptive details except for it's size and the growth of seaweed and polypi on it's body.
Modern creators of horror games use varying strategies and gameplay mechanics to convey different kinds of horror to their players - such as providing the player with limited means to defend themselves together with a mysteriously unpredictable monster such as in Frictional games' Amnesia – the Dark Descent (2010), or designing the player experience on a second- to-second basis by providing jumpscares and scripted events such as the well-placed monster spawns in EA's Dead Space (2008). Valve's Left 4 Dead (2008) instead makes use of patterns and behaviours in enemies that are known to the players and well communicated by the character designs, and then create tension by putting these characters in locations where the player needs to stay constantly aware if they want to survive. An example of this is putting the very powerful Witch character that the players usually want to avoid in the middle of a crowd of Common infected that the player needs to wipe out.
Real life game-like experiences such as Haunted houses, Halloween mazes, and themed
scavenger hunts are also popular among both children and adults, and could in some cases be
considered as pervasive games. Although not often talked about as such, traditional
Halloween scares could be considered pervasive games. The game would then be to complete
the round, while performing tasks and stuff. Horror and pervasive games have been combined,
which could result, as in this case, in a Treasure haunt.
They also provide a possibility to remove one layer between the horror and the person experiencing it, by anchoring the story in reality and allowing the audience to use their senses and actions to affect the story.
Because of the non-digital nature of this Teasure haunt, as well as the time-frame restrictions on the project, we will divert from scripted events and interactions with actual monsters and actors, and instead work on producing a narrative that can be delivered to the players through text and location while still creating a sense of impending horror.
2.3 Purpose
The purpose of this study is to analyse design patterns in pervasive games, applied on a horror
themed Treasure hunt, to find which patterns make impression on players. How the different
patterns were perceived by the players can then be used to improve the specific Treasure
haunt in question, but also to provide a start on the groundwork investigating the impact of
design patterns on players.
3 Method and materials
Below follows a description of the methods and materials used in this study when choosing patterns and designing the Treasure haunt, analysing the Haunt for design patterns, and conducting group interviews and analysis.
3.1 Choosing design patterns
To define which patterns to use in the Treasure haunt, we looked at the design patterns that Björk & Pietz (2007) found in their study as a base. The design patterns were arranged in alphabetical order to make them more accessible, and their definitions were investigated in the Design Pattern Collection (Björk, 2009) in order to elicit which patterns could be used in the Treasure haunt. The list of design patterns along with comments about how applicable they are can be found in Appendix D.
Firstly, all gameplay patterns that depended on some kind of technology or programming were excluded, as any programming or other technology would not be available for this Treasure haunt. This excluded patterns such as Augmented reality and Seamful gameplay. All excluded patterns were colour coded in the Pattern list (Appendix D) as well as given an indication letter next to them which referred to the reason they were excluded. Patterns relating to single player games were excluded, because this Treasure haunt was going to be played by several people.
Other patterns that for other reasons could not be achieved were also excluded from the study, such as Actor detachment which likely can not be achieved in a Treasure hunt as the players need to participate as themselves in real time (Björk, 2009), and Possibility of anonymity which for the same reason might be both unwanted and hard to achieve.
The patterns that Björk and Pietz (2007) found that most clearly could be applicable to Treasure hunts were collected in a list, and kept in mind when creating the Treasure haunt. All of them would not be used in the actual Haunt, but the list was used as a reference to check that some patterns were present in the final outcome. There was no limit on how many patterns could be included in the Treasure haunt, except for the time given to create the Treasure haunt as well as the intended duration of the game.
Each of the chosen patterns also fit into at least one of the three kinds of expanded gameplay defined by Montola (2005), namely spatial, social and temporal expansion of the gameplay .
3.2 Creating the Treasure haunt
The goal was to evaluate a Treasure haunt in the city of Visby, which is located on the island
of Gotland in the Baltic sea. The island was a medieval trading city between the years 1100 to
1500, and has been the center of many dramatic historical events during the years, including a
civil war in 1288, getting invaded by Valdemar Atterdag in 1361, and, as was the theme for
this Treasure haunt, getting taken over by the Victual brothers pirates in late 1300s
(Enderborg, 2017).
3.2.1 Theme
To get inspiration for the theme of the Treasure haunt, research was made into local history as well as myths and legends. There is a legend about a maiden getting walled into the tower Jungfrutornet (Enderborg, 2017), which was used as main inspiration for the Haunt. Other inspirations include the poem The Kraken by Tennyson (1830) and the Victual brothers pirates that took over the island in 1394. Local myths and legends were used with intention to ground the experience in the physical location and make it more believable.
3.2.2 Structure
In order to make use of all the interesting and spooky history that is already on the location, it was clear from the very beginning that the Haunt needed to entice the players to explore the city. A way to do this was to distribute a number of clues in different parts of the city, each one leading to the next one as in a traditional treasure hunt.
The clues took the form of physical letters from two historic figures, each with different motives, scattered across the city. The participants were split into two groups, who were then competing to reach the treasure and bring it to its final destination, following the letters from their respective sender. The teams started at the same point, and had to visit a number of locations in order to gather more clues as to where the treasure is hidden. This followed the format of a traditional treasure hunt, with primarily the content and locations of the clues having to be customized to this particular theme.
This event differed from a traditional treasure hunt in one important way - the game was not won by the first team that completed the hunt by discovering the treasure. Once the treasure was found, the team had to figure out what to do with it, and the game ended when the treasure reached one of its two possible destinations. Only one of the destinations triggered the game's win state, while the other destination made the players lose. Both teams could technically win if they agreed on the correct course of action for the treasure.
The idea was that the teams could communicate to figure out the entire narrative, leading them to the conclusion that only one of the destinations was correct. This introduced an additional social aspect to the game. However, since this was a scary game with focus on narrative, the game could be considered successful even if the lose condition was triggered.
Because the Treasure haunt took place in the real world, with high focus on experiencing a fictional narrative, there were limits to what actual consequences winning or losing the game could have on the players, apart from strictly narrative ones. There were also great limitations in terms of accessibility to actors, props, and time, in order to create a game that was more reliant on physical artefacts and people, which led the game to its more narrative focus.
In order to make the players actually feel the horror, and not too easily disregard the game as
fiction, it was important to create a sense of urgency through the narrative. The narrative was
therefore heavily anchored in actual historic events, which were altered to fit better with the
theme and create a feeling of uncertainty in the players regarding how much truth there
actually was to the story. This was finished off by having the ending of the game echoing the
same feeling of uncertainty, by having the win- and lose states be plausible. We couldn't
release an actual boss monster on the players for obvious reasons, but a fictional curse is more
easy to work with. The goal was to have the players think about the ending long after the
game was done, wondering wether there was any truth to it or not, and thus creating temporal
expansion to the game.
The game was not tested prior to using it in this study, and hence no iterations were made.
Instead, we used prior experience with creating Treasure hunts, as well as experience from Treasure hunts and narrative games that we participated in on other occasions, in order to make a relatively traditional Treasure hunt. The simple structure was intended to make it easier to discern individual patterns in the game, and put more of the players' focus on the puzzles themselves rather than any additional rules.
3.2.3 Theme
As the players will bring their smartphones to the Haunt and use them to find out the answers for the riddles, we came to the conclusion that the most important things about these legends would perhaps not be their accuracy, but that the information they need is easily accessible for the players. This means that the legends used will be most effective if they correspond with the information that the players are most likely to find, which is where they would be most likely to look up the information. Because of this, sources that would have otherwise been considered unreliable such as Wikipedia, can be used as part of the puzzles for the players to solve.
3.2.4 Locations
After some research on landmarks and myths that we wanted to include, the different places in which to hide the letters were decided upon based on aesthetics, relevance for myths and legends, and possibility to hide letters. The places used were:
1.
Tempel hill, Botanical Gardens
2.
St Olof's church ruins, Botanical Gardens
3.Tar factory
4.
The old pharmaceutical chemist's store
5.Gunpowder tower in Ringmuren (Kruttornet)
6.Packhusplan
7.
Silverhättan tower in Ringmuren
8.Maiden tower (Jungfrutornet)
The Temple hill gazebo served as the start of the Treasure haunt, where players from both teams would converge to read the welcome letter and instructions. The first assignment was then for both teams to find the next letter hidden in St Olof's church ruins – the presence of both teams as well as the proximity to the next letter working as a tutorial to make sure both teams knew how the Haunt is supposed to work. If one team understands the clue, it would be possible for the other team to watch the first one and realize what they had to do.
The subsequent four letters and clues (3-6) were the same for both teams, only in different order to make sure the teams couldn't follow each other. The puzzles for each letter however were the same for both teams to make sure none of them got the advantage of an easier riddle.
To create tension and allow the players to catch up on each other in the end of the Haunt, the
last two letters were, again, in the same place and order for both teams. This allowed for
communication between the teams, and a possibility for them to convince each other of their own goal should they want to.
3.3 The narrative and artifacts
The story of the Haunt is about the maiden walled into the tower by a witch. In the story, the maiden became possessed while obtaining a treasure from the bottom of the sea, and the witch sacrificed her life to wall in the maiden in the tower using a spell lasting for 600 years. Now the spell is about to be broken, and both the maiden and the witch are reaching out to the world through letters – the evil spirit communicating as the maiden wants to be freed, and the witch pleads to keep the maiden locked up forever. Freeing the maiden and keeping her locked up both involve finding the treasure and bringing it to different locations, which ends the Treasure haunt.
From the witch's perspective, the thing possessing the maiden is pure evil. The description of the maiden has been made intentionally vague, inspired by the poem “The Kraken”
(Tennyson, 1930). From the maiden's perspective, the story has a different angle. As she is actually the antagonist of the story, but she is tricking the players, the goal was to make her seem untrustworthy, but not too obviously so.
Puzzles that were used was descriptions of locations using key words, ciphers, and piercing the letter paper so that the letters pierced formed the name of the next checkpoint. A more detailed description of the narrative, letters, riddles, and locations used in the Treasure haunt can be found in Appendix C – The Narrative.
3.4 Identifying design patterns in the Treasure haunt
Using the alphabetically sorted list of Björk & Piertz's (2007) design patterns (Appendix D), the Treasure haunt was then analysed to find which patterns were actually present in the Haunt. Below are the patterns found, as well as a description on how they manifest themselves in the Haunt.
Artifact-location proximity – the end of the Treasure haunt is triggered by putting the treasure artifact in either the sea or in the ground.
Common experience – A definition of this patterns is missing in the wiki (Björk, 2009), but for the purpose of this report we think the name is descriptive enough. The people in the same team are going to share their experience during the Treasure haunt, and after the Haunt is done they will have had a common experience that they can talk about and discuss afterwards.
Crossmedia gameplay – using different media to play the game. In this case, this design pattern was realised by the possibility for the players to use their phones.
Game context as fabricated reality – This design patterns ties strongly together with the narrative of the story. The players have to accept the fictional story as reality in order to act appropriately in the Haunt.
Gameplay changes perception of real world phenomena – There are many real world
phenomena that could be used to affect the gameplay which would change the way the players
perceive them, in this case mostly the local history and architecture. It could also prove an effective way of grounding the narrative in reality, and create more immersion.
Heterogenous ownership of game elements – This relates to the resources that each player brought to the Treasure haunt. All participants were urged to bring their phones as well as flashlights, as these might help them. The game itself however does not regulate which resources are available to the player, which might lead to Heterogenous ownership of game elements.
Memorabilia – All letters and clues are collected during the Haunt, and only used during the Haunt. These are easy for the game designer to replicate, so they can be kept by the players.
Also, the maiden's group were encouraged to take parts of the treasure with them. If they do, and after talking to the other group, they will find out that it is cursed, which might create temporal expansion for the players still keeping the cursed treasure.
Minimized social weight – This means that the participants are able to talk to other people while playing the game. This pattern exists in the game, but we hypothesise that this pattern will not directly affect the participants' experience of the Treasure haunt.
Physical navigation – Because the city of Visby is very old and in itself provides a lot of the atmosphere we are looking for in a horror game, this could be an appropriate design pattern to make use of in this Treasure haunt. The city is small, so it is possible to make use of different parts of the city to blur the perceived borders between the game and reality.
Player-artifact proximity – The pattern describes the necessity for the players to be in proximity to the letters, clues, and treasure in order to continue with the Haunt.
Player-player proximity – This includes both participants of the own team, but also the constant proximity to players from the other team.
Player-location proximity – The players need to go to certain locations in order to find their artifacts that will allow them to continue with the Haunt.
Player physical prowess – This relates to the players' ability to get a hold of the artifacts in the game. The treasure itself is hidden in a hole in the wall. However all artifacts should be available to all players, unless certain disabilities
Real World Knowledge Advantages – As the Haunt was based on clues, ciphers and directions to locations, knowing some of these beforehand could prove an advantage for the players.
Viral invitation – This pattern again lacks a description in the wiki, but it's name provides a good enough indication on what it includes. The participants were invited to the Treasure haunt via a Facebook event, and participants interested in the Haunt proceded to invite each other to the same event.
3.5 The study and interview setup 3.5.1 Participant selection
The study was performed on students at Uppsala University, Campus Gotland, between the
ages of 19-30, invited to participate through a Facebook event shared in two channels
intended for students at the Campus, making the test groups a convienence sample. The participants weren't individually selected, but rather were invited to join by an open invitation in the groups. The two test groups consisted of six people each, which was regarded as within the range of optimal group size for interviews (Gill et. al. 2008), and played the most part of the Treasure haunt together except for the group challenge. These participants were chosen because of proximity to the game designer and therefore availability to take part in the Treasure haunt and the following interviews. The proximity also improves the chance that they would be willing to participate in the study with a comparatively short notice.
The Treasure haunt took places between 6 and 8 PM, and the interviews were held in the school building directly after the Treasure haunt in order to make the participants feel comfortable and to increase the chance of participation. For the same reason, food and snacks were available to participants. The interviews were held in the same groups that competed together in the group challenge, because the Haunt in itself is a group experience. The groups were chosen so that people who have had a similar experience were grouped together, and also to create opportunity to have a manageable amount of participants per group.
3.5.2 Data collection
The group interviews were conducted using a semi structured format, where open ended questions were asked with a possibility to follow up interesting cues (Krueger & Casey, 2001;
Gill et. al. 2008.). This format was chosen over structured interviews because we wanted to know how the participants perceived the Treasure haunt – we were not looking for strictly what each member's opinions on the most important parts of the Haunt, but also used the discussion to draw conclusions on how impactful each part turned out to be. In order to do this, field notes were used to record the non-verbal cues going on as the group are talking, such as intensity, unity within the group, or mood.
Because the research question we were trying to answer was: “Which gameplay design patterns are relevant for creating impactful, non-digital pervasive games?”, the goal of the interviews was to find out what the players experienced during the Treasure haunt, and which experiences can be connected to which design pattern used. Then we could begin analysing which patterns played the biggest part of creating the experiences, and how they can be used.
The interview questions were constructed according to the guidelines of Krueger & Casey (2001) and can be found in Appendix A. The questions aimed to investigate how players perceive each of the parts of the Treasure haunt, starting with a broad question about the Haunt as a whole. This first question allowed players to bring up the parts most important to them, and narrowing down to more specific questions regarding how they felt on the specific elements later on.
The duration of the interviews were between 10 and 30 minutes each, in order to allow enough time for transcribing and analysing the data within the deadline. The interviews were audio-recorded using a cellphone, and field notes were taken by the moderator during the interview as stated above.
The game designer acted as a moderator during the interviews, in order to make sure that the
participants stay on track, and that everyone gets an opportunity to talk. Because the groups
are recruited from a pool of students who all know each other well, this increases the chances
of keeping the conversation comfortable so that everyone feels safe to share their experiences
of the Treasure haunt. It might also give the group a harder time to stay on topic and not derail
from the questions, which is something the moderator has to stay aware of during the
interviews.
3.5.3 Transcription of interview data
Transcriptions of the interviews were done using the free software InqScribe, and can be found in Appendix B. The transcription process once again followed the process outlined by Krueger & Casey (2001), and field notes were used to add information to quotes that needed it, such as tone, intensity, laughter. Quotes by the moderator were marked in bold.
3.6 Analysing the data
There are two primary kinds of thematic analysis, namely Inductive and Theoretical thematic analysis (Braun & Clarke, 2006). When using the first one you get a detailed overview of the data, and the themes you find are strongly linked to the data you collect as you base your themes on the results of your interview, while the second one is commonly used to get a more detailed account of a particular theme, or set of themes, across the data set (Braun & Clarke, 2006).
Because this study was set up to find out which patterns made impact on the players, the Theoretical thematic analysis was chosen. This method of data analysis allows us to record data by asking questions about the Treasure haunt as a whole, as well as the different checkpoints, to see which patterns the players perceived the most. When analysing the data, we looked for quotes and themes indicating players' response to the specific design patterns found, but also if there were any unexpected themes that emerged relating to patterns that were previously not thought to be present in the Treasure haunt.
The first overview question was used to find out what the players take with them from the Treasure haunt, as their response to this question tells a lot about what they found the most important and possibly made the most impact. The number of times a certain pattern was brought up are taken into account here, as well as with which intensity it was discussed.
The interviews were also analysed for non-verbal cues such as the intensity of expressions of joy, fear, excitement, or other feelings. This was used to find out how each element affected the players, and if there was consensus within the group.
The questions Q2-6 were used to make the participants dig a little deeper into the different parts of the Treasure haunt, to expose things that made an impression that they possibly did not mention before.
The last question was used as a safety net to make sure that all opinions are ventilated (Krueger & Casey, 2001). After the last question, other comments and additional questions were used similarly to the first question, to see what the players actually thought of the game.
The result of these analyses show both what elements impacted the players, as well as how
each part of the Treasure haunt made them feel.
4 Results & Analysis
Below follows a summary of the opinions expressed by participants in the interviews, while the design patterns they are thought to be connected to will be discussed further under Discussion (see below). The biggest themes found in the interviews were the presence of the other team, as well as the location and checkpoints, the narrative, and the puzzles. Below follows a summary of all themes found in the Treasure haunt. To read the full transcribed interviews, see Appendix B.
4.1 The presence of the Other Team
The thing that was continously brought up by the participants, and what they notably spent the most time on discussing, was the presence of the Other Team. It was brought up on several occasions in the interviews, both when describing the Treasure haunt as a whole, but also when asked about the individual parts of the Haunt.
This section from the Witch group interview, where three participants are talking about the other team being close behind them and a few more participants are laughing and agreeing, in response to a question about what they will remember most about the Haunt illustrates this particularly well:
R: jag kommer nog ihåg.. mest, mest att dom alltid var.. hack ihäl *skratt och medhåll från flera* så fort.. så fort vi ba plockade upp ett kuvert så ba.. spawnade dom i nån gränd
*skratt från flera*som att...
ER: Vi sa ju det tidigare ba, ah men det var inte jätteläskigt, och [R] bara "jooo!" * många skrattar*
EM: Det vart läskigt när dom kom!
R: Dom är ju efter oss!! *skrattande* Dom var ju efter oss hela tiden!
EM: Men det var det som var spännande att det var dom hela tiden runt oss och ba
"aaaaah!" och så springer man iväg!
R: Ja, jag tyckte det spännande för att de alltid var... så kort efter oss. kanske inte var lika spännande för dom!
ER: Det stod väl också att det var andra mörka makter än er. *flera skrattar* *ohörbart*
Och vi ba "oooooooooooooh!" *skratt och medhåll*
EM: "It's them!" (dramatiskt) ER: Yeah..
The players on several occasions discussed that they fell behind the other team, that they reached certain checkpoints before the other team had arrived, that the other team showed up in unexpected places, and that they got at times confused by or motivated because of their awareness of what the other team did. They were always reminded of the presence of the Other team, and it both stressed them out and made them more competitive, as well as eager to complete their puzzles quickly. All of these things relate to the Player-player proximity design pattern, as the proximity to other players seems to have increased tension and motivation for players of both teams.
4.2 Location and checkpoints
Another thing that the participants, especially in the Witch group, focused on was the
narrative, and how it tied into the history of the place. A number of players expressed that
their interest for the local history and architecture increased during the Treasure haunt, which could have been stimulated by Player-location proximity. This quote from a player in the Maiden group, also in response to what they will remember most from the Haunt, illustrates this:
A: Jag tror att platserna! *medhåll L* Att för alla platser man besökte hade ändå en historisk bakgrund. Och jag var ju lite nördig, jag gick ju och läste på alla dom där, och det var ju, det var ju intressant att få höra liksom, berättelser som man inte riktigt har tänkt på, just där med att typ tjär.. de.. tjärkoket var ett av dom första husen innan muren byggdes och sånna grejer, det är jättelärorikt tycker jag, i alla fall. Jag som gillar historia att få fo.. asså få lära sig lite under rundans gång!
A few members of the Maiden group expressed general enjoyment in taking part of the Treasure haunt mainly because of the walking and exploring the city which points to the Physical navigation pattern and the Player-location proximity pattern.
The fact that the narrative was based on real legends and history on especially the Visby Ring wall was intended to express Gameplay changes perception of real-world phenomena, and one person mentioned being confused on what was real and what was fiction and got a few people agreeing to this.
The player then became interested in finding out the actual history of the places involved in the Treasure haunt. The pattern however also created some confusion the other way around, as the real-world phenomena changed the perception of the gameplay when one player used information found about the legend about the Maiden tower as an indication that this was in fact not the tower were the Haunt maiden was walled in:
N: Ae så vi försökte läsa det där brevet massa gånger, *medhåll Em* jag tror.. vi kom aldrig riktigt... på vad vi skulle göra eller...
EM: Nä... asså vi typ bara..
R: Det enda vi tänkte på var inmurningen, och då va.. det enda _jag_ tänkte på var jungfrutornet
*medhåll N* men så läste man texten där och så.... har jag för mig att det inte var... det var ju inte... samma personer... det handlade om.
T: Nää.
EM: Mm.
ER: Nej.
4.3 The narrative
The fact that a lot of the participants talked about the narrative, and helped each other out on remembering the details of it, ties in both to the Game context as fabricated reality pattern and possibly Common experience as explained below.
The participants of the Witch group focused a lot on the story of the Treasure haunt, and
although that is clearly tied to Came context as fabricated reality, it could also be tied into the
Common experience pattern. This is due to the fact that participants helped each other
remembering the details of it as they retold the Treasure haunt during the interview, and
appeared to do so with excitement, interrupting each other and filling out the details they
remembered. This was especially true for the Witch group, who generally participated in the
interview with greater enthusiasm and talked over each other more frequently than the Maiden
group. This indicates that the Common experience design pattern was something that affected the players, as apparent from their behaviour during the interview, even though they did not specifically mentioned it. They also mentioned their friendship as something they will remember the most from the experience, although jokingly, which also ties into the same pattern.
This section from the Witch interview illustrates the players sharing their experience with enthusiasm when asked about if they had any additional comments, helping each other fill out details and even talking over each other:
Emi: Det var nice också att det hela tiden var avstånd mellan oss och den andra gruppen EM: Mmm! (positivt)
ER: Jaa, faktiskt! (utrop, positivt) T: Mmm!
EM: Mhmm! men jag blev förvånad över det, jag trodde vi ska gå i hälarna på varandra...
T: vi var ju först typ hela... *medhåll Em* hela tiden..
Emi: Det kändes hela tiden som att. dom.. förföljde oss, *starkt medhåll T, Er, medhåll Em* eller att dom gick som precis bakom oss, så man var.... *ohörbart*
*alla pratar i munnen på varandra* *positiv stämning* *medhåll*
R: Så fort... så fort man hittade en grej *ohörbart*
T: så var det som att.. Vi tog kuvertet och så gick vi en liten bit och så kom dom där och ba
"huuu!" *skratt, R, Em*
R: Ah, det var literally så hela tiden! (konstaterande) *medhåll T, Er, fler: MM, japp!*
R: Varje ledtråd! *medhåll T, Em* Damn.. *skratt*
ER: (försiktigt) dom jävlarna... *många skrattar*
This section from the Maiden interview illustrates the same thing, when the players were asked about the third checkpoint:
Interviewer: Så, kan ni berätta lite grann om uppgiften som ni fick uppe vid Tjärkoket?
L: Mm!
E: Det var, eh... ah
A: Ah, det var den, hålen i pappret L: ah juste!
A: Jag trodde först att vi bara skulle gå...
L: *skrattar* Mot solen!
A: västerut, att, jaaa det var just det, att vi skulle gå mot solens riktning, eehhh... *skratt* *alla skrattar och suckar*
L: Det var bara [A avbryter, se nedan] som förstod det så *skrattandes*
A: (road) ah men det KAN ju vara så! nånstans i solens riktning.
S: Men vad fan till Kruttornet! Kruttornet, nu! *skratt* Jah!
A: ah så, fick vi se punkterna. Tog upp ficklampa och lyste under, bakom, *medhåll L* så såg vi att det fanns hål. Så det var ju... väldigt coolt! *medhåll, L*
4.4 The puzzles
The Maiden group focused less on the story and more on the actual puzzles they had to solve
in order to complete the round, but again their enthusiasm and tendency to talk over each
other and fill in details also suggests the Common experience pattern was present here. They
were generally also more interested in the locations that they had to visit than the story of the
Treasure haunt compared to the Witch group. They mentioned that they liked solving the
puzzles which relates to both Real world knowledge advantages and Crossmedia gameplay,
and they appreciated the competitive as well as the cooperative nature of the Haunt which again relates to Player-player proximity as discussed above.
4.5 Other minor themes
As the interview progressed, an unforeseen pattern emerged – namely Uncertainty of number of participants. Several members of the Witch group exercised caution at certain key areas of the Haunt such as around the Silverhättan tower, as they expected the possibility of actors that would interact with them and scare them. This may have affected the way they approached the checkpoints, and impacted how they perceived the Haunt.
Crossmedia gameplay was met by mixed responses from the players – a number of participants expressed that the usage of phones was breaking immersion, and they would have prefered an old-looking map with some important landmarks marked out. Yet, a few participants also expressed appreciation for the media and acknowledged that if phones would not have been allowed, the clues would have had to be easier:
ER: Ehm... men ja, nånting annat.. ehm. håller med [T], liksom det... jag tycker det... tog ner upplevelsen att liksom behöva använda Google. å andra sidan... om... om det ska vara liksom...
gåtor som kräver kunskap om typ... gatunamn, ja då, ja det skulle vart karta då *medhåll T, Em*, eller att.. det liksom... ja dels så hade man behövt göra dem mycket lättare... gåtorna. jag tyckte om att det var, man stod lite och klurade på... vad betyder det här?
EM: Mm, yeah
ER: Men å andra sidan, om man inte har några förkunskaper eller nåt typ... lore, lexikon..
*skratt* liksom, så vet man inte vart, vart man ska, så det *medhåll Em*, ah. Jag har ingen lösning på det, bara, tankar! *skratt, medhållskratt Em* ehm..
The Maiden team were allowed and encouraged by the letters to bring the treasure home with them, but they still expressed confusion on what there were actually supposed to do with the treasure. The treasure was intended as Memorabilia, but none of them actually did take anything with them. Neither did any team mention the presence of artifacts in any other way than for the purpose of providing interesting puzzles, attenuating the impact of Player-artifact proximity.
A few people mentioned that the Haunt involved a lot of walking, and yet another couple of people disliked that one of the letters was hidden a long way from the others. They suggested a more circular layout of the route, but the suggestion was also contested by other participants who believed that this would lower the difficulty of the Haunt too much and reduce the fun.
These remarks possibly relate to Player physical prowess (walking) as well as Physical navigation. The fact that this was even brought up could also be explained by poor design.
Patterns that were present in the Treasure haunt but were not mentioned or expressed in other
ways by participants were Heterogenous ownership of gameplay elements.
5 Discussion
5.1 The themes found and the patterns affecting players
To answer the question that was posed for this report, the patterns that by far were the most distinguishably impactful on the players were Common experience and Player-player proximity. These patterns were expressed by players both as they participated in the interview by sharing their experience and helping each other fill out details with apparent enjoyment, and also explicitly expressing that they enjoyed participating with friends, which suggests that the Common experience has affected how the players perceive the Treasure haunt. The Player-player proximity pattern was expressed through constant encounters with the other team, which seems to have increased tension for the players.
Almost all identified patterns that were hypothesised to make an impact on players were mentioned or expressed in some way during the interviews, with the exception of Heterogenous ownership of game elements.
As all patterns tested were part of the Björk and Pietz's 2007 study, and descriptions of the patterns are found on Björk's wiki (2009), this increases possibilitis for future reproductions of this study. For the same purpose, a detailed description of the artifacts and puzzles are found in Appendix C.
5.2 Biases and limitations
An important thing to consider when looking at the data from this study is that the effect of the design patterns on players can vary greatly depending on how well the patterns were executed. Therefore it is very hard to draw conclusions on the effects of the patterns in pervasive games in general based on this study, and instead we suggest that it is more useful to look at how the patterns affected the players in this particular game, and then consider how the execution and design could be improved in similar pervasive games.
5.2.1 The method of analysis
Although the results of this study are quite valuable for future development of this particular pervasive game, the time limitations of this study only allowed us to test the Treasure haunt on two participant groups, which makes it hard to draw any general conclusions about the patterns. The study however provides a groundwork on studying this game in particular, which creates a base for future iterations on a Treasure haunt of this kind.
The nature of Thematic analysis makes it hard to create any kind of statistical data, which
makes the results open to interpretation and relies on the author's abilities to accurately
analyse the themes and the participants' reactions in the interviews. However, this is also the
strength of this analysis, as the particular kind of analysis was chosen because we are not
looking for statistical data at the moment, and it is not possible to get the kind of information
we want by providing simple forms. The kind of data we were after was more qualitative
rather than quantitative, as there is no previous work that allows us to simplify the data
collection method. This method allows a great amount of time spent analysing the responses
of each group of participants, making the data collection more susceptible for details or
nuances in the data that might have otherwise gone without notice.
5.2.2 Participant selection
The participants themselves represent a narrow span of the population, as they are within a limited age range and occupation. This is a result of the necessity that for the study recruit a relatively large number of people within a very limited time-frame, that would be willing to spend a few hours attending the Treasure haunt and getting interviewed afterwards, which resulted in a so called convenience sample. If this study was to be redone, it would be beneficial to recruit participants within a broader age and occupation range.
Another part to consider is that the participants weren't individually selected, but rather they responded to an open invitation that was sent to a larger group of people, which is also a result of the time-frame mentioned above. The results of this study might therefore not be applicable to a larger part of the population, and we suggest that further studies could be done if targeting a pervasive game to a broader audience. This also means that the players who attended were arguably already interested in Treasure haunts, which most likely had some effect on their expectations of the Haunt as well.
If this test was to be redone, it would have been desirable to include a higher number of participant groups so that more sessions of the game could be played. That would likely show a broader perspective on the game and the impact of the design patterns, as well as possibly strengthen the results from this study.
There was a possibility to split the same number of participants used in this study into four participant groups rather than two, resulting in groups of three people each. This was not done with regards to the optimal size for interviews being between six and eight (Gill et. al. 2008).
In this case, it was prefered that the groups interact and feel comfortable sharing their thoughts with each other, and maintaining a discussion during the interviews, to increase the quality of the data collected (Gill et. al. 2008). For future studies, instead, more people would need to be recruited in order to create more testable groups.
While collecting more participants, the opportunity could be used to find participants with no relation to the game designer and interviewer, which might increase the quality of the results as the participants may feel more free to express opinions other than positive. There is, however, also a possibility that the oposite effect would be achieved, as people who know each other might be more comfortable being honest with each other (Gill et. al. 2008).
5.3 Differences between the competing teams
When analysing the data, it is important to remember that although both groups got the same clues and puzzles to solve at the different checkpoints, they got to see the different sides of the narrative, which affects the experience of the different groups. This means that although the clue in itself was similar, the text as well as handwriting was completely different, possibly making the different clues vary in accessibility. This could be an explanation to why one group focused more on the narrative, while the other one was more focused on the puzzles.
This strongly suggests that the execution of the game affects how players perceive the design patterns.
The group dynamics of the two different groups may also have had an effect on how and what
they communicated during the interviews, as one group consisted only of students who knew
each other well, while the other group consisted of two main groups who didn't know each
other as well. It is interesting to see though that the Common experience pattern was present
in both groups, which suggests that this is indeed a very impactful design pattern for pervasive games of this kind.
Because of the differences in story mentioned above, but also in the experience of the two groups due to the dynamic of a competitive Treasure haunt, only one team interacted with the treasure. This was also the group which consisted of two smaller groups who weren't as comfortable in each others presence, which might have affected the expression of Player- artifact proximity during the interviews. It is possible that this small difference affected the expressed impact of the pattern a lot. The same reasoning could be applied to the pattern Mixed media gameplay where one of the groups expressed that the usage of phones broke immersion. Had the game communicated more clearly beforehand that phones and internet were meant to be used, this could have changed the players expectations which might have made them more appreciative of the design pattern. The reaction in this case possibly did not have as much to do with the pattern itself as the execution of it in the Haunt.
5.4 Future use of this study
This study, apart from concluding the importance of the Player-player proximity and
Common experience design patterns in creating impactful and tense horror pervasive games,
also shows that the execution of game design patterns play a big part in how the patterns are
perceived by the players. If this particular Treasure haunt was to be viewed as a prototype
instead of as a finished product, the use of this method has made apparent a number of ways
that the Haunt could be improved to create more impact. It is therefore suggested that the
methodology described in this report is a useful tool for prototype testing, and could be used
by game designers interested in creating more impactful pervasive games.
6 Conclusion
The patterns that appeared to be the most prominent in the participants' experiences of the Treasure haunt were Player-player proximity and Common experience. These two patterns manifested as the participants paying continuous attention to the actions and positioning of the other team, as well as their behaviour during the interview where they enthusiastically help each other out to retell their experiences of the Treasure haunt.
Player-location proximity, Physical navigation, Game context as fabricated reality, Real world knowledge advantages, Gameplay changes perception of real-world phenomena, were all distinctly present in the Haunt, and they were noticed and appreciated by many players. However, the perception of these patterns are greatly influenced by the execution of the pattern in the game, and solutions are already suggested to increase the impact of a few of these patterns.
A few patterns that were present in the Haunt appears to not have affected the experience of the Haunt as much or even all, such as Viral invitation, Player-artifact proximity and Heterogenous ownership of gameplay elements. Instead, an unexpected pattern emerged, namely Uncertainty of number of participants.
It is suggested that the methodology used in this report could be used with success by
designers of pervasive games, as a way to test their prototypes and create more impactful
pervasive games.
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Appendix A: Interview setup and questions
Welcoming participants, thanking them for taking part of the Treasure haunt as well as the interviews.
Information about confidentiality, and why this study is conducted.
//Recording starts.//
Q1. Could you talk a little bit about the Treasure haunt? (Note: General question, will be used to find the themes of what they remember the most)
Q2-7. Could you tell me about (Note: These questions are designed to find out how the elements made the players feel):
Q2. Your first assignment
Q3. The second assignment
Q4. The third assignment
Q5. The fourth assignment
