the world within the world version

2AM - part 11 (A Minseok Series)

The sleep was deep between Minseok’s sheets and within his arms. The steady rhythm of his breathing pulled you under fast and the tight grip of his arms around your waist loosened as he drifted until your conscious reality faded and you woke up hours later tangled in limbs and bed sheets with the sensation of someone’s hands running along your bare thighs.

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anonymous asked:

is a version of bruce wayne/batman truly invalid if they've killed? ive heard some batman fans say that about BvS bats, even if it was given a narrative purpose and reason, they say the fact he'd stoop to that level is a fundamental misunderstanding of the character and therefore an invalid version, and yes they condone the killings in tim burton and nolan bats too (the random thugs whom the camera never focuses on)

batman doesn’t kill. that’s the basic premise and foundation bruce built his entire crusade on. he won’t kill because then he stoops to his parents’ killer level and if he does that, that means he admits living in a world where parents can be killed, a world where he can’t react to that. so he changes that. he can’t/won’t/hasn’t allowed people to die to the maximum of his ability (and within reason, he’s not god). if he doesn’t kill then he’s better than joe chill. then he can stop more people from being gunned down in alleyways. essentially, bruce has created his own reality rule: by not killing, his loved ones will stay safe. i’m pretty sure it’s like a trade-off in his head: no kill rule = no lost loved ones. aside from what that tells us about his mental health (which i won’t get into here but it plays the biggest role in everything), it clearly shows us that in his world, there’s no room for if’s in the no-killing equation he’s created. there’s no room for questioning the essence of what it means to be batman because he then stops being effective. he doesn’t kill? he doesn’t lose more family. that’s it. and it works for a long time. until it doesn’t

here’s another thing: BvS batman very likely starts off with the same no kill rule we all know. he doesn’t kill so he doesn’t lose his family. but he does lose his family. jason todd is murdered, possibly other important people in his life are perversed/lost we don’t know about yet but have gotten hints about, without taking in account the metropolis tragedy with the wayne tower that topped everything off (and explains his uncharacteristic bloodlust for superman). batman’s no-killing rule that should entail safety for his family fails. it doesn’t work. it’s not enough anymore. it didn’t save jason todd. it didn’t bring back jason todd. so it takes second place now. let’s pull the rule away from the spotlight. it’s there, he doesn’t get out a shotgun and play Best Headshot Streak of The Day, but he won’t stop if that’s the only obstacle. why not? it didn’t bring jason todd back

now, comics bruce wayne has lost people. due to the decades-long material, it’s safe to say he’s lost more people than BvS bruce has even by the time he lost jason todd. and yet he never canonically kills in the comics. he’s come close to it but he doesn’t do it because he manages to still abide by the no-killing rule, despite the same pain/rage/depression (i mean, if he hadn’t, the Under the Hood arc wouldn’t be a thing). that creates a huge and important discrepancy between the two incarnations, one that could be (and has been) explained by “snyder decided to give us a non-canonical batman”. maybe. maybe he did. maybe he doesn’t understand the character. maybe the action scenes wouldn’t be as good without some maiming. maybe he wanted to be an edgy fanboy. maybe BvS bruce wayne is more prominently mentally ill than he’s ever been allowed to (rightfully) be portrayed as and we now have a chance to realistically see what that means and entails for his psyche and character development. and that makes some of you uncomfortable

there’s a batman ideal. it was created by a mentally ill orphan but it served its purpose: batman doesn’t kill (batman doesn’t lose family). and i agree wholeheartedly. batman doesn’t kill. but what about broken, lost, depressed bruce wayne? what about this version that’s supposed to serve a slightly more realistic view into our favorite heroes’ worlds and one that’s not hindered by the repressive (especially back then) comic book storytelling? does he let things slide a bit? does he punch a bit harder? does he fail to calculate the exact trajectory of where his batarang will land? i think nobody mentions he battled/stalked/went after superman obsessively, someone who’s best friends with in the comics, as much as they talk about the no kill rule. yeah he’s fought clark before. yeah he has a million plans in place just in case the justice league goes rogue. yeah he doesn’t trust his own shadow. would he, however, be seconds away from putting a spear through another being’s face without giving them even half a chance to explain?

no. no he wouldn’t. because comics bruce wayne has a better support system. because comics bruce wayne is mentally ill but not to the extent BvS bruce wayne is. the support comics bruce had back then is only now barely being introduced to DCEU’s bruce’s life, and it’s already made a huge change. a ten-minute friendship with clark gave us a completely redefined batman at the end of BvS, glimpses in Suicide Squad and the JL teaser. he’s changing. he’s finding the strength to abide by the no kill rule despite knowing that it doesn’t guarantee safety for his loved ones (which is a huge realization) and that he has to live with that

i know people wanted to get their batman in BvS in his most developed form, it was the first film he was introduced to us, but instead they got the man behind the mask and it was more than a lot of viewers bargained for. but please keep in mind that just because we’re not used to visible character development in film franchises on such a monumental level, it doesn’t mean it won’t and hasn’t already happened with DCEU batman. a lot of you aren’t used to seeing his character for what he really is, which is first and foremost human. he’s human. keep that in mind above all else. we’re seeing bruce wayne being slowly mended before our eyes. that’s incredible

Ultra Wormholes, Ultra Megaopolis & Ultra Recon Squad


In Pokémon Ultra Sun and Pokémon Ultra Moon, you can explore the various worlds that lie through these Ultra Wormholes. Within an Ultra Wormhole, there are countless warp holes that lead to different worlds. Try exploring different worlds by passing through these warp holes! You can even go to the home worlds of the mysterious Ultra Beasts!


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The Story Arc of Each Type

ExFP: Learns to trust their feelings. No, ExFP, you are not over emotional. You are passionate, and the only way you can truly find happiness is to follow those passions to their completion. You don’t need to rationalize every feeling you have. I know it sounds sappy, but stop ignoring what your heart is telling you. You’re human. It’s okay to have these feelings. Your passion is a powerful weapon. It can move mountains. It is not weakness.

IxFJ: Learns to trust others. Yes, IxFJ, you are much deeper than cookies and grandmotherly love. You have a lot of baggage you carry with you everyday. You take some pride in suffering in silence. You can handle not only your own problems, bit you can solve everyone else’s, too. But, no one can do it alone. You don’t always have to take care of everyone else. You don’t have to go through life alone. Let others take care of you. You have a never-ending band of people willing to go to the ends of the earth for you. No man is an island.

ExTP: Learns to own their potential. No one will deny that you’re a fun person, ExTP. But, you have so much more to offer than just entertaining others. Your ideas are brilliant, and your mind is just as powerful as your ability to run a room. Trust your intelligence. If you try to dumb yourself down for others, you will do the world a great disservice. Your mind can change the world. You owe it to yourself to reach your full potential. Don’t be afraid of what you might become.

IxTJ: Learns to follow up critiques with actions. The ideas and opinions of an IxTJ are often deep and well thought out. They have strongly held beliefs for how life should be, and those beliefs deserve to be put into action. Share your talents with the world. Don’t just think about how you’d do that better, go out and try. Anyone can critique a broken system, but you have the power within you to participate and bring order to the chaos. Use the powerful energy inside you to lead the world in the right direction.

ENxJ: Learns never to settle for less. There are few as practical and full of common sense than the ENxJ. You always seem to have it together, and so many are jealous of you for that. But, you have a tendency to compromise your own vision much sooner than you should, willing to settle for less than you’d dreamed. Yes, knowing when to fold ‘em is an important skill to have, but knowing when to hold ‘em is just as important. That vision of yourself you have inside deserves to be realized, and you have the means with which to make that vision a reality. Trying to make your inner vision a reality does not make you an uptight perfectionist. Sometimes, dreams do come true. Sometimes, you CAN get what you want.

INxP: Learns to open themselves to the possibilities. The resolve of an INxP is hard to beat. They know exactly what they want and like. They know how they want things to be done, and are sure that their way is the best way. But, sometimes, the only way to grow is to try thinking from a different direction. There are other ideas worth considering and hearing in this world. Some of those ideas actually already lie within yourself! You’ll always be you, no matter how many alternative ideas you consider. Allow yourself room to breathe.

ESxJ: Learns to accept themselves as they are. The ESxJ is the perfect chameleon. They can fill almost any position, fulfill almost any task, and do it to the tee. They are such hard workers, and they know what they need to be in every situation. But, you often step over your own boundaries in order to try to fill those spots. The ESxJ often feels like who they truly are isn’t enough, and that they need to “rise to the occasion” to be seen as likable or useful. You are exactly what the world needs, as you are. Accept that you have limits. Sometimes, you need to take time for yourself in order to be the best version of you that you can be. You are enough.

ISxP: Learns to take control of their life. ISxP’s are true visionaries. Your ideas and beliefs are unlike anyone else’s, and you wouldn’t have it any other way. But, you often leave the world around you outside yourself, choosing to give up your own autonomy and place in the world to live within yourself instead. But, whether you like it or not, you have a physical presence here. There are important things happening all around you, and you need to remember to come back to Earth and exercise your control over the physical world around you. Because, life is not just happening to you without control. You can gain control of your world.

Shoma Uno: Lombardia Trophy Post-FS Interview

*Updated with full interview (source)

Your thoughts on your score?

S: Hmm. Umm I don’t know. It was about the same as last season’s Worlds wasn’t it? But this one I landed a 4S and only made a mistake on the 4Lo, whereas at Worlds, I made a mistake on the 4T… I guess that shows the difference between the perfection of the two programs.

Within all of the hype amongst your Italian fans, how does it feel?

S: I don’t really understand why, but I can jump for some reason. The mistake on the loop is within tolerable range, and I didn’t even have to brace myself in the salchow, I just took off normally and I landed it normally. The salchow shouldn’t be that difficult of a jump, so maybe I can land it if I’m not especially conscious of it.

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anonymous asked:

What are the differences between how ennea 3's, 2's, and 4's deal with shame? Do 3's suppress their shame?

You are correct. 3s repress shame, 2s externalize it and 4s internalize it.

2s externalize their shame-related feelings, meaning that they put their self-image into the hands of others. if people love them then their self-image is high and vice versa. following the principals of reciprocal altruism they help other people to get help in return

3s look similar to 2s at first, but even though it appears as if they depend on appraisal from outside they are actually indifferent about it. just like how 9s are in denial about their underlying anger, 3s are in denial about their underlying shame. they live in a dream-like world where their shameful reality doesn’t matter because they identify with an imaginary better version of themselves instead. ignoring their own feelings, they try to be rational and all about business because it’s easier than to face their inner sadness.

4s internalize their shame and emphasize their feelings. eagerly accepting their worst qualities and making them their trademarks they try to outwit their shame. but by focusing all their feelings inwards they lose any connection to the outside world. they became blind and deaf to any criticism that doesn’t come from within.

anonymous asked:

I've been told that my story has a magical/mystical/enchanted feel, but it's not really a conscious decision on my part. It works because my story is part of a world set apart from the normal human world, but every time I get told about how my writing makes someone feel, I'm just not exactly sure how I pulled it off. What are somethings that can give a person's writing that sort of feel so that I can I be more intentional about how my writing comes across?

Hello anon! It looks like you have a natural flair for tone! That’s great! 

There are a number of ways you can control tone.

1. Word Choice: Certain words tend to give off a certain idea, usually because of the connotations they have in society or past literature. For example, words like corpse, death, disaster, bloody, suggest violence and darkness. Royal, glimmer, mystical, moon, spirit, sword, suggest fantasy, and so on. Here is a pretty good post on power words. 

2. Tropes: Tropes are common themes and ideas that frequently appear within stories, and certain tropes are attributed to certain genres. Your story being set in a different world is the basis of most fiction like fantasy or sci-fi. Or mystical type tropes you see in fantasy is the inclusion of magic in the medieval-inspired worldbuilding. Try exploring TV Tropes sometime. Just because it’s fun. 

3. Setting: Again, being set in another world is a key element of fiction. If you want to include magic and technology that doesn’t exist in this world, the simple answer is to make up a new one, or create an alternate version of this world that includes those things. 

4. Voice: Your voice as a writer and the protagonist’s voice as the main character affect the way the story is told. If you character is serious, then everything they say will sound a little more serious. If they are funny, they might make a joke of things and lighten even grim occasions just a bit. Likewise, you as a writer may use a sarcastic or colloquial tone that makes your story more contemporary, or you could use lots of descriptive and poetic language to make it a little more whimsical.

A few additional tips:

- If you are aiming for a certain tone and are not sure how to achieve it, study it. If you want to write a sad scene, think of a book that has made you cry or feel very sad before, and then re-read that scene and figure out what it is about that scene that achieved that effect. Were the characters realistically heartbroken? Was it the words that were used? Was is the way it fit into the plot?

- When you are not sure how a scene feels, have someone read it without telling them what you were going for, and then see how they thought it felt. If it didn’t have the desired effect, ask what you can do to make it more {insert whatever emotion or vibe here} or what kicked them out of that feeling. 

Sounds like you’ve got a natural skill going already, but I’m glad you want to hone it! Have fun!

~Penemue

Metroid Fusion - Exploration Powered by Fear

In any game about exploration, there needs to be a reason why you explore. Most games usually accomplish this through a boss character that serves as a goal for the player to overcome, which pushes players to find more upgrades throughout the world.

However, Metroid Fusion takes an interesting approach to this same idea by injecting fear into the boss character. The boss in the in the game is the SA-X, a exact replica of you, except with all of your powers and upgrades. At the beginning of the game, you have none of these powers.

This in itself already sets up a strong drive within the player to explore the world and find upgrades so that you can stand a chance against this other version of yourself. But Metroid Fusion takes it a step further.

The SA-X constantly hunts you down while you explore the world. This is where the horror aspect of the game comes in. As you explore, you never know when you could run into the SA-X, and if you do cross paths with it, your only option is to run.

The game creates a interesting relationship between the player and exploration where the player, on some level, is afraid to explore the world out of fear of the SA-X. However, that exploration is necessary to fight the SA-X.
The end result of this is a game with a lot of emotional tension. It connects the player to the game and makes all the events of the game feel more substantial.

When you get another upgrade that small victory feels more significant when you’ve been running around hoping that you don’t run into the SA-X. Similarly, the panic you feel when you know the SA-X is nearby feels more potent when you know you can’t fight it yet.

Metroid games are known for their exploration, but Fusion stands out as one that taps into different emotions as the others, making it an unforgettable experience.

Imagine if the sides lived in their own version of the world (as opposed to occupying the ‘real’ world outside Thomas’ mind) but within it exists other peoples’ sides. I feel like this would fit in with the idea of Logan being an actual teacher (he teaches the young sides! :v) , and all of them being able to interact freely in the outside environment. Just a thought..

so i have a theory for this thing which everyone seems to be confused about

so you remember this right?

this shot is suppose to set the stage for the music video, as it shows us what’s representative of this world: a cat, an exo lightstick, and the orbs. I think it represents us protecting exo, so I’m gonna call this world: aeri world. 

okay so if the theory that all exo MVs are different planets is correct (which is very safe to assume) then this means that this is a different world with different set of rules right?

so if the robot wanted to steal the exo orbs, he’d have to come here, to us, and steal them, which it managed to do

exo, as pissed as they were, fought the robot bravely without powers in order to protect us right? but when they thought they had the monster in their grasp

it turns out that nope surprise ! it was actually us !

in the rules of this world, pressing the button changes the way things are perceived so in trying to protect exo, we made the monster into this weird puppet thing which was very cute of us

as the monster changed forms the orbs were released and exo regained their powers, but without knowing whether they were safe of not we just kept ramming the button

this continuously changed exo’s form and the world for that matter in batches and into different things, all into cute and innocent versions of it which is how exo sees us

we’re finally stopped by baekhyun who was god knows where and managed to escape being affected (i think he was in charge of protecting us but his disappearance was sketch)

the world is turned back to normal when baekhyun presses the button and since he’s finally here he regained his missing orb !

as we all know, the eclipse is the source of exo’s powers so baek who is the light within the darkness used his powers to activate the orbs and allow the members to use their powers to deal the final blow to the monster (who turned back to normal when everyone else did)

and that’s what happened friends. what you should be asking yourself is where the fuck was baek throughout all that and what happened at the end and why is his character seemingly different and important in pathcode and monster? all valid questions that we still need answers.

also very important to know… is wolf a different planet too? i’m very curious. 

anonymous asked:

Vanya, how could you ever develop feelings for Nevo? Besides killing off your entire species, he's hurled the world into mass chaos, claimed himself the "new god" of it, and forced you to work for him- helping him raise childlike versions of those he slaughtered for his own gain. How could you stand the thought of being intimate with him? How could you ever grow to welcome that after all he's done to you, your kind, and your world?

“…I have asked myself this very question many, many times, and wrestled with all the disgust and conflict it brings within me.”

“Consider my position, a long-lived puppet whose strings are pulled by random chance and the people’s will, and the only adult of my kind left. All of us, the children included, are or will be beholden to such things. Nationkind are not entirely masters of their own feelings, or free will. They never have been, and they never will be. They are held sway to public opinion, and for better or for worse, are pushed in that direction. France, when he was still alive and the world still made sense, had once called it ‘the wind in our sails’.”

“My home city, my heart, is Novgorod. It is, and has always been my capital, and has been largely spared Nevol'nik’s ravages in part by my stubbornness. My people, in turn, have begun to enjoy the relatively light hands he lays upon my capital city. He spares its monuments, he makes no attempt to change its religion. The generations that knew life before have started to die away, and the public has started to, by and large, accept him and the kind autonomy he has given them. They know nothing of my begging and pleading on their behalf, but their opinion still sways mine. They only know how easy their life is, compared to others.”

“I have never been able to parcel out which is my own feelings, and which are those pushed and prodded by public opinion. …I have loved before, with every fiber of my being. I have loved others of my own accord. Those sensations, those feelings, they were mine alone.“

“…my feelings towards him, however, are muddled. I cannot clearly define what is mine, and what is not. Night after night, I am bedded by a murderer, and night after night, I am left with the conflict such actions bring me. I am tired of puzzling on them, and chasing away the disgust with excuses. What do I feel for him? I may never know. At the very least, I keep him calm, and the children benefit from his leveled mood.”

“Of course, I will never forget, nor forgive him for, what he did to the rest of my kind, but there is an inherent loneliness to nationhood, and being the only adult left only exasperates that feeling. A few hours of companionship is just barely enough to chase it away. …Whatever his feelings about me are, I am certain they are just as complicated as mine.”

Season 4 Finale Predictions

Wow!   Are we really here already?  As I did last season I’ll do my finale predictions as well as items we might see carry on into Season 5.  I don’t think I’m going to do as good as I did last season but here we go!

I’ll go under the thing because it got long.  I’m going dark at 4 pm MST so any asks I don’t get too before then will have to wait until tomorrow. 

I’ll see you all on the other side!

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ZS: …I think with Superman we have this opportunity to place this icon within the sort of real world we live in. And I think that, honestly, the thing I was surprised about in response to Superman was how everyone clings to the Christopher Reeve version of Superman, you know? How tightly they cling to those ideas, not really the comic book version but more the movie version… If you really analyze the comic book version of Superman, he’s killed, he’s done all the things– I guess the rules that people associate with Superman in the movie world are not the rules that really apply to him in the comic book world, because those rules are different. He’s done all the things and more that we’ve shown him doing, right? It’s just funny to see people really taking it personally… because I made him real, you know, I made him feel, or made consequences [in] the world. I felt like, it was the same thing in Watchmen. We really wanted to show it wasn’t just like they thought, like the PG-13 version where everyone just gets up and they’re fine. I really wanted to show the violence is real, people get killed or get hurt, and it’s not fun or funny. And I guess for me, it was like I wanted a hero in Superman that was a real hero and sort of reflected the world we live in now…

- Zack Snyder

It’s finally complete~! <(= W =)>

Dark Nova

Dark Nova is obviously what you’d expect, a wicked version of Galactic Nova. From the depths of the mirror worlds dark energy, Dark Nova is all things evil.

They show no remorse for their actions, they destroy countless numbers of planets they come across. Life to them was meaningless.

When they tried entering into the regular world of Popstar, Galactic Nova moved fast to battle and seal them away. Using magical silver chains to trap them into the depths of a large black hole, 8 silver keys in the shape of a star were spread out into different planets by Nova, each hidden deep within the planet to make sure no one ever get their hands on them.

If someone were to gather all the keys and release them, Dark Nova will grant you a wish, but with every wish they grant from someone, a family/friend/lover will die by their hand.

Getting and Keeping Players: Designing for Engagement

Summary

The number of ways video games can be produced, distributed and consumed by players makes it a diverse and flexible form of entertainment that reaches millions of people. Some games are made to educate or enlighten players while some are made to help them pass the time. Whatever the purpose of the game, players may not be expected to complete the entire thing in one session (unless the game is comfortably short). Most games have campaigns or a story/questlines to finish. Other games have levels. Designing games for engagement is not standardized, yet there is one subset of the game industry that has a few recognizable design patterns that can be considered the standard for its respective platform – and possibly integrated in other genres/platforms.

Why Mobile Games?

It is hard to deny the success of the mobile game industry in terms of revenue and market draw. It is likely that most of the people you know own a smartphone and play at least one. For years now, developing games for mobile devices has been coined “developing for casual players” simply because games were now accessible to an audience outside of the traditional player market – a very large audience! The low-barrier to entry meant that more developers were putting product on the platform, and competition for downloads on user’s devices became fierce.

Success for developers that do not have an existing following (player-base, social media presence) consists of developing a game that provides the player with an enjoyable experience  - the nature of the free to play mobile game landscape is one where the developer must be able to craft an enjoyable experience immediately.

If players are not hooked from the get go, the game gets uninstalled – a killer for free to play apps. Therefore, there is a focus on getting the initial experience and long-term experience fine-tuned. The similarity in the tactics used by popular mobile titles such as Clash Royale or Hearthstone lends to the formation of what could be considered design patterns.

You have probably  heard of the buzz words: Engagement, Replayability and Retention. These terms all have similar meanings but they represent the end goal of development. We want the player to spend time in our games and come back when they have closed the game.

In terms of mobile development, strategies for engagement can be grouped into three (3) aspects:

  1. Trying the Game: Player Initial Experience
  2. Social Play: Involving Friends
  3. Come Back: Feeding the Cat

Engagement may not measure the “quality” of the time the player spends in the game (unless under playtesting conditions) or how good the game is getting players into flow, but they can help determine goals and rewards that may encourage replay.

1. Trying the Game

Enticing the player to try your game is difficult unless your studio is known or uses promotion strategies. Games – especially mobile games – are judged from the moment the potential player sees your icon on the screen. Developers should focus on the “Give and Get”. Give players a good initial experience that lets them know what they can expect in terms of rewards and progression and they will in turn reward you with not dropping your game after 2 hours.

Who is your target player?

The target market is not just a business term that makes the design process corporate. There are many different kinds of fun and while a game can attempt to hit fun for all the types, it is more sensible to create a fun experience that a segment of the population would like.

Mobile game designers especially have to be keenly aware of the target player, and not just the who. It is worth thinking about where you expect the players to play (on the bus, during breakfast). Will they have access to the internet? What is the target market interested in – what motivates them?  

The Initial Experience

First impressions matter. Judging a book (game) by its cover (app store icon) is a real occurrence.

Most game design articles or books would tell you to focus on the tutorial – the initial experience - of your game.

They are right.

However, I would go further and say make the vertical slice of your game fun, and make the process of going through it juicy. This vertical slice may be the tutorial, but since a direct tutorial may not be applicable to all situations, it may be a simple level for the base mechanic. Whatever the form, it should give the player a taste of not only what the core gameplay is like, but more importantly, how they would be rewarded or progress if they kept playing. The best tutorial is one that gets the player playing immediately.

For these three games, the tutorial do not feel like a chore you need to slog through. In the case of Candy Crush when a new mechanic is introduced, the subsequent level is what is an easy version of that mechanic in use.

Polish - Feedback

Video games are a predominantly visual medium where most responses to actions and information are conveyed through dedicated UI elements or cues within the game world. The visuals in games are meant to evoke a mental response and convey imagery that makes the player implicitly understand the mood/setting/theme of what it is they are looking at. Appropriate use of colour and cues can determine how immersed a player will be in a game. The trick to designing a visual world is the design visual cues in such a way that the player is more or less unaware of the prompts.

However, sound is just as important. Sound is used to create immersion and engagement within games. It is usually considered a feedback mechanism that lets the player know that something is happening or has happened.

A user is more likely to get played if it feels like a finished product - juicy feedback at the right times is part of this.

2. Social Play: Involving Friends

The trend of many popular mobile games is sort of social aspect whether it’s something as simple as sharing a funny status using a connected social media account or the fact that the entire game is competition based.

The obvious idea here is to get more people to play the game, but most do prefer to engage in activities in which they can involve their friends.

In addition to multiplayer, PvP, the Clash Royale uses the idea of clans where groups of up to 50 players can give and receive cards, chat and do friendly battles. Players are able to join clans with their friends. The aspects of gifting and communication is novel in a mobile game and works well in keeping players interested as they can easily join clans with their friends and share resources. There are also leaderboards and a match replay feature that focuses on the higher ranking players, encouraging players to work in order to get their name in the rankings.

Hearthstone and Clash Royale include an emote system to facilitate communication between players while in game

Screens like this are the only reason I play candy crush. My mother – a person who I think is part of the main demographic – demands that I send her lives. I now have the game on my phone and play it during long commutes. I have my Facebook account connected to it and it was interesting to see my friends icon-ified on the level screen. So, I know who’s playing and how far they are and my mother can get upset over her friends being further than her.

3. Feeding the Cat: Come Back

From your well-crafted initial experience, the player should be able to expect what they will be getting out of the game if they keep playing it. Mobile games typically have short play sessions where the end of a session is implied by a timer, waiting to unlock, the completion of a task, etc. However, the overall game can go on for much longer. How do we compel the user to come back when they have ended a session? Here is where rewards and progression systems come in.

Reinforcement schedule

No one does anything for nothing. Rewards are another important motivator for players. The kinds of rewards given to players are varied and are usually categorized as either intrinsic or extrinsic. Rewards are further categorized in terms of the value they give to the player; however, it might be when the rewards are given that makes the most impact on retention.

Clash Royale’s chest system is a clear example of a schedule. The game encourages players to return to the game to unlock chests after the correct amount of time has passed. Also, the differences in unlock time encourages players to plan unlocks around their personal schedules (e.g. unlock 12 hour chests overnight). This is almost like feeding a pet where a habit is formed.

Resources (cards) for levelling (player and minions) are scarce and cannot be acquired without chests unless the player makes purchases with real currency. Gold can be acquired through battle wins and makes gives the player a reason to play even if chest slots are full.

The player can win or lose “trophies” during battles and the number of trophies determines the arena the player will battle in. Also, minions (cards) need to be levelled in order to remain competitive.

Progression - Not just Levels and Levelling

Players need to accomplish things. They need to progress. Also, they need to feel it. Many games start with the player’s character at the peak of their abilities and then strip those abilities a short time later. Players are shown what they would be working toward, making the player more motivated.

Pathways from the new player stage to master player must be developed to keep players of all skill levels engaged.

In general, mobile games tend to focus on the following to get players to come back for repeat play sessions:

  1. Content Unlocks - players get new items/skills/rewards for completing goals. The new unlocks can be in-game tools, ugrades or even vanity items such as skins for characters. Players are rewarded for participating in the game.
  2. Timed Events - players are encouraged to return at specific times (See above section on reinforcement schedules)
  3. Personal Investment - players who are able to change things within the game will feel more attached to their virtual world.

TL;DR

In this blog post, we looked at the design principles used by mobile games to stimulate player engagement and retention. A lot of points were discussed, but the general takeaways are:

•       Know your audience

•       Get them playing immediately

•       Visuals and Feedback matter

•       Develop pathways from new player stage to master player

•       Consider social aspects – if they fit!

The World’s Fair and 404 Ink, part 2
  • On 25/09/17 Creeper posted a photo of a torn out page written by James Scythe with the caption “309.12″

The page reads “October 2014. The pages within consider a world in which I have found myself falling into, and need to document so the world knows. Though, if you’re reading this, God only knows what’s happened to me. If this is in your hands, do what you have to do to make everyone understand. I hope it never comes to that. J. Scythe.

  • Rocksound and DIY magazine posted pictures of printed versions of the photo, both with “309.12″ written on the back. Rocksound’s image showed the photo lying on a purple envelope, suggesting the cryptic photos had been posted to the magazines.


  • on 26/09/17, Creeper posted an image with the same caption of the Southampton Guildhall clocktower, showing the time as 12:00.

If the 12 in the caption suggests the time of 12:00, the 309 could be interpreted as the date September 30th (30/9) as the posts were being made in the week leading up to this day.

  • On the third day, 27/09/17, Creeper reposted a crime scene photo from the Dolphin Hotel, with added text saying “What happened to @itsjamesscythe”


  • @itsjamesscythe lead to a twitter account in the name J Scythe. The profile picture is a photo of a child dressed as Captain Hook and the cover photo is a statue of Peter Pan in Kirriemuir, J. M. Barrie’s birthplace. The account has no tweets, but has liked a photo posted by 404 Ink, an independent alternative publishing company.


  • The tweet by 404 Ink appears to be a darkened photo of Will and Ian.

Lightened version of the photo tweeted by 404 Ink.

  • The homepage on 404 Ink’s site plays a pixelated video of Will and Ian tapping on the camera, overlaid with the text “DON’T BE A STRANGER 309.12″. The events page on the site lists every date of the Theatre of Fear tour, along with the correct corresponding cities. The events are titled “The World’s Fair Anniversary Tour”, confirming the link between the Theatre of Fear tour and the World’s Fair 50th anniversary tour mentioned on Strange Southampton.

Theories

  • 404 Ink are set to announce their 3rd book “this week” according to a tweet by Stir Publishing on 21/09/17. This could be some form of diary by James Scythe, which the page posted by Creeper, Rocksound and DIY was torn from. This announcement is therefore likely to be posted at 12:00 on 30/09/17, as hinted in the clocktower tweet by Creeper.
  • There are 6 Theatre of Fear dates and 6 pavilions at the Southampton World’s Fair (“The Dream Pavilion, The Space Pavilion, The Triumph of Man, The Pavilion of British development, The Southampton Pavilion and centred around two giant cylindrical towers that greeted you on entrance.” - Strange Southampton), so tour dates may themed around these pavilions.