The developers of Red Hook Studios’ 2016 gothic horror game ‘Darkest Dungeon’ said that they wanted to ‘capture the human response to stress’. This paper analyses how the game does this with its ‘stress’, ‘affliction’ and ‘virtue’ mechanics. With reference to research literature on stress, I show how these mechanics, which could easily have been cheap gimmicks, approach the topic of stress with admirable detail, offering a complex reflection on the various aspects, positive and negative, of several possible human responses (...) to stress. They show how different responses include similar symptoms, how stress impacts the people around the stressed person, and make the case that stress can break people, but also fuel heroism. It is a fantastic example of how video game mechanics can be used to educate people about complex subjects without explicitly saying this is what they’re doing. (shrink)

Morality meters are a commonly used mechanic in many ethically notable video games. However, there have been several theoretical critiques of such meters, including that people can find them alienating, they can instrumentalise morality, and they reduce morality to a binary of good and evil with no room for complexity. While there has been much theoretical discussion of these issues, there has been far less empirical investigation. We address this gap through a qualitative study that involved participants playing a custom-built (...) visual novel game (The Great Fire) with different intuitive and counter-intuitive morality meter settings. Overall, we found that players’ attitudes towards the morality meter in this game was complex, context sensitive and variable throughout gameplay and that the intuitiveness of the meter encouraged participants to treat the meter more ‘as a moral guide’ that prompts reflection and less ‘as a score’ to be engaged with reactively. (shrink)

Morality meters are a commonly used mechanic in many ethically notable video games. However, there have been several theoretical critiques of such meters, including that people can find them alienating, they can instrumentalise morality, and they reduce morality to a binary of good and evil with no room for complexity. While there has been much theoretical discussion of these issues, there has been far less empirical investigation. We address this gap through a qualitative study that involved participants playing a custom-built (...) visual novel game (The Great Fire) with different intuitive and counter-intuitive morality meter settings. Overall, we found that players’ attitudes towards the morality meter in this game was complex, context sensitive and variable throughout gameplay and that the intuitiveness of the meter encouraged participants to treat the meter more ‘as a moral guide’ that prompts reflection and less ‘as a score’ to be engaged with reactively. (shrink)