Level Design Patterns That Invoke Curiosity-Driven Exploration

Video games frequently feature 'open world' environments, designed to motivate exploration. Level design patterns are implemented to invoke curiosity and to guide player behavior. However, evidence of the efficacy of such patterns has remained theoretical. This study presents an empirical study of how level design patterns impact curiosity-driven exploration in a 3D open-world video game. 254 participants played a game in an empirical study using a between-subjects factorial design, testing 4 variables: presence or absence of patterns, goal or open-ended, nature and alien aesthetic, and assured or unassured compensation. Data collection consisted of in-game metrics and emotion word prompts as well as post-game questionnaires. Results show that design patterns invoke heightened exploration, but this effect is influenced by the presence of an explicit goal or monetary compensation. There appear to be many motivations behind exploratory behavior in games, with patterns raising expectations in players. A disposition for curiosity (i.e. 'trait curiosity') was not found to influence exploration. We interpret and discuss the impact of the conditions, individual patterns, and player motivations.

Evolution of the inscriptions on the Bronze Mirror of Han Dynasty in the Furnace Smoke

The Chinese characters evolution fromseal script to clerical script in Han Dynasty underwent one a new process of development and stability from top-level design to folk application, where the most important relic, inscriptions of bronze mirror, together with the bamboo slips and stele inscriptions, constituted the basic calligraphy aestheticsat that time, forming historical legends in the smoke of casting. Among the mirrors of Han Dynasty, there are a lot of surviving inscription mirrors, the chirography on which has extremely rich subjective design, showing important aesthetic characteristics. Most of the previous writings have tended to study explanation and entry, and there are few studies based on the chirography. The classification and analysis of the considerable and complex inscriptions of bronze mirror based on archaeological typology indicate that at different stages and in different regions, the sources of popular materials are similar, with typical styles gradually appearing, different creative effects, as well as fresh and interesting cases. Comparing the inscription chirography with bamboo and wood slips and calligraphy on rubbings, it is possible to see the combination of “mirror caster” and “ Daobili (petty official drawing up indictments)”, new calligraphic patterns appear in the smoke of the fire. The calligraphy is applied to bronze mirrors, and is cut and transformed by the craftsmen to be suitable for deformation, so that the character shape is integrated with bronze and stone tablet casting, presenting a unique decorative taste and design meaning, carrying the open and inclusive spirit of Han Dynasty.