SERIES
TEACHING FILM AND MEDIA STUDIES
Teaching Videogames
British Film Institute
Barney Oram and James Newman
Series Editor: Vivienne Clark
worksheet
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Genre classification of videogames Videogames, as with all media forms, can be classified into a number of genre types. In some cases, writers have identified 42 separate genres based on levels of interactivity within a game. The most straightforward genre classification of games is that used by EDGE magazine (Issue 128, October 2003), which identifies ten genres based on core gameplay values.
Task 1 In the table on page 2 there are summaries of these ten genres. Using your knowledge of videogames, try to identify at least three examples for each genre.
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Videogames
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Genre classification of videogames
Genre
Games
Genre 1: Adventure The emphasis is on the combination of exploration and object-based puzzles. Progress is made through investigation, while the cerebral challenge of unlocking areas with gadgets, keys or similar items leads to a gradual exposition of the gamespace. Combat is often a significant part of the exploration.
Genre 2: Beat ’em up Games with the emphasis on raw combat. The challenge is defeating opponents while avoiding as much damage as possible. While most beat ’em ups are confined to ‘arenas’, it is important to recognise scrolling beat ’em ups and other games that emphasise combat over other gameplay components.
Genre 3: Platform Platform games demand that players explore, negotiate and then conquer environments. Regardless of character and setting, platform games share the same core values.
Genre 4: Puzzle Puzzle games test reflexes and levels of concentration as well as intelligence, but do so in a more confined gamespace than strategy games. The simultaneous focus on visualspatial ability and quick reflexes make puzzle games unique.
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Genre 5: Racing Regardless of character or vehicle, the core element of a racing game is that a player beats either the clock or a rival.
Videogames
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Genre classification of videogames
Genre
Games
Genre 6: Rhythm action Rhythm action games require players to coordinate their interaction to the beats and rhythms of music. Dance variations of the form often appeal to a broad audience and the kinaesthetically gifted.
Genre 7: RPGs (Role-playing games) The defining factor of an RPG is the combination of character/inventory evolution, a quest-based structure and an element of NPC (non-playable character) interaction.
Genre 8: Shooters Both 2D and 3D shooters challenge the player to quickly acquire targets, aim and shoot. Good reflexes are essential, as is the ability to think quickly and interpret patterns and wave formations.
Genre 9: Sports Representations of real-world sports, including extreme sports and leisure pursuits.
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Genre 10: Strategy The core gameplaying element in strategy games is planning with a calculated approach. These games require a high level of cerebral input by the player. Strategy includes simulation-based games.
Videogames
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Game analysis This activity introduces areas to focus on when analysing videogames: 1. 2. 3. 4. 5.
Narrative/structure Action Character Visuals Sound
Task 1 Taking these areas of study, undertake a detailed textual analysis of a videogame and how it creates meaning. Use the grid on page 2 to record your analysis. 1. Narrative/structure ● Does the game have a back-story? If so what is it used for? ● How is the game structured - does it have levels? ● Do you have to follow a set path to complete the game? How much freedom do you have to explore the gameworld? 2. Action ● What happens within the game? ● What actions does the character have to perform in order to succeed? ● Is the game all action or is it a mix of different types of sequences? ● What type of player-action does the game require? 3. Character ● How are good/bad characters represented within the game? ● What abilities does your character have? ● Does the character construction rely on an understanding of any existing cultural iconography? ● How is the character positioned within the gameworld? ● How is the character presented to you as a player (first-/third-person view)? 4. Visuals ● What does the game look like – its image and style? ● Are the visuals intertextual? If so, what are the references? ● How do the visuals affect the way conflict is represented within the game? ● Do the visuals help to create an atmosphere – what kind is it? ● How do the visuals affect the player? ©bfi Education 2006 Page 1 of 2
5. Sound ● How do sound effects affect the way conflict is represented within the game? ● How are diegetic and non-diegetic sound effects used? ● How can sound effects affect the player?
Videogames
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Game analysis
Game name and details
Area to analyse
Notes
Narrative/structure
Action
Character
Visuals
Sound Šbfi Education 2006 Page 2 of 2
Videogames
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Violent videogames A great deal has been written in the news in recent years about violent videogames being responsible for some violent crimes. This activity will help you to see if there are genuine reasons to be concerned, or whether this is just another moral panic.
Task 1 Prepare notes for an essay on the subject of violent videogames: ●
Choose at least two videogames to analyse – ideally games from different genres. Ensure that you have the packaging for these games as you will need to refer to them in your study.
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Using the grid on page 2, make notes on how conflict is represented within the game. In this case, conflict means any combat between characters. It might be represented in different ways in different games and does not necessarily entail violence. Also consider textual details, such as the impact that sound and visuals have on the game. If you want to make reference to more than two games, the sheet can be photocopied to provide as many tables as you require.
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Research newspaper articles on videogames (many newspaper websites archive past articles) and collect the main points being made in support or in defence of videogames.
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Research the BBFC’s guidelines on violence and videogames on their website www.bbfc.org.uk.
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Construct an essay title and prepare a response that outlines the current debates on videogames and violence.
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Videogames
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Violent videogames
Game 1 title:
Game 2 title:
What is the age rating of this game (BBFC classification)? How is conflict represented in the game?
What impact does sound have on the game’s content?
What impact do visuals have on the game’s content?
What kinds of violence are represented in this game? Would you classify this game as too violent for some audiences? Justify your answer. ©bfi Education 2006 Page 2 of 2
Videogames
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Female characters in videogames Many videogames have female characters, but they are not always playable characters. This activity investigates in what ways the presence of a playable central female character is significant, either to the game or to the player.
Task 1 Choose at least two videogames that have playable female characters. Here are some suggestions: – Metroid Prime games (Nintendo GameCube) – Buffy the Vampire Slayer: Chaos Bleeds (Sony PlayStation) – Extreme Beach Volleyball (Microsoft Xbox) – Dead or Alive 3 (Microsoft Xbox) – Tomb Raider (Sony PlayStation) ●
Using the prompts in the table on page 2, collect and discuss your findings with a partner or other members of your group or class. To make reference to more than two games, photocopy the table as many times as you require.
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Consider these additional questions: – Does the gender of the player affect buying choices? – Does the gender of the central character influence your choice when buying videogames? If so, why? – Are the representations of female characters positive or negative in the videogames that you have studied? – In some games, you can select to play as a male or female character. Does the gender of a character affect your choice or their abilities within the game? If so, explain why.
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Videogames
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Female characters in videogames
Game 1 title:
Game 2 title:
What does your character look like (clothes, appearance, size)?
How is the character presented to you as a player -first or third person?
How is the character positioned within the gameworld?
Does having a central female character affect the way in which conflict is represented?
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Does a central female character affect the appeal of a game?
Videogames
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Multiplayer games Not all videogames are for a single player; many involve playing with or against other people. This activity considers the differences between single and multiplayer games and how multiplayer games use co-operation and competition between players. You can also think about how you play with or against other people. If you have access to online games you could make reference to them too.
Task 1 ●
Keeping in mind your experience of single player games, choose at least two multiplayer videogames and collect notes using the table on page 2. (To make reference to more than two games, photocopy as many tables as you require.)
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Discuss your findings with a partner.
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Videogames
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Multiplayer games
Game 1 title:
Game 2 title:
In what ways is this multiplayer game different from a single player game?
Does the multiplayer element have an impact on game play?
How do you play this game – cooperatively or competitively?
How is the multiplayer element represented on screen?
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What motivates people to play with or against each other?
Videogames
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Mainstream videogames Videogames are very popular and are increasingly aimed at a wider audience, such as female, younger and older players, than the initial core market of teenage boys and young men. This activity looks at why this might be and the various strategies that manufacturers use to market their products. It also encourages you to think about what skills a player of these games needs and whether this has helped to widen the appeal of videogames.
Tasks 1 ●
Identify different markets for videogames (by age, gender or other criteria) and list several games for each market. Some games you might include: – Dance Dance Revolution (Sony PlayStation) or any other dance mat videogame – Sing Star (Sony PlayStation) – Eye Toy (Sony PlayStation) – Donkey Konga (Nintendo GameCube)
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Select at least two games and study their marketing campaigns, using the questions in the table on page 2. (To make reference to more than two games, photocopy as many tables as you require.)
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Videogames
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Mainstream videogames
Game 1 title:
Game 2 title:
What markets might this game appeal to?
How is the game marketed?
Does a wide appeal affect the type of game produced?
How do you play this game? Co-operatively or competitively?
What skills does the player need to play successfully?
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What types of input devices are used to control the player’s actions?
Videogames
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Studying competition and conflict Competition and conflict are two key elements of games design and gameplay. This activity asks you to study the representations of conflict and competition in different games. It is important to remember that conflict does not necessarily mean violence.
Task 1 Choose at least two games that you have not used in any previous activity. ●
Using the table on page 2, analyse and compare the elements of conflict and competition and how they are used in game design, as well as in the process of gameplay. (Photocopy the table to comment on more than two games.)
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Construct and answer an essay title in which you compare the representation of conflict and competition in two games of your choice (or refer to relevant past exam papers).
Additional task 1 Undertake a player survey: ●
Construct a questionnaire to examine the emotions aroused in conflict and competition situations in gameplay. The questions should ask players about their responses to playing different types of games and the impact of these games on their lives.
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Select a small research sample of three to five players and interview them using the questionnaire.
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Collate your results and make notes for a presentation that summarises your research findings.
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Videogames
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Studying competition and conflict
Game 1 title:
Game 2 title:
What are the elements of competition in this game? Does this differ from other games you have played?
What are the elements of conflict in this game? How does this differ from other games you have played?
What genre of game is it? Does this influence how either competition or conflict is represented?
How are visuals used to represent conflict?
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How is sound used to represent conflict?
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Presentation task It is important that you can research in depth. This activity will provide you with the opportunity to reflect on your own gameplaying experience as well as on your research. This worksheet provides a template for your research in preparation for your presentation. It is vital that you analyse the game rather than describe or review it.
Task 1 ●
Choose a videogame and play it, keeping in mind the following the five areas you need to analyse: – Narrative/structure – Action – Character – Visuals – Sound Consider both playing sequences and cut scenes.
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Focusing on one or two short segments, rather than on the whole game, fill in the table on page 2, making notes on how competition and conflict are represented in the game through narrative, character, action etc.
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Based on your notes prepare a presentation. The presentation should cover a range of study areas as outlined in the previous activities. You could include screen shots from the game, promotional material and a recorded play sequence in order to illustrate your points.
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Videogames
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Presentation task
Title of game: Area to analyse
Notes
Narrative/structure
Action
Character
Visuals
Sound Šbfi Education 2006 Page 2 of 2
Videogames
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The videogames industry The videogames business comprises a wide range of companies. Each of these companies fulfils a different role within the industry. In this activity you will find out a bit more about how a videogame is made.
Task 1 1 Research the following to find out what their role is in the production of videogames. – Developer – Publisher – Distributor – Retailer – Industry body – Ratings body
Task 2 1 Focus on one game and research the companies involved in producing it. ●
Start by studying the packaging. – What companies are listed on the box? – What types of company are they? – What role did they play in the production of your chosen game?
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Look at the website of each company involved in the development, production distribution of the videogame. What does it tell you about the company? What type of company is it? What else do they do? What other videogames has it contributed to? Is it just involved in videogames or does it produce other media? Where is it based? How big is it? Write a brief profile on each company.
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Feedback and compare your findings.
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Videogames
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Hardware production Videogames are big business and the platforms on which videogames are played are a major part of this business. The first activity explores who the main platform holders are. Platform holders are the companies that produce videogame hardware. The second activity examines the market for videogame hardware.
Task 1 1 ●
Working with a partner or in a small group, make a list of the different gameplaying platform that you think are currently available.
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Then make notes on: – Who makes each platform? – Which companies make more than one platform?
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Now discuss in your group – Are there many different companies or just a few? – What impact do you think this has on the industry?
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Feed back your findings to the class.
Task 2 1 Conduct a survey of your class: ●
How many students own gameplaying devices?
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How many own more than one gameplaying device?
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Extend this survey to family and friends and bring the information back to class.
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Discuss: Does ownership of these devices seem to relate to the person’s gender and/or age?
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Videogames
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Convergence Videogame consoles are now much more than just gameplaying machines, they are often as powerful as desktop computers and are capable of playing CDs, DVDs and providing interactive online gaming. This is referred to as technology convergence. It is not yet clear, however, if all the functions of the new consoles are fully employed or whether the consoles are still used solely for gameplaying. The activity below investigates this.
Task 1 1 In a small group find out who owns a console. Use the grid on the following page to record your findings: ●
Which consoles do they own? Do they own more than one?
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What other features does each console have?
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Which of these features are used and why?
Task 2 1 Having found out what features are the most used, design a new console. Think about who your target market is, what features people will use, how you would market the product and how much it would cost. Consider these questions to help you:
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Will the console have a DVD player? Will this be ready to use out of the box or will a separate remote control be needed to operate it?
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Will the console have a hard disk or will a player need to buy memory cards to save games?
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Will the player be able to link to the internet through the console? Will there be access to email, messenger sites and websites or just to games sites?
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Will the console be able to receive digital television and record programmes? (You would need a large hard disk for this.)
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What will make this console better than any of the others currently on the market?
Videogames
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Convergence
Name of owner
Console
Features
Where is the console in the house?
What features are used?
Why are they used?
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Videogames
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Mobile gaming Handheld consoles are hugely successful and can generate a lot of money for the companies involved in producing them and the games that go with them.
Task 1 Research and compare two handheld consoles: Nintendo DS and Sony PSP. Analyse the advantages and disadvantages of each one.
Console
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Start by looking at each company’s websites. You could also look at what gamers are saying on fan sites or message boards.
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Fill in the table below with the information you find.
Nintendo DS
Sony PSP
Cost
Features
Advantages
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Disadvantages
Videogames
worksheet
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Console launch A videogame console has a limited lifespan; the technology is continually being updated with more features added. This activity looks at how a new console is launched.
Task 1 Choose a console to research. It is likely that at least one of the large companies will have recently launched or be about to launch a new console. You should collect a range of material including the following: ● ● ● ●
Promotional material – adverts, press releases, magazine articles, web articles; Reviews of the console – in both specialist and mainstream press; Features of the new console - technical features such as a DVD player; Images of the new console – likely to be found online.
Having collected the material, you should analyse it: ● ● ● ● ●
Who is the console aimed at? How can you tell? Who do you think the features will appeal to? Does it use convergence? What makes it different to and better than earlier versions? Who would buy it and why?
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Videogames
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Videogame fans As with films, some videogames attract large followings of fans. This can often be seen on the internet in: ● ● ● ●
Fan-produced art; Message boards dedicated to the game and/or tactics to use within the game; Fan-written fiction based on the game; Level modifications.
Task 1 Focusing on one videogame, search the internet for evidence of its fan-base. Identify examples of fan art, message boards etc. The game you have chosen will determine the outcomes: certain genres of games have more active fans. When you have found examples, compare your findings with those of other students in your class and consider the following questions: ●
Why might people produce art or fiction based on a videogame?
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How has the internet made it possible for people to exchange ideas about the games they like?
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Who in the class has used the internet to talk about or find out about videogames? How does this add to their enjoyment of the game?
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Videogames
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Close study of a MMORPG MMORPGs – massively multiplayer online role-playing games – are some of the most popular videogames available. For example, the online game Lineage is subscribed to by over four million players. What is also interesting is the audience who play these games: a larger number are female and usually older than the players of conventional games.
Task 1 Select a MMORPG of your choice and prepare a presentation on it. ●
Answer the following questions to gain some background knowledge about the game and identify of the institutions involved in developing and distributing it. – What is the genre of the game? – How much does it cost to subscribe? – How is the game different from a console-based game? – Who make the game? – Is the game global or only available to certain regions, such as Europe?
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Now research the audience for the game. Identify some fan sites, art works and message boards relating to the game. What do these tell you about the players of your chosen game? Survey each of your selected sites and make notes on the following: – What do the players discuss? Tactics, locations, general chat? – How do the players represent themselves on the message board? Do they have game names and personal icons? – How many people are members of the message boards? – Does the page have links? If so what to?
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Structure your presentation so that it summarises your main findings as clearly as possible. You should include screen shots and other images to illustrate it.
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Videogames
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Films and videogames The challenge that the videogames industry is bigger than Hollywood is often used just to grab people’s attention, but what is not in doubt is the link between films and videogames. The popularity of videogames means that Hollywood often makes films influenced by videogames, and games are made based on blockbuster films. However, this relationship is not always successful. In the following activities you will compare a videogame-to-film translation and a film-to-videogame translation.
Task 1 1
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First choose a videogame that has been made into a film, for example, Tomb Raider, Resident Evil or Silent Hill.
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Play the videogame and think about the following points: – Does the game have a clear narrative? If so, what is it? – Does the game have a clear central character? What is this character like? – What does the gameworld look like? Analyse lighting, sound, mise en scène and style. – Is the game single player or multiplayer? – What tasks must a player complete to be successful in the game?
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Once you have played the game, watch the film and think about the following: – Has the film used the game’s narrative? – Is the central character the same in the film? – Has the film used key elements from the game, such as sound, lighting, mise en scène and style?
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Write a review for a games magazine explaining which you thought was better and why.
Task 2 1 ●
Now watch a film that has been made into a videogame. What is the film’s narrative?
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Then play the videogame and think about the following points: – Does the game have a clear narrative. How does it connect with the film’s narrative? – Does the game have a clear central character? How is this character related to the central character in the film? – What does the gameworld look like, compared to the film world? Analyse lighting, sound, mise en scène and style. – Is the game single player or multiplayer? – What tasks must a player complete to be successful in the game?
Task 3 1 Write an essay: Which seems to work best: the videogame-to-film conversion or filmto-videogame conversion? Discuss your answer and use examples to back up your points.
Videogames
student notes
Glossary
Backstory Videogames often have a brief story section at the start of the game to justify the scenario that the player finds himself or herself in. Even games that have no other narrative will use a backstory, for example Space Invaders: you must save the planet from invading Aliens. Beat-‘em-ups A genre of videogame in which the key objective is for the player to beat up various opponents, the opponents can be defeated in a number of different ways. Games including Viewtiful Joe and Soul Caliber can be classed as Beat-‘em-ups. It is a diverse genre and is extremely popular, most beat-‘em-ups will have a multiplayer mode on them. Cutscenes The term used to describe scenes in videogames in which the player does have any control over. They often contain narrative information to justify the forthcoming section or level of the game. Some games such as Metal Gear Solid have very detailed cutscenes that help to develop the narrative. Some players find cutscenes obstruct the process of gameplaying and break up the game too much. Developers The teams that create the videogames (the software that runs on consoles, PCs and handhelds). Developers may be ‘first party’ (directly owned by a platform holder), ‘second party’ where there is some platform holder support or funding, or ‘third party’ who are unaffiliated with the platform holder.
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Distributors and retailers The role of the distributor is to get videogames to retailers in order to sell to consumers. As the majority of videogames are currently distributed in physical form (ie on CD, DVD or cartridge), this means getting game boxes onto retailers’ shelves or to warehouses. However, recent moves within the industry
have pointed to the increased use of electronic distribution with extra levels or even whole games being downloadable. Ergodic A new term used by some game studies academics in place of interactivity, which is considered too imprecise. Most simply, texts are described as ergodic when there is ‘nontrivial activity’ required to traverse them. Thus, a videogame is considered ergodic because the player has to work to bring the text to life through their activity and actions, whereas turning the pages of a book is considered trivial activity by comparison. Fanart/Fanfic/Fangame Still images (fanart), stories and narratives (fanfic/fanfiction) and games created by videogame fans. Although videogames are often described as being creatively stifling, these fan texts offer us much evidence of the productivity games foster. Often highly sophisticated and intertextual, and showing considerable media literacy, fan texts are frequently highly imaginative and often fill in the backstories of games, develop their narratives, or reimagine their characters. FAQs ‘Frequently Asked Questions’ lists. While the term is widely used in the computer industry, in relation to videogames, FAQs usually detail the kinds of common queries that players might have about a particular game. They are often found on websites and are intended to be a first port of call for those with problems thereby alleviating the need to wade through masses of support documentation. FAQs may be written by developers/publishers (perhaps detailing common issues encountered during installation and setup of games) or more typically by game fans (outlining useful tricks and tips, and explaining common points where gamers run into difficulty). Given their content and use, FAQs are closely related to Walkthroughs (see below). Videogames
student notes
Glossary
First-person shooters A genre of videogame in which the player’s view is first person, this means that the player does not see his or her character during play sequences. The key gameplay element is to shoot things, an example of a first-person shooter would be Time Crisis. Often the game will allow the player to use a light gun as a controller. Industry bodies A number of organisations exist to promote the work of the videogames industry in this country, throughout Europe and globally. In Europe and the UK, ELSPA (Entertainment and Leisure Software Publishers Association), IGDA (International Game Developers Association) and TIGA (The Independent Games Developers Association) provide advocacy for the games industry, organise trade and public conferences and festivals, and provide support for developers and publishers, for example. In the USA, The ESA (Entertainment Software Association) performs a similar task and provides useful materials on the state of the current marketplace with a good selection of downloadable resources on audience demographics and sales figures, for example.
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Interactivity A slippery term that is used in many contexts, from digital television to DVD menus. In videogames, interactivity refers to the player’s ability to exercise control over the action presented onscreen by taking control of a character, piloting a spaceship or driving a car, for example. Interactivity is one of the defining features of videogames and they are often called ‘interactive entertainment’, although many parts of games, such as cutscenes, do not allow such ‘interactive’ control over events. See also ergodic. Killer app The name given to a key piece of software associated with a particular piece of hardware that will help drive sales due to its popularity.
An example of a killer app would be Tetris on the original Nintendo Gameboy, other killer apps have included Sonic the Hedgehog on the Sega Mega Drive and most recently in Japan Brain Training on the Nintendo DS, which has boosted sales and attracted a new generation of older gamers to the console. Ludology An approach to studying videogames that is characterised by a focus on the act of play. Ludologists tend to centre on videogames’ structural or experiential similarities to other games noting the ways games change in realtime in accordance with players’ interactions. For ludologists, videogames are unlike media such as film or television whose narratives are seen to be static and unchanging. See also narratology. Mod/Modder Mods are literally ‘modifications’ to games that change their appearance, structure or level design, for example, but that usually leave the underlying gameplay and mechanics intact. Most common in the world of PC games, the practice of modding relies on free ‘mod tools’ released by game developers. These tools allow modders to design their own maps or levels, rework graphics or change the physics in the gameworld, among other things. Most mod tools are distributed freely but their use is governed by End User License Agreements (EULAs), which usually prohibit modders or mod teams from selling their creations for commercial gain. Counterstrike, based on Valve software’s Half-Life, is probably the most famous example of a videogame mod and such was its popularity that it was eventually released as a game in its own right. Multitap A device used by Sony to allow more than two players to play the same game at once on the same console. The PS2 only has two control ports thus players need a multitap to play four player games on the console. Both the X-box and the Gamecube have four control ports. Videogames
student notes
Glossary
Narratology An approach to studying videogames that is characterised by a focus on the videogame as a storytelling medium and a treatment of the game as a media text that can be analysed and read using narrative theory. Narratologists tend to point to the similarities between videogames and other media texts such as film, adopting and adapting theories to incorporate the interactivity of videogames and players. See also ludology. Platform holders Platform holders manufacture the hardware on which videogames run. The three main companies at present are Sony who manufacture the PlayStation series, Microsoft who produce the Xbox series, and Nintendo who produce Wii, GameCube, Game Boy and Nintendo DS. Publishers Publishers provide money and support for the development teams who create videogames. Companies such as Ubisoft and SCI in the UK, as well as Sony Computer Entertainment, Microsoft, Nintendo and Electronic Arts are among the larger videogame publishers. Ratings bodies Videogames, like other media, are subject to classification and age rating. While practice differs throughout the world, the UK operates a two-tier system within the voluntary guidelines of the European PEGI (Pan European Games Information) system and the mandatory BBFC regulations as determined by the Video Recordings Act of 1984.
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Screenshot Screenshots are the name given to freezeframed captures of videogames. Most videogames magazines, whether online or printbased, make extensive use of screenshots in features, reviews and previews, although video clips are becoming increasingly commonplace via websites and/or cover-mounted DVDs.
Walkthrough Walkthroughs are textual descriptions of videogames. They are written from the perspective of the player and literally walk the reader through each step of every level to completion. Walkthroughs come in two broad flavours. First, there is an industry of publishers producing ‘official walkthrough guidebooks. These are often lavishly illustrated and are usually created in collaboration with the game’s development teams. Second, there is a huge number of fan-produced walkthroughs (see also FAQs above). These fan-produced walkthroughs are usually text-only with occasional simple text-based approximations of maps or room layouts, for example. Fan produced walkthroughs are part of the culture of videogame fandom and fans compete to produce the most complete and authoritative ‘unofficial guide’. Walkthroughs are somewhat contentious and are considered by some players to constitute cheating. However, we might see that walkthroughs not only allow players to concentrate on the parts of a game they enjoy and avoid those they don’t (ie performing complex moves rather than solving puzzles or navigating labyrinthine caverns), but also allow them to explore and play games in ways they might not have considered. Frequently, walkthroughs become places where new challenges are set among the community of players and fans such as completing a game without losing any lives, or in a particularly strict time limit, for example. Moreover, because they intend to document every facet of the game, its world and its scope, walkthroughs lend games longevity as new ways to play them, new levels to explore or characters and secrets to unlock are discovered.
Videogames