Results tagged “statistics” from Softcore Gamer

I was skimming through Kotaku this weekend and this post on the top ten video game emotions jumped out at me. It's over at Only a Game, and it's based on a survey of around a thousand gamers. The results are interesting, plus I learned a couple great new words: fiero, the sense of triumph over adversity, and naches, the feeling of pride in the accomplishments of a student. A cursory analysis of the survey data seems to suggest that casual gaming is big; a feeling of triumph is great, but softer emotions like curiosity and amusement are even bigger.

I'm also pleased to have seen this because I was unfamiliar with Only a Game. But scanning through their archives, it seems they've worked on some very interesting things.

I'll give you the basic run-down here; for an actual analysis of these results, check out the original article.

10. Bliss
09. Relief
08. Naches
07. Surprise
06. Fiero
05. Curiosity
04. Excitement
03. Wonderment
02. Contentment
01. Amusement

And the emotions at the bottom of the list were

20. Sadness
21. Guilt
22. Embarrassment

I have a couple problems with this study, although I'm thrilled so see research being done in this area. My major concern is that the survey's scale seems to conflate two distinct ideas: the effectiveness of emotions in games and the desireability of emotions in games. There is no room on the scale to describe, for example, an emotion that I would like to feel, and which I actively seek out in games, but which is not effectively presented. I'd also like to see a better breakdown of what emotions players recognize as being present in the games they play, independent of their effectiveness. Do the respondents mean to say that they don't like feeling sad, or that games are bad at making them feel sad?

The author notes that this is only a preliminary study. There's an enormous amount of potential here; quite honestly, this article leaves me with more questions than answers. I'd love to see a follow-up that addresses trends within demographics and even within individuals - do the same people who seek out fiero also seek out curiosity, or do these emotions represent two different types of gamer, the acheiver and the explorer? How does a person's reaction to negative emotions in games relate to their reaction to similar emotions in other media - do people who enjoy tearjerker movies also seek out sadness in games? I'm also curious about how these players go about seeking out their emotions of choice, and where they find them. Which genres, and which games specifically, give them the emotional high they're looking for?

Very promising research. I'm hoping to see a lot more of this sort of thing in the future.

The Softcore Gamer blog is something I've been wanting to start for a while now. I got the idea when I realized that the games industry is broken.

Many people will acknowledge it, even if they love games and have trouble describing precisely what's wrong. I'm not claiming that I have a solution to the problem, or even that I can fully illuminate the problem. But I do have some ideas, and I'd like to share them with you.

The gamer has evolved over the past twenty-five years, and the industry as a whole has struggled to keep up. The population of gamers in the United States is greater than it's ever been before. The mean age of gamers is increasing, the number of gamers over 50 is increasing, and the number of women playing games is increasing. But at the same time, soaring development costs have led to shorter games, reduced emphasis on story and gameplay, and a zero-tolerance attitude toward failure that necessitates a minimization of risk.

These hi-def, low-risk games are targeted toward the "core gamer" demographic. Core gamers are typically young and male. They want action, they want violence, and they want competition. They play a lot of first-person shooters and sports titles, and they've demonstrated that they don't mind repetitive content. They're willing to pay a high premium for incremental advances in graphics and interface. They also grow up to be game designers.

This is the audience that the games industry is courting, as well it should. The core gamer demographic is a lucrative market. But where's the long tail of video games? The current culture, which tends to invest heavily in proven franchises or genres, discourages the production of lower-cost niche titles or unconventional games that are unlikely to capture the core gamer demographic.

According to the ESA, 38% of gamers are women. But that figure is misleading. If you limit yourself to mainstream games - games targeted to core gamers, with high production quality and wide release on physical media - the percentage of female gamers decreases significantly. On the other hand, if you look to the major players in the industry - well-known design teams, console manufacturers publishing first-party titles, and publishers with a long history in games - and examine the number of games they release outside the mainstream, the figure is similarly low.

This doesn't apply just to women, but to any group that finds itself primarily outside the core gamer demographic. The people who are serious about making games aren't making games for us.

In the follow-up, I'll talk about what it means to be a softcore gamer, and what significance it has to the games industry. I'll also mention some of the industry's current trends away from a traditional core gamer audience, and how that may impact the industry in the future.