Metal Slug 3: Player Motivation

The way in which the player of a video game reacts to certain stimuli depends on individual psychology, social factors, gender, and so on. The stimuli provided to the player by the game can create or break player emotional states such as fun and immersion, and guide player decision making. No perfect model to understand how the psyche responds to given stimulus exists, as no two people are exactly the same. However if we compare different psychological models of the human psyche we can gain a better understanding of the process. By doing this, we can tailor games around these principles to create effective player experiences.

 Understanding the human psyche is easiest when beginning with Freud. He discussed the concepts of the Id, Ego and Super-Ego (Figure 1). The Id is the animalistic part of the subconscious which drives our basic desires, primarily related to eating and reproducing, greed and survival. The Superego is the semiconscious section of the brain concerned with the concepts of right and wrong, and attempts to temper the Id. The Ego, which is primarily conscious, is the mediator between the Id and superego and is the part of the psyche that determines the action taken. (Heffner, 2001)

Figure 1

According to Freud, we all are driven by base animal instincts, but humans are separated from animals by the choices and actions we make. Manipulating these drives can create strong emotional reactions in the player, and so understanding this concept is vital to good game design. The idea that humans are driven first by the basic animal need to eat and procreate is echoed in Maslow’s Hierarchy of Needs (Figure 2). Maslow stated that human needs can be arranged in a pyramid, with biological and physiological needs coming first, followed by the need for safety and shelter, and then moving into love and self recognition and actualization. A human will not seek out the higher level needs until the basic ones had been met (Chapman, 1995).

Figure 2

This concept can be translated into a pyramid of Player Needs (Figure 3). In this model, the player will not willingly seek out understanding of the goal or story of the game until they understand the mechanics and interface of the environment (Feil & Scattergood, 2005). Figure 3 When applying this to Maslow and Freud’s models we can see that targeting the base greed or survival instincts in the player, and rewarding them on their reaction to this stimulus, is fundamental to creating an effective and immersive experience. One method by which we can further analyze the both the implications and applications of this idea is through the Klimmt and Vorderer model Figure 4). This model breaks down each step of the process of input and feedback that the player has with the game at a basic level. (Hartman, Klimmt & Vorderer 2003)

Figure 4

In this model the first step, the possibilities to act, relates to the mechanic or interface options available to the player; weapons, movement and so on. The second step, the necessity to act, relates to a motivation such as the appearance of an enemy. The third step, the attempt to resolve the necessity to act is the player applying the mechanics to the situation, such as shooting at the. The fourth step is the result of the action, being that the enemy is shot and the player is given a relevant feedback. The stimulus provided in each of these steps, in line with what we understand about Freud and Maslow’s principles, is what can make the process more effective and immersive.

The Klimmt and Vorderer model can be combined with Freud’s model of the Id, Ego and Super-Ego, as per McMillan (Figure 5). In this comparison we can see that the possibilities to act relate primarily to the physiological needs of greed and survival as mentioned earlier, therefore engaging both the Id and Super-Ego. To trigger a necessity to act, the Ego is faced with what it perceives to be a dangerous situation, and chooses the best option. This decision is weighted to either the survival (Super-Ego) or greed (Id) dependant on the scenario and the skill of the player. The outcome is then either positive or negative, depending on the behavior desired by the rules of the game, and the cycle then repeats itself with this new information. (McMillan, 2009)

Figure 5

When executed correctly this cycle can be effective in that the correct emotional responses are elicited from the player, and the player is trained to either repeat or not repeat certain behaviors.

We can further apply this to the Hierarchy of Player Needs (Figure 6). The player must be first in control of the mechanics and interface of the game in order to understand the threat to their safety that embodies the necessity to act. The result of the act relates to the goal or perceived goal on behalf of the player. Finally the result of the action contributes to both the emergent story of the individual experience of each player, and the intrinsic story relating to cause and effect in the game itself.

Figure 6

With this we can see that McMillan’s cycle would have less meaning to the player if the basic understanding of the mechanics and possibilities to act were not adequately provided. Therefore to correctly trigger responses from the Id, Ego and Super-Ego to create the intended experience and reaction from the player, we need to ensure that the foundations of their Hierarchy of Needs are met, and the player is allowed to progress through these needs in a natural and understandable manner. Failure to combine these elements can result in gameplay that is confusing and overwhelming, and therefore will break immersion and cause the player to stop enjoying the experience.

To see the practical application of these theories in a single cycle of the Klimmt and Vorderer model, we will examine the Mission 1 Boss Encounter of Metal Slug 3 (Figure 7). At the start of the boss battle, depending on choices made throughout the level, the player will be in either one of two vehicles, the Metal Slug or Slugnoid, or on foot. While this does slightly alter the possibilities to act during the boss scenario, the basic controls of move, shoot, throw grenade/explosive and jump remain the same. For the purpose of this analysis we will focus on the player on foot.

Figure 7

By this point, it is fair to assume that the player understands the mechanics of the game and how to apply the possibilities to act, so the first tier in the Player Hierarchy has been met. The cycle then progresses into the necessity to act, which is the part of the cycle most concerned with triggering responses in the Id, or threatening the players safety.

If a symbol, as Jung, a contemporary of Freud, stated “is an indefinite expression with many meanings, pointing to something not easily defined and therefore not fully known” (Jeffries, L.B. 2009) then the symbol that is the visual representation of the Hermit Crab boss requires little interpretation on behalf of the player. The Crab moves from left to right on the screen, which implies dominance of the scene. The Crab is also much larger than the player, which signifies threat or danger. Furthermore The Crab is a crab; an alien-like yet recognizable figure which is intended to cause the player anxiety. These attributes, combined with the fact that The Crab is moving towards the player, destroying the ground and shooting rockets at the player all combine to create a strong Necessity to Act.

For this particular instance, we will assume that the player is not a veteran of the game and so has no past experience with what will be effective or rewarding. The player reacts to the stimulus by facing and shooting at The Crab. Here we can see that the player has applied the main mechanical element of the game, shooting, in response to a perceived threat. Their primary motivation at this stage is survival.

In response to this action, the player is hit with a missile and loses health, but The Crab’s health also decreases. The player is threatened with death and a score reduction. If because of this the player loses a life, their grenade counter resets. Therefore the player learns that while they can survive by standing and shooting or throwing a grenade at the boss, this is not the ideal response if they wish to attain a higher score. As the player experiments further with the options available, they may learn strategies that will allow them to cater to their greed for a higher score. Allowing the player to be aware of the other options also increases their likely hood to play on through the game or repeat the level (Hartman, Klimmt & Vorderer 2003). In this instance, however, the player has learnt how to survive. The Id, Ego and Superego and the Player Needs have been satisfied, therefore the gaming experience has been effective.

By analyzing different models that explain human psychology, we are better able to appreciate player mentality. This allows us as games designers to create effective and immersive experiences, by speaking to and catering for base physiological desires. However it is important to remember that no one model or theory is correct. As time goes on, and cultural norms and symbolism change, these models will also need to be compared, changed and be reconsidered. The focus should always be on understanding what will be the most effective for the audience, and as the audience changes, so should our methodology.

(Full list of references available upon request)