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One key indicator that someone is enjoying an experience is that they have projected their imaginations into it. When they do this, their enjoyment of the experience increases significantly, in a sort of virtuous circle. To examine whether your game is well-suited to induce projection from your players, ask yourself these questions: Does the player get to be a character they could imagine themselves to be?

   One key indicator that someone is enjoying an experience is that they have projected their imaginations into it. When they do this, their enjoyment of the experience increases significantly, in a sort of virtuous circle. To examine whether your game is well-suited to induce projection from your players, ask yourself these questions:
Does the player get to be a character they could imagine themselves to be?
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The art of game design: a book of lenses
The art of game design: a book of lenses
Jesse Schell 1st Edition
Chapter 14, Problem 4 ↓

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Projection refers to the player's ability to imagine themselves as part of the game world, often by identifying with a character or role within the game.  Show more…

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One key indicator that someone is enjoying an experience is that they have projected their imaginations into it. When they do this, their enjoyment of the experience increases significantly, in a sort of virtuous circle. To examine whether your game is well-suited to induce projection from your players, ask yourself these questions: Does the player get to be a character they could imagine themselves to be?
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Key Concepts

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Virtuous Cycle
The virtuous cycle in game design refers to a positive feedback loop where initial player satisfaction or engagement leads to deeper immersion, which in turn increases enjoyment and further intensifies engagement. When players project themselves into a game and identify with their characters, this cycle can be initiated, enhancing the overall experience and sustaining long-term player interest.
Immersion
Immersion is the state where players become fully absorbed in the game, often losing awareness of the outside world. It is a key design goal that can be enhanced by effective storytelling, well-crafted game environments, and opportunities for players to identify deeply with their characters, making the experience feel more real and compelling.
Projection
Projection in this context refers to the psychological process where players transfer their own emotions, desires, and self-perception into a game character or scenario. This process allows them to experience the game more viscerally by seeing parts of themselves reflected in the game environment or character, ultimately deepening the personal impact of the experience.
Character Identification
Character identification is the principle that players experience increased engagement when they see parts of themselves in their characters. It involves designing characters or avatars that players can relate to or aspire to be, enhancing immersion and personal connection to the game's narrative and challenges.

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Critical Response (CR): Domsch outlines a number of elements in games for storytelling. Importantly, he suggests there are major "passive" moments and "active" forms. What are these different forms good for (that is, why might a designer use one form or another and to what effect)? How does this connect to the idea of player choice and agency in games we developed in previous modules? How have you seen these elements manifest in Life Is Strange, Cart Life, Spent, and the other games we've played? How do these relate to the narrative designs Piccuci describes? Reflective Response (RR): Can games truly be vehicles for storytelling if players have agency? How have you experienced stories in games, either those from this class or others you've played? How have you responded to them, in particular in comparison to other forms of media (reading a book, watching a film, etc.)? What narrative elements do you find you connect with most, or least? Why do you think that is?

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