Assessing the Gaming Experience using Puppetry
Eduardo H. Calvillo Ga´mez
UCL Interaction Centre
University College London
e.calvillo@ucl.ac.uk
Paul Cairns
Computer Science
The University of York
pcairns@cs.york.ac.uk
Ann Blandford
UCL Interaction Centre
University College London
a.blandford@ucl.ac.uk
ABSTRACT
In this paper we address the question: What factors
of game experience are measured and have to be mea-
sured? by proposing a concept called Puppetry to as-
sess the experience while playing videogames. Puppetry
was obtained using qualitative methods on the experi-
ences of players. The main characteristic of Puppetry
is that it looks at the common elements of videogames
that allow the user to build the experience.
Author Keywords
User Experience, Videogames, Gaming Experience
ACM Classification Keywords
H5.m. Information interfaces and presentation (e.g.,
HCI): Miscellaneous.
INTRODUCTION
The goal of videogames is to provide players with a
positive experience. A player, regardless of age or sex,
plays videogames, regardless of genre, to have a plea-
surable time. But being able to measure or assess plea-
surable times or positive experiences has proven to be
quite complicated. The role of user experience, within
Human Computer Interaction (HCI), has been increas-
ingly taken into account when trying to design appli-
cations that provide the user with a pleasurable time.
User experience explores beyond usability and cogni-
tive issues: it explores the subjective role of the user
enjoying the usage of the application. In this paper we
address the user experience when playing videogames,
which we call the gaming experience, and try to find
elements that can lead to the assessment of experience.
The domain of videogames is greatly influenced by ex-
perience at all its levels. Their design is greatly in-
fluenced by the expertise of the designers (e.g.[8, 5]);
guidelines to create good videogames advise the design-
ers to rely on what they think is fun [15]. Whilst re-
viewing the available literature on game design, it was
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clear that the focus was not on user experience but on
what makes a game a “good game” regardless of user
input. That is, most of the available literature on game
design is based on what designers believe makes a good
videogame (e.g. [5]). And although there is nothing
wrong with that approach, since such guidelines have
been used to produce successful videogames, this does
not necessarily correspond with what users perceive as
important and hence their experiences of the games.
Even within the broader domain of Human Computer
Interaction generally, user experience is quite a novel
concept to address. The available literature on user ex-
perience for videogames is either non-academic, such as
over the counter magazines, or based on methods to
measure user experience in other media such as televi-
sion or books. Thus it was felt necessary to undertake
a qualitative approach to determine the important fea-
tures of the gaming experience from the players’ per-
spective. Naturally, there ought to be overlap with the
existing literature, if only because much of this has been
written by enthusiastic game players. Grounded theory
provides a way to analyse qualitative data whilst em-
phasising the underlying concepts in the data rather
than focusing on the surface features of the data as in
methods such as content analysis. Users take into con-
sideration previous experiences when selecting a new
game to play [14]. This can be interpreted by saying
that the knowledge of what makes a good videogame
is tacit [4]. In other words, it is possible to identify a
good videogame when we are playing one, but we run
into trouble when trying to describe those elements that
make a good gaming experience.
It is important to make the distinction between the im-
plementation of the videogame and the experience of
playing the game. The implementation can be under-
stood by looking at concepts such as usability [6, 11],
computer speed or the quality of the graphics [18]. On
the other hand, experience is about the user playing
the videogame. Previous studies that have tried to un-
derstand the gaming experience, either deal with why
people play rather than looking at what experience the
game is offering [9], or try to explain why games pro-
vide a satisfying experience based on personal experi-
ences [3], or from a cognitive approach (e.g. learning is
fun) [7]. There are also studies that look at the outcome
state of playing, when the player achieves flow [17] or
immersion [2]. However, a good user experience is not

only these states. We have taken an empirical approach
to look into what makes a game enjoyable. The question
is the same: what are the basic elements of videogames
that affect the gaming experience. However, we are not
looking at what makes a good game but rather what
elements of videogames affect that perception. To this
end, we reviewed how players, as users in the videogame
world, talked about videogames. Grounded theory [16]
was used to provide a robust interpretation of this data.
Hopefully, this emphasis will allow us to understand
what is important to players without being influenced
by the opinion of expert game designers. In doing so, it
is hoped to get at the actual gaming experience as ex-
perienced by players rather than that intended by game
designers.
To some extent the results obtained are as expected:
graphics, sound, narrative, rules and controls are im-
portant. However, the use of Grounded Theory allowed
us to provide a conceptualisation that fleshes out the re-
lationships between these concepts. Moreover, we also
identified the useful concept of Puppetry which is a way
of understanding how a player becomes an agent in a
games world. Identifying these elements is not geared
towards designing videogames: it can be used in that
way but it is not the objective. The objective is to un-
derstand how new technologies can influence the gaming
experience by manipulating the constituent elements.
THE STUDY
In this paper we discuss the main results of our empiri-
cal approach to understand the elements of videogames
that affect the user experience. We present the ap-
proach and results from our study aiming to contribute
with an answer to the question of: What factors of the
game experience are measured and should be measured?
To do so, we used Grounded Theory on two different
types of written sources: videogames magazines and
websites. We selected four different magazines avail-
able over the counter in the UK, as well as three differ-
ent websites specialising in reviewing computer games.
The categories that evolved from the coding scheme
eventually turned into the key elements of the gam-
ing experience, which in turn were also grouped into
two main categories. The results were validated using
interviews with players, reviewers and designers. The
starting point for the study was to consider those ele-
ments within videogames that affected the experience.
Game reviews were chosen as a good starting point to
understand the player experience because the main goal
is to try to convey in one place “what does it feel like” to
play particular videogames. Reviews aim to alert poten-
tial players about the flaws or successes of videogames.
The reviews are written by players with several years
of experience as game players, with a broad knowledge
of the domain that allows them to compare different
games, as well as to highlight those elements that they
find interesting. The reviews then allow us to have the
opinion of several expert players for a specific game.
Both internet sources and magazines also include inter-
views with people related to the gaming industry, ed-
itorial pieces, and commercials for videogames. These
other materials allowed us to focus on those elements
that people who interact with games focus on when talk-
ing about them. It can be argued that both sources
are actually driven towards the commercial success of
videogames, rather than a more market-free approach.
However, both sources included in their reviews a pledge
to write their reviews without pressure from the big
companies, and websites offer the possibility for users
to include their own reviews. Finally, it is important
to remark that we are looking at which elements of the
videogame affect the user experience, not at the overall
grade or recommendation that it receives; as long as it
explains why a game is graded as such it can be consid-
ered a valid review that describes the elements of the
gaming experience.
RESULTS
As intended with grounded theory, after the interviews,
the answer to “What elements of the videogame affect
the gaming experience?” reached saturation. That is,
the interviews towards the end were failing to add sig-
nificantly to the existing grounded theory. Moreover,
most of what was appearing in the interviews could be
explained by the forming theory. Naturally, the data
could have led to a wider discussion on “why” people
play videogames, but that question is outside the scope
of this research.
Once we found that a saturation level was reached and
a robust theory established, this theory was then re-
shaped and compared with the findings from the cur-
rent literature on game design and cybertext, on user
experience that explains why people play videogames
and on what constitutes a positive experience. As men-
tioned earlier, there are plenty of sources on designing
good videogames. Most of the writers of these books
are successful game designers and have worked in the
gaming industry for years. Even if we wanted to focus
only on what users have to say about videogames, or on
first hand experience by designers, these books already
offer compelling guidelines on how to make a successful
videogame: ignoring them would have made our theory
incomplete. These allowed us to have a sound theoret-
ical explanation for the elements found.
The key novelty of the resulting theory is that of Pup-
petry as the means by which the player engages in the
gaming experience. In addition, the theory explains
in one place all the elements of the gaming experience,
which may have been discussed separately in other fields
of knowledge, but these findings naturally bring all the
disparate elements into a single, coherent picture of par-
ticular players’ experiences.
ELEMENTS OF THE GAMING EXPERIENCE
The categories that emerged from the grounded theory
can be classified into two meta-categories: Environment

and Gameplay. These two categories are the main ele-
ments that affect the gaming experience. The two cat-
egories interact with each other, being Puppetry the
concept by which the user amalgamates them in order
to form the experience. Environment refers to those el-
ements that help the user create the place where the
game is taking place. The Environment is determined
by the graphics and sound of the game. Environment
hence refers to both the place where the action takes
places, and the rhythm on which the game is being
played. Sound and graphics effects elucidate the rhythm
of the game, manipulating the rhythm of the game and
also allowing the user to experience a “game environ-
ment”. Environment, besides setting up the place, is
also the environment in which the game evolves. Game-
play refers to the rules and story. Rules are what defines
what can be done, what cannot be done and the out-
comes of actions. By story we refer to whatever covers
the abstraction of the rules [8]. Both elements of the
videogame are put together by the user by the concept
called Puppetry.
Puppetry is how the user builds such experience; the
key part of the game is the interactivity, the ability of
the player to do something within the game. Puppetry
is what gathers everything together. Puppetry can be
described as how the player takes control and ownership
over the game.
CONTEXTUALISING PUPPETRY
The word “Puppetry” within the gaming experience
was chosen based on the common understanding of Pup-
petry and the relation between puppet and puppeteer.
Unlike acting, where the actor becomes the character
being portrayed, Puppetry differentiates between the
character (the puppet) and the puppeteer. The Ency-
clopaedia Britannica defines the essence of a puppet as
its impersonality. The puppeteer is not the character
being played, and the mastering of the puppet and the
character depends on the proficiency of the puppeteer
controlling the threads of the puppet. We found this
concept similar to what happens in videogames, and
maybe with a small risk of re-using a well understood
concept to describe a very similar experience in a dif-
ferent domain, we considered that the use of Puppetry
was adequate.
To understand better the term Puppetry, it is worth
considering similar concepts that have arisen in this
area. Murray [10] and Ryan [13] present compelling
arguments on how narrative can be understood within
a cyberworld. Murray bases her elucidations on the
possibility of inhabiting a fake world, where the player,
or reader, has the possibility to play a second life, but
still being able to return to normal life. Ryan classi-
fies cybertext, text within the cyberworld, according to
the level of interactivity. Thus, Murray’s perception
of cybertext can be encompassed within Ryan’s clas-
sification. Without getting into the details of Ryan’s
classification, Ryan bases her argument in the interac-
tivity level of the reader, and the positioning of the
reader, being internal or external to the story, and with
the ability to explore or change the ontology of the
story. Puppetry rather sidesteps both of these perspec-
tives because there is no immediate sense in which the
player inhabits or even directly interacts with the vir-
tual world. Instead, the player takes control of some
aspect of the game that does the inhabiting or inter-
acting. Aarseth [1] introduced the term “ergodic liter-
ature” to refer to reading in a non-linear way. He cited
examples that referred to Yoga or I-Chin books, where
the reader is expected to read, then practice or do some
physical activity, and then continue reading. Rush [12]
then introduced the term “Ergodic Bridge” to refer in
videogames to the control that player exercises over the
character of the game and how that changes the plot of
the game. This is one aspect of Puppetry but does not
cover the potential richness of how the Ergodic Bridge
may be achieved. And whilst game design puts special
emphasis on the controls the player will be using and
how these controls should be easy to use and ergonomic,
they do not make the explicit link to the resultant gam-
ing experience that is implied in Puppetry.
Within education and learning, Gee [7] mentions that
the user can take different identities whilst playing,
ranging from the identity of the player, the player as
the character and the role of the player as the char-
acter. This fits well with the notion of Puppetry in
the sense that the gaming experience is a fusion of the
player and the intended character represented in games.
It would be worth exploring the notion of Puppetry and
identity in greater depth. The contextualisation of Pup-
petry from this literature shows how similar concepts to
Puppetry are understood to affect the gaming experi-
ence and affect the way users play. But the intention
with Puppetry is to make explicit the link between the
nature of control and the nature of the gaming experi-
ence. Puppetry, then, is the interactive component that
binds Environment and Gameplay by giving the player
control of the actions, which allows the player to form
a personal gaming experience. Interactivity is the key
characteristics of videogames. By allowing the user to
manipulate the actions, using the provided controls, the
player is able to put the rules and story of the game,
viz Gameplay, in context with the Environment. The
way the user perceives such a role within the gaming
context is what provides and builds the experience.
The main characteristic of Puppetry is that it creates a
layer between the player and the game. The player does
not mirror the character on screen, but stays away from
it. The player is able to disassociate from the character
at any given moment. For example, when the player
is questioned about the videogame, the player can al-
ternate between saying “I did” and “He did”, referring
to the character. The controls allow the player to ma-
nipulate the character, after learning how to use them,
a “tool at hand” effect is created, in which the player
only focuses on the game, not on using the control.

CONCLUSIONS
In this paper we presented the elements of videogames
that affect the gaming experience. We identified the
elements by using Grounded Theory on the narratives
of gaming experiences, starting with reviews of mag-
azines and websites and continuing with interviews to
players, designers and reviewers. The elements are En-
vironment and Gameplay, being Gameplay the core ele-
ment of the gaming experience. Environment is formed
by Sound and Graphics whilst Gameplay is formed by
rules, story and Puppetry. Gameplay and Environment
are bounded by Puppetry, which allows the player to
build a personal experience. Puppetry is the key ele-
ment of the gaming experience, as it relates to the inter-
activity and the way the player relates to the videogame
by taking control and ownership over the game. We are
currently in the process of creating a questionnaire that
aims at converting Puppetry into a quantifiable metric
that can suggests the level of engagement of the user
with the game.
Puppetry, the connection of interactivity, sounds, gra-
phics, story, and rules, allows designers to focus on how
the player is going to enter the game. Understanding
the gaming experience and how the player builds it may
allow evaluating what constitutes the experience of the
user, but mainly, it allows us to understand that the
important factor of videogames is not the videogame
itself, but its relationship with the player.
ACKNOWLEDGEMENTS
Eduardo H. Calvillo-Ga´mez PhD studies are sponsored
by SEP-PROMEP and Universidad Polite´cnica de San
Luis Potosi, Me´xico.
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