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OCEAN PARK : A PLAYGROUND UNDER THE OCEAN Can you remember when you discovered video games? You probably remember the outlandish descriptions of the games on the back of the boxes, "You are Earth's last hope! Destroy the evil Zarg Empire before it wipes out humanity!" Or, "Brave the terrors of the Forest of Auria and rescue the beautiful princess!" Of course, to the trained eye, the Zarg empire was a number of small blocky shapes that stuttered across the screen, and the Forest of Auria was either a collection of ASCII characters or a short text description, but to the young mind that read these descriptions, video games were a gateway to the kinds of experiences previously only offered by dreams, books and cinema, the closest you could get to living in a fantasy world. The attraction was the promise that these games held, through their themes, characters and perspectives; the promise that a young child could explore in safety and daylight the shadowy and indistinct mental world that imposed itself at night. So I began a personal quest to find out everything I could about subjective experience, fantasy and imagination, a quest culminating in the writing of this, which I hope is of use and interest to gamers and developers alike. What I want are words that I could use to describe the experience. The primary factor in attracting many to a game was its premise; the experience alluded to by its characters, themes and imagery. Here a player chooses a game because it allows him to experience a particular fantasy, of being a racing driver, adventurer or soldier. The underlying fantasies that a player has about a game may be of a general theme, such as the desire to win a race, be a soldier or rescue a princess, or they may be more complex and specific. Gamers may desire to experience a particular interplay between certain types of character, such as between a man and his evil relative, as with Zidane and Kuja in Final Fantasy IX. They may want to explore the interplay between two opposing concepts, such

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OCEAN PARK : A PLAYGROUND UNDER THE OCEAN

Can you remember when you discovered video games?

You probably remember the outlandish descriptions of the games on the back of the boxes, "You are Earth's last hope! Destroy the evil Zarg Empire before it wipes out humanity!" Or, "Brave the terrors of the Forest of Auria and rescue the beautiful princess!" Of course, to the trained eye, the Zarg empire was a number of small blocky shapes that stuttered across the screen, and the Forest of Auria was either a collection of ASCII characters or a short text description, but to the young mind that read these descriptions, video games were a gateway to the kinds of experiences previously only offered by dreams, books and cinema, the closest you could get to living in a fantasy world.The attraction was the promise that these games held, through their themes, characters and perspectives; the promise that a young child could explore in safety and daylight the shadowy and indistinct mental world that imposed itself at night.So I began a personal quest to find out everything I could about subjective experience, fantasy and imagination, a quest culminating in the writing of this, which I hope is of use and interest to gamers and developers alike.What I want are words that I could use to describe the experience.

The primary factor in attracting many to a game was its premise; the experience alluded to by its characters, themes and imagery. Here a player chooses a game because it allows him to experience a particular fantasy, of being a racing driver, adventurer or soldier.

The underlying fantasies that a player has about a game may be of a general theme, such as the desire to win a race, be a soldier or rescue a princess, or they may be more complex and specific. Gamers may desire to experience a particular interplay between certain types of character, such as between a man and his evil relative, as with Zidane and Kuja in Final Fantasy IX. They may want to explore the interplay between two opposing concepts, such as the fight between democracy and tyranny in a strategy game, or the balance of good and evil in Black and White. Or commonly, to experience a particular character in a particular situation, such as the popular theme of the lone warrior in a post-apocalyptic world. Younger gamers often see game characters and situations as imaginatively real.it is clear from this evidence that underneath the surface there is a complex, imaginative relationship between a player and a game, a relationship that underlies the literal and technical aspects of a game and merges with the players world and inner life.

OCEAN PARK : THE CONCEPT:

There is a big big gap in the world of games .

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So far all games that children between the ages of 4 and 12 play are in space or on the earth or off planet . So far there is no game that is underwater . And because it is such a marvelous, perfect fit for Oceans Heroes it seems worthwhile to take a look at the possibilities.The line extensions possible with this are numerous , from in pack promos to on ground events at pools , on the beach to web games and communities that can be built online for children and their moms and siblings to join .The first and foremost flag that must go up is safety.At all costs , the game MUST signal safety to all parents and children. Not only that let us try make the game , whether on cd or on the web , a game that will deliver more than just entertainment .Not only will this help build parents acceptance , it is also extremely good CSR to build a brand that gives more than expected .It will add immensely to brand equity and besides it is the right thing to do.

The use of the characters : starfish , clownfish dolphin, octopus sea horse are amenable, friendly creatures and seen as can be used to telegraph role models for the children.

In fact if at one level the game can allow a mom and kid interaction it will do wonders for the ready acceptability because it will allow an often stressed , overworked mother to get some valuable face time with the child .Once the mother knows she will be able to play , it will automatically make it a game of choice.

OCEAN PARK : Online Games for Kids & Moms:

It’s a fact of life that children pick up a remote far more readily than they do a storybook.

Not that this is a welcome habit for parents , but since it is recognized as a way of life and peer pressure is almost always evident, any game that a pre schooler [ages 4 up ] plays will have more easy acceptance by parents if they are educative along with being entertaining .More so , if a mother or siblings can play along .

Hence the idea of a multi layered multi player game idea that will incorporate both entertainment and education in a fun way.

To lock into the brand , the theme of underwater must continue as the brand itself is called Oceans Heroes , and the characters are sea horse, dolphin, starfish , clownfish and octopus.

The leaflet has floated the idea of the characters playing in a rock band and once the names are finalized it is a concept that can be built into the game .Maybe a Friday night gig ? Join in the game , practice with them , have a contest and if you win , you can play in the band !

1. Each experience of the game must be a good one and a rewarding one , not monetarily but experientially.

2. Ensure each experience has a learning curve

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3. For eg : can the underwater game have science in it ? Why do fish float ? Or how do you weigh water ?

4. Or can it teach also life skills? How to save a friendly fish from bullies ? How to make new friends ?

217 million people worldwide play online games, according to new figures released by comScore.

The study took into account all sites that provide online or downloadable games but excluded gambling sites. The 217million users account for 28 percent of all people

online .

Yahoo! Games led the pack, attracting 53 million unique visitors.

The fastest-growing Top 10 gaming property was the Wild Tangent Network.

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