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Game play is a crucial element in any skill-and-action game. This term has been used for some years, but no clear consensus has arisen as to its meaning. Everyone agrees that good game play is essential to the success of a game, and that game play has something to do with the quality of the player s interaction with the game. Beyond that, nuances of meaning are as numerous as users of the phrase. The term is losing descriptive value because of its ambiguity. I therefore present here a more precise, more limited, and (I hope) more useful meaning for the term "game play". I suggest that this elusive trait is derived from the combination of pace and cognitive effort required by the game. Games like TEMPEST have a demonic pace, while games like BATTLEZ0NE have a far more deliberate pace. Despite this difference, both games have good game play, for the pace is appropriate to the cognitive demands of the game. TEMPEST requires far less planning and conceptualization than BATTLEZONE; the demands on the player are simple and direct, albeit at a
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fast pace. BATTLEZONE requires considerably greater cognitive effort from the player, but at a slower pace. Thus, both games have roughly equivalent game play even though they have very different paces. Pace and cognitive effort combine to yield game play.
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Sensory gratification is another important enjoyment factor. Good graphics, color, animation, and sound are all valued by game players. They support the fantasy of the game by providing sensory "proof" of the game s reality. We see a related phenomenon in the movies: special effects. Some of the newer movies have excited great interest because of the excellent special effects they utilize. These movies have placed us in the thick of space battles, let us meet strange and wonderful creatures, and taken us to faraway places. The things we see look so real that we believe the fantasy; we know (subjectively) that the fantasy is real. Similar processes can be applied to games. Special effects, graphics, sound, animation-these factors all help distinguish a good game from a bad game. We must not confuse their role, however; sensory gratification is a crucial support function, not a central feature. Sensory texture enhances the impact of the fantasy created by the game or movie, but wonderful graphics or sound do not by themselves make the product. A movie without a believable or enjoyable fantasy is just a collection of pretty pictures; a game without an entertaining fantasy is just a collection of interactive pretty pictures.
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So far I have discussed motivational and enjoyment factors as if they were absolute quantities whose significance is independent of the individual player. Such is not the case; the response to a given game depends heavily on the personality of the prospective player. How are we to deal with the personality differences that dominate the individual's response to games One academic solution to this problem is to postulate the existence of a very large number of personality traits that determine the individual response to a game. We next postulate a like number of game traits that, taken together, completely define the psychological profile of the game. Next, we measure and catalog all of the personality traits of any given individual, presumably with an omniscient "personalitometer". Then we measure all the game traits of the game in question with an equally powerful "gamometer". We then perform a matrix multiplication of personality traits against game traits. Sometime before the sun enters its red giant phase, our monster computer returns a number telling us how much that person will enjoy that game. This approach will for the moment remain a gedanken-experiment. We must devise simpler, admittedly less reliable means of coping with individual differences. One alternative route is to observe and catalog groups of game-players, and identify the game traits valued by these groups. This method is made difficult by the youth of the computer game
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