Technical Communication and the Digital Role-Playing Game: A History of Bethesda, BioWare, and CD Projekt Red
Authors: Daniel Reardon, David Wright, Daniel Reardon, David Wright
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Overview
Technical Communication and the Digital Role-Playing Game explores the complex relationship between game developers, players, and the technical content that drives digital role-playing games (DRPGs). We trace the evolution of DRPGs from the tabletop to the digital realm, starting with Dungeons & Dragons as the foundational framework, through an in-depth historical analysis of three major game companies – Bethesda Softworks, BioWare, and CD Projekt Red (CDPR). By examining their respective histories, successes, and failures, we provide insights into the challenges and strategies involved in using technical communication to build thriving game worlds and loyal fanbases. We begin by highlighting the importance of print manuals and early digital marketing in establishing the genre, then delve into the game-changing role of crowdsourcing, modding communities, and wikis, and trace how players gradually claimed ownership of technical communication through their active engagement on these platforms. The shift towards cocreation, driven by emergent narrative design and character creation tools, as well as the increasing influence of social media on game development are all investigated in detail. The book examines specific titles from each company’s repertoire, highlighting innovations and pitfalls in their use of technical communication across a variety of games, including Bethesda’s Elder Scrolls and Fallout series, BioWare’s Baldur’s Gate, Mass Effect, and Dragon Age series, and CDPR’s Witcher series. We conclude by examining the recent failures of Bethesda and BioWare with Fallout 76 and Anthem respectively and the success of CDPR with Cyberpunk 2077, arguing that player cocreative power now dictates the future of DRPG design and that companies who attempt to subvert this player-driven power structure do so at their own peril. This book will resonate with scholars and students of technical communication, game studies, and anyone interested in how games are made and marketed, or who play and love digital RPGs. It provides valuable lessons in how to successfully engage an audience, build a community, and adapt to rapid technological advancements. Most importantly, it provides a model for understanding how technical content not only shapes the design of games, but has become increasingly central to how we understand, discuss, play, and even shape the course of games and the video game industry.
Book Outline
1. Birth of the DRPG
This chapter establishes the context for the development of digital role-playing games by examining the history of Dungeons & Dragons and the rise of Bethesda and BioWare. It highlights how early DRPGs recreated the tabletop D&D experience by relying heavily on paper supplements and print manuals as primary means of explaining, illustrating, and instructing players in the world of the game, including everything from character creation to quest information.
Key concept: Character creation, attire, loot, and Interesting NPCs
2. New Century, New Technologies, New Challenges
This chapter explores the challenges and opportunities presented by new communication technologies of the early 2000s. Bethesda’s shift to single-game development and innovative advertising strategies with Morrowind are discussed, along with BioWare’s advancements in technical communication through in-game manuals and character-driven narratives in the Baldur’s Gate series. This chapter introduces the rise of player agency via wikis, forums, and modding, setting the stage for an evolving dynamic between game developers and players.
Key concept: Technical communication is writing that accommodates technology to the user.
3. Crowdsourcing – The Game Changer
This chapter introduces “crowdsourcing” as a game-changing element and explores the convergence patterns in digital communication. This chapter explains how the rise of social media coupled with the increasing use of wikis, internet forums, and other virtual spaces gradually shifted control over technical content away from game companies to the players themselves, who became active participants in constructing meaning about the game. It analyzes how these user-generated platforms influenced game design and served as a tool for teaching, consumer complaints, and the expression of fandom.
Key concept: Paratext: The reinforcement and accompaniment of a certain number of productions…like and author’s name, a title, a preface, illustrations.
4. At the Top of Their Games
This chapter examines the growing influence of downloadable content (DLC) and modding on game development and technical communication. It discusses how Bethesda adapted to the changing landscape by integrating technical content into gameplay itself, while BioWare innovated narrative structures. It also delves into the rise of CD Projekt Red (CDPR), highlighting the creation of The Witcher and its impact on the DRPG industry.
Key concept: Loot is anything in a game that players can acquire to either sell – and buy better gear – or wear in addition to clothing and armor.
5. A Cocreative Game World, for Better or for Worse
This chapter explores the cocreative nature of game development. It examines how character creation, along with customization of attire and acquisition of loot, fostered a sense of ownership among players through technical communication. It also illustrates how BioWare introduced romantic subplots and progressive dialogue options in their games, while Bethesda emphasized environmental storytelling. The chapter further investigates how both companies used these mechanics to engage players and enhance their immersion in the game world.
Key concept: Character attachment: A psychological identification with a character.
6. The Social Media Imperium
This chapter examines the increasing importance of social media and online communities in shaping player expectations and game development. This chapter discusses how BioWare attempted to capitalize on these trends with Star Wars: The Old Republic and their emphasis on player agency, while Bethesda focused on immersive worlds in The Elder Scrolls Online. This chapter also addresses the rise of fan entitlement and the challenges faced by game companies in balancing artistic vision with fan appeasement.
Key concept: Fan Service: Gratuitous material…of a sexually suggestive nature most often objectifying the female body.
7. Bigger, More, Better
This chapter examines the successes and failures of Bethesda and BioWare in adapting to the changing expectations of players and the rise of new technologies. CDPR’s The Witcher 3: Wild Hunt is presented as a prime example of a game that successfully integrated player agency, narrative depth, and technical content to create a truly immersive and engaging experience, which also includes complex character customization options, a vast open world to explore, and a mature storyline that challenges players to make difficult choices with real consequences.
Key concept: Grimdark: A subgenre of fantasy fiction which subverts traditional fantasy tropes.
8. The Wheels Fall Off
This concluding chapter looks at the impact of the failures of Bethesda’s Fallout 76 and BioWare’s Anthem and the success of CD Projekt Red’s (CDPR) Cyberpunk 2077, on the future of DRPGs and technical communication in gaming. It emphasizes the shift toward a more player-centric approach in game development due to increased access to user-generated content, social media platforms, and fan feedback, and the challenge game companies face in navigating this evolving relationship between designers, players, and the game itself.
Key concept: The Siege Perilous: The Round Table seat that remains empty; only the best knight in the world…will ever be allowed to sit in it.
Essential Questions
1. How has technical communication in DRPGs evolved alongside technological advancements?
The evolution of technical communication in DRPGs mirrors the technological advancements from the late 20th to the early 21st centuries. Initially, print manuals served as primary tools for conveying complex information about game rules, character creation, and world-building. However, the rise of the internet, virtual social worlds, and user-generated content platforms like wikis and forums shifted control of technical content to players, fostering a cocreative dynamic. This eventually led to the incorporation of in-game tutorials, dynamic dialogues, visual representations of stats and inventory, and emergent narrative structures within DRPGs themselves. The explosion of social media further amplified this shift, impacting marketing, fan engagement, and feedback loops, thereby establishing an interactive and evolving relationship between game designers and players that continues to shape the DRPG genre today.
2. How has the role of the player changed in the evolution of DRPGs?
The role of the player has shifted from passive recipient of game information to active participant and even co-creator. Initially, players relied heavily on manuals and DM guidance to navigate game worlds. The advent of wikis, forums, and modding tools granted players more agency in not only understanding but also shaping game content. Character creation, customization of attire, and acquisition of loot became key tools for personalizing the game experience and fostering a sense of ownership, while fan feedback through social media and online communities increasingly influenced game design decisions. Thus, the DRPG genre has become progressively player-centric, with gamers now playing a critical role in the evolution of both game narratives and the direction of the video game industry itself.
3. How did Bethesda and BioWare’s approaches to player agency and cocreation differ, and what were the consequences of these differences?
Bethesda and BioWare took distinct approaches to harnessing the cocreative power of fans, both with varying degrees of success and failure. Bethesda emphasized emergent narrative through open-world design and modding tools, enabling player agency in exploring and even reshaping the game world. BioWare focused on character-driven narratives, offering choices that influenced relationships with NPCs and overall storylines. However, both companies struggled with the rising tide of fan entitlement. Bethesda faced backlash for restrictive narratives like Fallout 3’s ending, while BioWare’s overpromising and underdelivering, as with Mass Effect 3’s ending, damaged their reputation. Ultimately, both companies grappled with balancing artistic vision with fan expectations, a challenge that underscored the increasing influence of social media and online communities in the cocreative process.
4. What factors contributed to CD Projekt Red’s initial success, and how did their approach to technical communication differ from that of Bethesda and BioWare?
CDPR’s initial success stemmed from their unique approach to game development, which focused on tightly controlled visions and a commitment to delivering high-quality, player-centric experiences. Their Witcher series demonstrates this approach by gradually refining technical communication through enhanced graphics, detailed game worlds, complex narrative structures, and a consistent online presence that engaged directly with fans. This player-centric focus, which includes open modding policies, cultivated a loyal fanbase that felt heard and valued. However, the company’s meteoric rise eventually led to overpromising and a subsequent fall from grace with Cyberpunk 2077, suggesting that even the most successful companies can succumb to the pressures of rapid growth and the demands of an increasingly empowered player base.
5. What are the key challenges and opportunities facing the future of DRPGs, and how will technical communication play a role in shaping this future?
The future of DRPGs hinges on finding a sustainable balance between developer vision and player agency. The increasingly cocreative nature of game development requires companies to actively engage with fan communities, incorporate user feedback, and manage expectations while remaining true to their unique strengths. The rise of social media and the modding community has amplified both the rewards and risks of this collaborative dynamic, requiring game designers and developers to become more transparent, responsive, and adaptable. Companies that embrace this evolving relationship with players stand to gain significantly, while those who cling to outdated, proprietary methods of game development do so at their peril, lest they find themselves at the bottom of a very deep pit.
1. How has technical communication in DRPGs evolved alongside technological advancements?
The evolution of technical communication in DRPGs mirrors the technological advancements from the late 20th to the early 21st centuries. Initially, print manuals served as primary tools for conveying complex information about game rules, character creation, and world-building. However, the rise of the internet, virtual social worlds, and user-generated content platforms like wikis and forums shifted control of technical content to players, fostering a cocreative dynamic. This eventually led to the incorporation of in-game tutorials, dynamic dialogues, visual representations of stats and inventory, and emergent narrative structures within DRPGs themselves. The explosion of social media further amplified this shift, impacting marketing, fan engagement, and feedback loops, thereby establishing an interactive and evolving relationship between game designers and players that continues to shape the DRPG genre today.
2. How has the role of the player changed in the evolution of DRPGs?
The role of the player has shifted from passive recipient of game information to active participant and even co-creator. Initially, players relied heavily on manuals and DM guidance to navigate game worlds. The advent of wikis, forums, and modding tools granted players more agency in not only understanding but also shaping game content. Character creation, customization of attire, and acquisition of loot became key tools for personalizing the game experience and fostering a sense of ownership, while fan feedback through social media and online communities increasingly influenced game design decisions. Thus, the DRPG genre has become progressively player-centric, with gamers now playing a critical role in the evolution of both game narratives and the direction of the video game industry itself.
3. How did Bethesda and BioWare’s approaches to player agency and cocreation differ, and what were the consequences of these differences?
Bethesda and BioWare took distinct approaches to harnessing the cocreative power of fans, both with varying degrees of success and failure. Bethesda emphasized emergent narrative through open-world design and modding tools, enabling player agency in exploring and even reshaping the game world. BioWare focused on character-driven narratives, offering choices that influenced relationships with NPCs and overall storylines. However, both companies struggled with the rising tide of fan entitlement. Bethesda faced backlash for restrictive narratives like Fallout 3’s ending, while BioWare’s overpromising and underdelivering, as with Mass Effect 3’s ending, damaged their reputation. Ultimately, both companies grappled with balancing artistic vision with fan expectations, a challenge that underscored the increasing influence of social media and online communities in the cocreative process.
4. What factors contributed to CD Projekt Red’s initial success, and how did their approach to technical communication differ from that of Bethesda and BioWare?
CDPR’s initial success stemmed from their unique approach to game development, which focused on tightly controlled visions and a commitment to delivering high-quality, player-centric experiences. Their Witcher series demonstrates this approach by gradually refining technical communication through enhanced graphics, detailed game worlds, complex narrative structures, and a consistent online presence that engaged directly with fans. This player-centric focus, which includes open modding policies, cultivated a loyal fanbase that felt heard and valued. However, the company’s meteoric rise eventually led to overpromising and a subsequent fall from grace with Cyberpunk 2077, suggesting that even the most successful companies can succumb to the pressures of rapid growth and the demands of an increasingly empowered player base.
5. What are the key challenges and opportunities facing the future of DRPGs, and how will technical communication play a role in shaping this future?
The future of DRPGs hinges on finding a sustainable balance between developer vision and player agency. The increasingly cocreative nature of game development requires companies to actively engage with fan communities, incorporate user feedback, and manage expectations while remaining true to their unique strengths. The rise of social media and the modding community has amplified both the rewards and risks of this collaborative dynamic, requiring game designers and developers to become more transparent, responsive, and adaptable. Companies that embrace this evolving relationship with players stand to gain significantly, while those who cling to outdated, proprietary methods of game development do so at their peril, lest they find themselves at the bottom of a very deep pit.
Key Takeaways
1. Emergent Narrative in DRPGs increases player engagement.
DRPGs, unlike linear narratives, offer player agency, allowing choices to shape the story. Early DRPGs struggled to replicate the improvisational nature of tabletop RPGs. Later titles like Morrowind and Mass Effect, through open worlds and dialogue wheels, successfully offered meaningful player choices that impacted the narrative, increasing player engagement and fostering a sense of co-authorship in the unfolding story. The player’s character becomes as much an expression of player desire as it is an avatar controlled by AI.
Practical Application:
AI developers can utilize principles of emergent narrative by incorporating user feedback and preferences into AI’s algorithms, thus creating more personalized and adaptable user experiences. This personalized dynamic user interface could greatly improve player immersion, player engagement, and player retention, while simultaneously providing user feedback that could greatly improve AI products in design.
2. Character creation is an act of technical communication.
Character creation in DRPGs is an act of technical communication, initiating a contract between developer and player. It provides players with the tools to create a virtual representation of themselves within the game world, shaping their initial in-game experience. The level of character customization available, from physical attributes to skills and backstory, signals the degree of freedom players will have within the game’s narrative and boundaries.
Practical Application:
When designing AI characters or virtual assistants, character creation serves as an important introduction of the technical abilities of the AI. The degree of customization available for an AI character signals the potential for user agency, setting expectations for the level of control and personalization users will experience during subsequent interactions with the AI, which could range from simple responses to more complex, adaptive conversations.
3. Social media and user-generated content transformed the gaming industry.
This book explains how the internet transformed communication between game developers and players. Early websites offered limited interactivity; players were mostly passive recipients of information. Social media platforms like forums and wikis enabled players to not only receive, but also share technical knowledge, critique games, and collectively create content. This rise of user-generated content transformed gamers into active participants in shaping the games and the industry itself, creating crowdcultures that companies are often unable to manage effectively.
Practical Application:
Technical communicators can leverage social media as a platform for crowdsourcing ideas, gathering feedback on product development, and building community engagement. By creating dedicated virtual social worlds and interacting directly with user groups, companies can foster a sense of brand ownership amongst users, which can then translate into brand loyalty. It’s imperative, however, to recognize that user-generated technical content on social media can also function as a double-edged sword: negative feedback, if ignored or mishandled, can lead to viral backlash and brand damage.
4. Transparency and avoiding overpromising are critical to managing expectations in a cocreative environment.
The book’s examination of the Mass Effect 3 ending controversy demonstrates how critical it is to manage fan expectations through honest and transparent communication. BioWare’s marketing campaign overemphasized player agency and the impact of choices on the game’s ending. This overpromising fueled fan entitlement, resulting in widespread disappointment and backlash when the limited ending options fell short of expectations, severely damaging BioWare’s and parent company EA’s reputation. This situation highlights how cocreative marketing can backfire when game companies overpromise and underdeliver.
Practical Application:
In AI development, transparency is key. In video game development, clearly communicating the capabilities and limitations of an AI system upfront can help manage user expectations, avoid disappointment, and foster trust. Just as CDPR faced backlash for overpromising and underdelivering in Cyberpunk 2077, AI developers must avoid hyping features that are not fully realized. Instead, focus on highlighting core functionality and gradually introducing new features as they become available. This measured approach builds anticipation without creating unrealistic expectations, and allows for cocreation within an established set of boundaries.
1. Emergent Narrative in DRPGs increases player engagement.
DRPGs, unlike linear narratives, offer player agency, allowing choices to shape the story. Early DRPGs struggled to replicate the improvisational nature of tabletop RPGs. Later titles like Morrowind and Mass Effect, through open worlds and dialogue wheels, successfully offered meaningful player choices that impacted the narrative, increasing player engagement and fostering a sense of co-authorship in the unfolding story. The player’s character becomes as much an expression of player desire as it is an avatar controlled by AI.
Practical Application:
AI developers can utilize principles of emergent narrative by incorporating user feedback and preferences into AI’s algorithms, thus creating more personalized and adaptable user experiences. This personalized dynamic user interface could greatly improve player immersion, player engagement, and player retention, while simultaneously providing user feedback that could greatly improve AI products in design.
2. Character creation is an act of technical communication.
Character creation in DRPGs is an act of technical communication, initiating a contract between developer and player. It provides players with the tools to create a virtual representation of themselves within the game world, shaping their initial in-game experience. The level of character customization available, from physical attributes to skills and backstory, signals the degree of freedom players will have within the game’s narrative and boundaries.
Practical Application:
When designing AI characters or virtual assistants, character creation serves as an important introduction of the technical abilities of the AI. The degree of customization available for an AI character signals the potential for user agency, setting expectations for the level of control and personalization users will experience during subsequent interactions with the AI, which could range from simple responses to more complex, adaptive conversations.
3. Social media and user-generated content transformed the gaming industry.
This book explains how the internet transformed communication between game developers and players. Early websites offered limited interactivity; players were mostly passive recipients of information. Social media platforms like forums and wikis enabled players to not only receive, but also share technical knowledge, critique games, and collectively create content. This rise of user-generated content transformed gamers into active participants in shaping the games and the industry itself, creating crowdcultures that companies are often unable to manage effectively.
Practical Application:
Technical communicators can leverage social media as a platform for crowdsourcing ideas, gathering feedback on product development, and building community engagement. By creating dedicated virtual social worlds and interacting directly with user groups, companies can foster a sense of brand ownership amongst users, which can then translate into brand loyalty. It’s imperative, however, to recognize that user-generated technical content on social media can also function as a double-edged sword: negative feedback, if ignored or mishandled, can lead to viral backlash and brand damage.
4. Transparency and avoiding overpromising are critical to managing expectations in a cocreative environment.
The book’s examination of the Mass Effect 3 ending controversy demonstrates how critical it is to manage fan expectations through honest and transparent communication. BioWare’s marketing campaign overemphasized player agency and the impact of choices on the game’s ending. This overpromising fueled fan entitlement, resulting in widespread disappointment and backlash when the limited ending options fell short of expectations, severely damaging BioWare’s and parent company EA’s reputation. This situation highlights how cocreative marketing can backfire when game companies overpromise and underdeliver.
Practical Application:
In AI development, transparency is key. In video game development, clearly communicating the capabilities and limitations of an AI system upfront can help manage user expectations, avoid disappointment, and foster trust. Just as CDPR faced backlash for overpromising and underdelivering in Cyberpunk 2077, AI developers must avoid hyping features that are not fully realized. Instead, focus on highlighting core functionality and gradually introducing new features as they become available. This measured approach builds anticipation without creating unrealistic expectations, and allows for cocreation within an established set of boundaries.
Memorable Quotes
Introduction. 32
“Interesting NPCs” function as technical content because they exist to provide the game’s players with information. This info can further develop a game’s narrative, provide exposition regarding the game world’s history, and initiate or continue quests.
1 Birth of the DRPG. 52
“Two issues are of interest here. The first is how far the pre-determined nature of much narrative can be relaxed. The second is how far the user of a VE [virtual environment] can freely participate in a narrative rather than acting as a spectator.”
2 New Century, New Technologies, New Challenges. 121
“Modding computer games goes beyond simply envisioning something different for a game….they must communicate with others, both expert and nonexpert alike, in order for specialized knowledge that has been put to use in creating a mod and the goals of that mod to be understood by others.”
3 Crowdsourcing – The Game Changer. 149
“The process of convergence implies that a goal already exists at the time of a communication event….The primary purpose of this human communication is to define and to understand reality so that other human purposes can be achieved.”
3 Crowdsourcing – The Game Changer. 170
“Modding may harm the underlying game by revealing inappropriate game code.”
Introduction. 32
“Interesting NPCs” function as technical content because they exist to provide the game’s players with information. This info can further develop a game’s narrative, provide exposition regarding the game world’s history, and initiate or continue quests.
1 Birth of the DRPG. 52
“Two issues are of interest here. The first is how far the pre-determined nature of much narrative can be relaxed. The second is how far the user of a VE [virtual environment] can freely participate in a narrative rather than acting as a spectator.”
2 New Century, New Technologies, New Challenges. 121
“Modding computer games goes beyond simply envisioning something different for a game….they must communicate with others, both expert and nonexpert alike, in order for specialized knowledge that has been put to use in creating a mod and the goals of that mod to be understood by others.”
3 Crowdsourcing – The Game Changer. 149
“The process of convergence implies that a goal already exists at the time of a communication event….The primary purpose of this human communication is to define and to understand reality so that other human purposes can be achieved.”
3 Crowdsourcing – The Game Changer. 170
“Modding may harm the underlying game by revealing inappropriate game code.”
Comparative Analysis
This book stands out for its focus on the intersection of technical communication and digital role-playing games. While other works have explored game history, design, or the cultural impact of gaming, this book offers a unique perspective by analyzing how technical content shapes the DRPG genre and the relationship between developers and players. It aligns with broader discussions of game history and criticism, such as those by Carly Kocurek, Timothy Welsh, and Michael Newman, but distinguishes itself by concentrating specifically on DRPGs and their reliance on technical communication for player engagement. Unlike general studies of social media or game design, which lack this specific intersectional lens, this work deeply explores the convergence of print to digital communication in the context of a single game genre. This focus on a single genre, the DRPG, allows us to chart an evolution of technical content in a variety of mediums: from print to visual and interactive digital forms. In addition, by tracing the histories of three major game companies, we can see how each company’s use or misuse of technical content has impacted their respective success or failure.
Reflection
This book provides a historical perspective on the co-evolution of DRPGs and technical communication. While the authors express a certain fondness for the genre and for each of the Big Three, they objectively examine each company’s missteps, highlighting the importance of navigating player expectations and avoiding overreliance on marketing hype. A more skeptical view might question whether the authors give enough weight to the artistic contributions of game designers in the often-contentious relationship with fans, who frequently demand what designers simply cannot deliver. Another skeptical angle might question the sustainability of AAA game development, given the increasing costs of game production. However, the book’s strengths lie in its detailed analysis of specific game titles and the evolution of technical content within the DRPG genre. This thorough examination, combined with the broader discussion of communication theory and social media’s impact, makes this work a significant contribution to both technical communication and game studies, offering valuable lessons for developers, marketers, and anyone seeking to understand the power dynamics at play in the ever-evolving landscape of the digital gaming industry.
Flashcards
What does ‘grimdark’ mean in the context of fantasy fiction?
A subgenre of fantasy fiction that subverts traditional tropes of good versus evil, heroism, and the presence of the metaphysical.
What is ‘user-generated content’ in gaming?
Content created by game players rather than developers, including modifications, wikis, and forum discussions.
What is ‘player agency’ in DRPGs?
The ability of players to influence the game’s narrative and outcomes through their choices.
Define ‘character attachment’ in gaming.
A psychological identification that players feel with in-game characters, especially their avatars.
What does ‘augmented embodiment’ refer to in game design?
The integration of game systems that contribute to a player’s sense of control and presence within the game world.
What is ‘metagaming’ in RPGs?
The practice of players using out-of-game information or resources to gain an advantage within the game.
What is ‘vertical slicing’ in game design?
A design process in game development where a small, complete section of the game is created early on to showcase potential gameplay, graphics, and mechanics to stakeholders.
What is ‘convergence’ according to Rogers and Kincaid’s communication model?
The process of two or more individuals sharing information simultaneously to reach a mutual understanding and define a shared reality.
Define ‘downloadable content (DLC)’.
Additional content created for a game after its initial release, often available for purchase, that expands the game world, story, or gameplay options. Now often made available for free by game companies.
What does ‘grimdark’ mean in the context of fantasy fiction?
A subgenre of fantasy fiction that subverts traditional tropes of good versus evil, heroism, and the presence of the metaphysical.
What is ‘user-generated content’ in gaming?
Content created by game players rather than developers, including modifications, wikis, and forum discussions.
What is ‘player agency’ in DRPGs?
The ability of players to influence the game’s narrative and outcomes through their choices.
Define ‘character attachment’ in gaming.
A psychological identification that players feel with in-game characters, especially their avatars.
What does ‘augmented embodiment’ refer to in game design?
The integration of game systems that contribute to a player’s sense of control and presence within the game world.
What is ‘metagaming’ in RPGs?
The practice of players using out-of-game information or resources to gain an advantage within the game.
What is ‘vertical slicing’ in game design?
A design process in game development where a small, complete section of the game is created early on to showcase potential gameplay, graphics, and mechanics to stakeholders.
What is ‘convergence’ according to Rogers and Kincaid’s communication model?
The process of two or more individuals sharing information simultaneously to reach a mutual understanding and define a shared reality.
Define ‘downloadable content (DLC)’.
Additional content created for a game after its initial release, often available for purchase, that expands the game world, story, or gameplay options. Now often made available for free by game companies.