A Play within a Play

"From the moment the first cut scene plays, we're immediately assaulted with Emotioneering techniques. A beautiful and mysterious flower-girl walks the streets of the grotesquely industrialized city of Midgar. We're intrigued and pulled in by the girl. Who is she? The mystery motivates us to keep playing. Freeman calls mysteries a 'motivation technique.' The visual incongruence of the fantastical city pulls us out of our reality and into that of the game's in an emotionally resonant way. Visual incongruence is a "world induction technique," because it pulls the player into the fantasy world. "Moments later, the main character, Cloud , nimbly leaps from a train and prepares for combat. By the cut scene's end, we already know Cloud is an athletic action hero looking for a fight. Cliché? Just keep playing; a cliché Cloud is not. " Bruce Nielson highlights the long-lasting player endearment to Final Fantasy VII's characters as an example of "Emotioneering" in game design.

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