Analysis of FIFA Video Games Dynamics - Essay Example

Game Analysis Name: Course: Institution: Date: Analysis of FIFA Video Games Dynamics Introduction Football is one of the most enjoyable spectator sports in the world today. The popularity of the game is continuously gaining momentum all over the world. This is based on considering numerous initiatives that have been taken by different governing bodies in the world. These include leagues such as the English Premier League, to continental championship such as the UEFA Champions league and the World Cup as its climax, football .The increase in momentum has necessitated the creation of FIFA video games to provide football fans with virtual experiences of real world football (Kocurek 2012, p. 23). The main objective of this paper is to provide different analytical approaches concerning the dynamics of FIFA video games. Marc LeBlanc’s formal approach to understanding games Dynamics and aesthetics are some of the concepts and ideas that LeBlanc uses to understand the complexities involved in the understanding of a video game. There are certain behavioural traits that define the virtual game of football. These comprise the dynamics of the game. In FIFA video games for instance there are different kinds of punishments that are meted on players or a team when they commit certain mistakes (Cereijo et al 2011, p. 37). The yellow card for instance is a warning given to a player for any form of misconduct in during the game. A red card is awarded for gross misconduct on the side of a player especially. This can be after such a player has received two consecutive yellow cards or when the player engages in a behaviour that is prohibited in a football match (Cereijo et al 2011, p. 38). The dynamics of a football match are greatly influenced by the mechanics of the game. This is because, the instructions given by the coach about which format to play and the position of every player. These mechanics help in determining the speed of the game and the behaviour of every player. A proper understanding of the rules of the game among players is essential in determining the overall behaviour of the players (LeBlanch, 2005, p. 440). Game aesthetics according to LeBlanc (2005, p. 441) are major factors in determining a player’s experience in a game. Aesthetics encompass all forms of fun that result from engaging in a game. Game aesthetics are consequences of game dynamics. The behaviour inherent in a game will determine the feelings of different players. It is therefore important to understand how a specific game dynamic can alter emotional responses among players (Cereijo et al 2011, p. 45). The realization of aesthetic objectives begins from the understanding of the mechanics which will create the necessary dynamics. When virtual football players understand the requirement of the game, it is likely that they will behave according to the expected standards (Tekinbaş 2008, p. 45). The role of game dynamics in the production of dramatic tension forms an integral part in the design of video games. When individuals engage in playing video games, it is likely that uncertainty and inevitability will emerge in game play though independently. The success of imbuing video games with uncertainty is through the creation of an ongoing perspective that the game is close (LeBlanch, 2005, p. 444). It also involves the creation of a sense that the game is not yet decided. This is made possible using force and illusion. When force is applied, it involves the creation of a dramatic tension through the manipulation of the state of the contest (LeBlanch, 2005, p. 445). A game designer can choose to make the game close or at another level, the game designer of FIFA videogames can decide on the level of advantage that can be allocated to one player over the others (Consalve & Mitgutsch 2013, p.45). When illusion is applied in the creation of uncertainty, the game designer can decide to manipulate a player’s perception to ensure that the game is a little closer than it seems (LeBlanch, 2005, p. 445). The feedback system plays the role of the source of uncertainty. The rules of the game provide a platform for cybernetics feedback system. In a game that involves physicality such as football, the feedback system not only includes the scores but also the time left until the end of the game. In addition, the feedback system also provides the physical and mental state of the athletes in the virtual world (LeBlanch, 2005, p. 447). Whereas uncertainty and inevitability are not opposites, uncertainty is concerned with the question about who will win the game. Inevitability concerns itself with questions about when it will be possible to know who will win. When these factors intersect, the game becomes intense especially when the game is almost complete (LeBlanch, 2005, p. 447). Despite the anonymity of the outcome, it is always a feeling among players that it will be determined imminently. Dramatic inevitability emerges from the mechanics of any game and functions as a ticking clock. This ability helps players in measuring their progress throughout the game. This includes the assessment of how far the end of the game might be considering the remaining time (LeBlanch, 2005, p. 451). Through a revelation of time, the clock always depicts a sense of forward motion. As time progresses, the players are propelled to improve in terms of their momentum as the game nears its conclusion. The ticking of clock is therefore one of the simplest techniques through which game designers of games such as FIFA create a dramatic inevitability (LeBlanch, 2005, p. 451). Drama that is generated by the aesthetic model is best understood through the concepts of conflict, climax and resolution. At the onset of a conflict, dramatic tension in the field of play begins to build up (LeBlanch, 2005, p. 453). This tension takes the form of a quantity that can be measured as it is accumulated and discharged. All these activities happen as the time set for the game passes. Dramatic tension in a game such as FIFA can be said to be the level of emotional investment that a player has in a given game (LeBlanch, 2005, p. 444). This is necessitated by the climax of finding a solution to the existing conflict. It is important to note that uncertainty in a game is often experienced between the time when a conflict is imitated and the climax. At this time, the outcome of the game is often unknown. At the climax, the players often realize sense of inevitability where the conflict tends to move towards a resolution and the end is imminent (LeBlanch, 2005, p. 444). Part 2: Henry Jenkins, Game design as narrative architecture Jenkins (2004, p. 1) argues that one of the most divisive aspects among videogames game, designers and scholars is the relationship between games and stories. Despite these disagreements, Jenkins asserts that not every game tells a story. There are games that are designed in abstract, experiential and expressive forms. This therefore means that story telling is not cannot be said to be a defining feature of numerous video and computer games (Jenkins 2004, p. 2). To be able to understand games such as FIFA video games, which have minimal narrative aspirations it is necessary to adopt concepts beyond narratives and these include interface design and expressive movements. The minimal inclusion of narratives often desires to tap the emotional residue of initial narrative experiences. This is largely dependent on the familiarity of the gamers with roles and objectives of a particular game as a form of orientation into the actions that characterizes the operations of the game as an entertainment facility. This is as evidenced in FIFA video games where, through the creation of continuous narratives in the form of different football tournaments, the designers often desire to ensure the availability of real life experiences in the virtual world of video games. With the understanding of the essence of narrative aspirations in video and computer games, it is important according to Jenkins (2004, p. 2) to comprehend the relationship between games and narratives before engaging in an understanding of the essence of aesthetics in game design. These will help ensuring that the design of the game includes among other factors the relationship between different aspects of the game and the contemporary or ancient culture which defines the context of the game (Jenkins 2004, p. 2). FIFA video games are known for their attempt to share some similarities between the real world of football and the virtual world. FIFA 13 for instance incorporates aspects of pain among other emotive feelings in the design of the games. The diversity witnessed in the differences that exist between different generations of FIFA video games is enough evidence that there is no one way of designing video games. Through the design of these games, the main objective is often to find a point of convergence between among different genres, audiences and aesthetics. This is often dedicated to ensuring that gamers are exposed to a wide range of experiences in the form of entertainment. It is however important to note that over the past years, game designers have been using enormous creative experimentation and innovation in the development of the titles of their games (Jenkins 2004, p. 3). This is especially by finding a relationship between the titles and the names and some of the most interesting aspects in the real world. For example, FIFA is one of the most recognized bodies in the world today due to the role it plays in the organization of different football tournaments around the world such as the World Cup. The use of this name as the title of football video games has enhanced the ability of these games to thrive in the games market since they provide individuals with an experience of executing the roles of FIFA in a virtual world. This factor represents a list of different factors of what makes for a compelling game play. Basic vocabulary of native theory is essential in the architectural design of any game. This will ensure that the architects of video games add the knowledge of narratives to their computer science and graphics design expertise. Such knowledge according to Jenkins (2004, p. 3) is important in ensuring perfect integration between the graphics and the relevant story telling. The success of a video game largely lies on the ability of the game designers to ensure that the stories told in the games are told well (Jenkins 2004, p. 3). For example the integration between narratives and graphics in FIFA video games is related to the role of football commentators in football matches. The success of the FIFA video games was largely dependent on the ability of the gamers to relate the virtual commentators’ assertions with those of real world commentators. Creativity is therefore an essential aspect in the creation of any video game to ensure that it embraces largely the tenets of real world experiences that it endeavors to imitate. In the process of incorporating narratives into the design of games, it is important for game designers to recognize that the experience of playing games cannot be reduced to a story telling experience. This is because many other factors that have little or no relationship with the narratives have major roles in the development of great video games (Jenkins 2004, p. 3). Games that tell stories are less likely to tell its story in similar ways to other forms of media. The main objective of stories told through these games is that they are supposed to provide some form of entertainment and mid relation to the individuals that engage in playing them (Jenkins 2004, p. 3). In addition, it is the responsibility of game designers to ensure that their interfaces incorporate narratives in different languages. This is because the design should target a wide range of clients who appreciate different forms of games. Narratives not only play an instructive in the games but they also provide the much-needed emotive aspects in games such as FIFA video games. Conclusion LeBlanc argues that the dynamics and aesthetics are important in the design of games. They help in the development of a conflict, climax and the eventual resolution. Throughout this process, the uncertainty of the winner rises as the drama tension rises. However, at the climax, a feeling of inevitability engulfs players due to an expected outcome. Henri Jenkins views the role of narrative in games as essential in the overall architecture of the game. This is because it provides a sense of direction and emotional perspective in the overall outlook of the game. This is because a FIFA video games designer must learn how to manipulate the emotions of players to enhance the development of conflict in a game. References Cereijo, R. A., Stamatakis, E., & Black, K, 2011, Design for sport. Farnham, Surrey: Gower. Consalve, M & Mitgutsch, K, 2013, Sports Videogames. Routledge Ian,B ,2008,  The Rhetoric of Video Games. 'The Ecology of Games: Connecting Youth, Games, and Learning'. Edited by Katie Salen. Cambridge, MA: The MIT Press. Jenkins, H, 2004, Game Design as Narrative Architecture. http://lmc.gatech.edu/~bogost/courses/spring07/lcc3710/readings/jenkins_game-design.pdf Kocurek, C, 2012, The Agony and the Exidy: A History of Video Game Violence and the Legacy of Death Race. http://gamestudies.org/1201/articles/carly_kocurek  LeBlanc, M, 2005, Tools for Creating Dramatic Game Dynamics. Salen, K and Zimmerman, K, 2006, The Game Design Reader : A Rules of Play Anthology. Cambridge. Tekinbaş, K. S, 2008, The ecology of games: Connecting youth, games, and learning. Cambridge, Mass: MIT Press. Tomlinson, A., & Young, C. (2006). National identity and global sports events: Culture, politics, and spectacle in the Olympics and the Football World Cup. Albany, NY: State University of New York Press. 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The feedback system plays the role of the source of uncertainty. The rules of the game provide a platform for cybernetics feedback system. In a game that involves physicality such as football, the feedback system not only includes the scores but also the time left until the end of the game. In addition, the feedback system also provides the physical and mental state of the athletes in the virtual world (LeBlanch, 2005, p. 447). Whereas uncertainty and inevitability are not opposites, uncertainty is concerned with the question about who will win the game.

Inevitability concerns itself with questions about when it will be possible to know who will win. When these factors intersect, the game becomes intense especially when the game is almost complete (LeBlanch, 2005, p. 447). Despite the anonymity of the outcome, it is always a feeling among players that it will be determined imminently. Dramatic inevitability emerges from the mechanics of any game and functions as a ticking clock. This ability helps players in measuring their progress throughout the game.

This includes the assessment of how far the end of the game might be considering the remaining time (LeBlanch, 2005, p. 451). Through a revelation of time, the clock always depicts a sense of forward motion. As time progresses, the players are propelled to improve in terms of their momentum as the game nears its conclusion. The ticking of clock is therefore one of the simplest techniques through which game designers of games such as FIFA create a dramatic inevitability (LeBlanch, 2005, p. 451).

Drama that is generated by the aesthetic model is best understood through the concepts of conflict, climax and resolution. At the onset of a conflict, dramatic tension in the field of play begins to build up (LeBlanch, 2005, p. 453). This tension takes the form of a quantity that can be measured as it is accumulated and discharged. All these activities happen as the time set for the game passes. Dramatic tension in a game such as FIFA can be said to be the level of emotional investment that a player has in a given game (LeBlanch, 2005, p. 444). This is necessitated by the climax of finding a solution to the existing conflict.

It is important to note that uncertainty in a game is often experienced between the time when a conflict is imitated and the climax. At this time, the outcome of the game is often unknown. At the climax, the players often realize sense of inevitability where the conflict tends to move towards a resolution and the end is imminent (LeBlanch, 2005, p. 444). Part 2: Henry Jenkins, Game design as narrative architecture Jenkins (2004, p. 1) argues that one of the most divisive aspects among videogames game, designers and scholars is the relationship between games and stories.

Despite these disagreements, Jenkins asserts that not every game tells a story. There are games that are designed in abstract, experiential and expressive forms. This therefore means that story telling is not cannot be said to be a defining feature of numerous video and computer games (Jenkins 2004, p. 2). To be able to understand games such as FIFA video games, which have minimal narrative aspirations it is necessary to adopt concepts beyond narratives and these include interface design and expressive movements.

The minimal inclusion of narratives often desires to tap the emotional residue of initial narrative experiences. This is largely dependent on the familiarity of the gamers with roles and objectives of a particular game as a form of orientation into the actions that characterizes the operations of the game as an entertainment facility. This is as evidenced in FIFA video games where, through the creation of continuous narratives in the form of different football tournaments, the designers often desire to ensure the availability of real life experiences in the virtual world of video games.

With the understanding of the essence of narrative aspirations in video and computer games, it is important according to Jenkins (2004, p.

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