Player Classification Model

Bartle’s Taxonomy

Richard Bartle’s Player Typology, commonly referred to as Bartle’s Taxonomy, is a framework used in game design and psychology to categorize different types of players based on their motivations and preferred activities within games. Bartle first proposed this model in his 1996 paper Hearts, Clubs, Diamonds, Spades: Players Who Suit Muds, which was based on observations made during the operation of early text-based multiplayer games known as Multi-User Dungeons (MUDs).

Bartle’s Taxonomy is often visualized using a two-axis graph, with the axes representing the focus of interaction (with other players vs. the game world) and the type of action taken (exploring vs. manipulating). Each player type is situated at one of the four quadrants formed by these axes and categorizes players into four distinct types: Achievers, Explorers, Socializers, and Killers. This model can also be applied to MMORPGs nowadays.

1. Achievers Achievers are players who are primarily motivated by gaining status and achieving goals within the game. They are driven by numerical progression, such as increasing levels, acquiring better equipment, and attaining high rankings on leaderboards. In MMORPGs, Achievers often participate heavily in questing, dungeon runs, and raids where they can demonstrate skill and progress through the game’s structured systems.
2. Explorers Explorers are curious about the game world and its mechanics. They enjoy uncovering hidden areas, understanding complex systems, and experimenting with the boundaries of what is possible within the game. MMORPGs cater to Explorers by providing vast worlds with detailed lore, hidden quests, and Easter eggs that reward those who venture off the beaten path.
3. Socializers Socializers prioritize interactions with other players over individual achievements. They enjoy forming guilds, chatting, trading, and collaborating on tasks. MMORPGs facilitate Socializers by offering features like guild systems, chat channels, trading posts, and social events. These elements encourage community building and provide platforms for players to connect and engage socially.
4. Killers Killers, also known as Disruptors, are players who enjoy impacting other players negatively, often through competitive or adversarial means. They may enjoy player-versus-player (PvP) combat, manipulating situations to their advantage, or griefing (intentionally disrupting other players’ experiences). MMORPGs with robust PvP systems or complex political structures within guilds and factions can attract Killer-type players by offering them arenas for competition and conflict.

In MMORPG (Massively Multiplayer Online Role-Playing Game) environments, the typologies of players tend to manifest quite distinctly. Alongside this clear delineation, there also exist invisible barriers and chains of disdain, often referred to as a “pecking order” or a “hierarchy of contempt,” which can subtly influence interactions and community dynamics within these virtual worlds.

These invisible walls and hierarchies can stem from various factors including, but not limited to, player skill level, gear quality, and in-game achievements. For instance, some Achiever players might look down upon Socializers for not being as focused on tangible accomplishments, while Explorers might feel disconnected from Killers due to differing interests in the game’s mechanics.

Understanding these allows MMORPG designers to create more balanced and engaging environments. For example, incorporating diverse quest types, crafting detailed lore, and ensuring robust social and competitive systems can cater to all four player types simultaneously. Additionally, designers can use Bartle’s model to predict potential player behavior and adjust game mechanics accordingly to enhance overall player satisfaction and retention and minimize the barriers between players. Moreover, Bartle’s Taxonomy can be useful for marketing and player recruitment efforts. By tailoring promotional materials and game features to appeal to each player type, developers can attract a broader audience and ensure that different playstyles are supported within the game.

It’s also important to note that most players do not fit neatly into one category and can exhibit characteristics of multiple types. Moreover, a player’s classification can change depending on the game context or over time as their interests evolve. Bartle’s Taxonomy has been influential in game design as it helps developers understand player motivations and create content that caters to diverse player types.

Lazzaro’s player model

Linda Buckey Lazzaro, often referred to simply as Lazzaro, is a notable figure in the field of game studies and has contributed to the understanding of player motivations and game design through her work on player experience models. Her research focuses on the emotions and motivations that drive players in interactive entertainment, particularly in digital games.

Lazzaro’s player model differs from Richard Bartle’s taxonomy by emphasizing the emotional responses that games evoke rather than the activities players engage in. According to Lazzaro, there are eight basic emotions that are fundamental to the enjoyment of games:

Fun: The feeling of amusement and lighthearted joy.

Frustration: The irritation experienced when progress is hindered.

Flow: The state of being completely absorbed in an activity, losing track of time and self-consciousness.

Fantasy: The immersion in a fictional world, often accompanied by a sense of escapism.

Competition: The thrill derived from competing against others or oneself.

Cooperation: The satisfaction gained from working together with others towards a common goal.

Challenge: The motivation to overcome obstacles and push personal limits.

Curiosity: The drive to explore and discover new information or experiences.

Lazzaro’s model suggests that game designers should aim to balance these emotions in their creations to provide a well-rounded and engaging experience for players. She argues that the interplay between these emotions can significantly impact player satisfaction and engagement and that understanding these dynamics is crucial for crafting compelling games.

Her research extends beyond the identification of these emotions to include practical guidelines for how game designers can implement these concepts effectively. She advocates for designing games that allow players to experience a range of emotions, which can lead to a deeper and more fulfilling gameplay experience, it contributes to a more nuanced understanding of why people play games and what makes them emotionally invested in the gaming experience, and complements other player typologies by providing a framework that considers the emotional underpinnings of player behavior and preferences.

Lazzaro’s model can be seen as a layer that enriches our understanding of player motivations beyond mere behavioral patterns. She identifies several key emotional drivers that are central to the gaming experience:

Simple Fun (Easy Fun): This refers to the immediate joy and amusement that comes from straightforward and accessible game elements. A match-3 puzzle game, such as Candy Crush Saga or Bejeweled, serves as an excellent illustration of the concept of “easy fun.” Easily accessible, and readily understandable enjoyment, it is associated with intuitive gameplay, instant rewards, and a relaxed atmosphere.

Hard Fun (Tough Fun): The satisfaction derived from overcoming challenges and mastering difficult aspects of the game. Known for its high level of difficulty, Dark Souls requires players to constantly try, learn, and adapt to its intricate combat system and level designs. When players finally defeat a particularly challenging boss or pass through a difficult area, they will experience immense feelings of achievement and satisfaction.

People Fun (Social Fun): The enjoyment that comes from interacting with other players, whether it’s cooperative or competitive. Overwatch is a multiplayer online team-based first-person shooter game that emphasizes teamwork and coordination among characters. Players need to communicate with their teammates, formulate strategies, and work together to confront enemy teams, thereby gaining the joy of social interaction.

Serious Fun (Meaningful Fun): The enjoyable experience that can bring about real-world changes or possess profound significance. The game that encapsulates the concept of “serious fun” is That Dragon, Cancer, which is a profoundly personal and poignant game created by Ryan Green and Amy Green, alongside developers Josh Larson and Joni Sjogren. This game is an intimate reflection on the family’s experience living with their son Joel, who was diagnosed with terminal cancer at 12 months old. These emotions can be mapped onto different player types to provide a more comprehensive view of what drives specific behaviors:

Achievers might be more drawn to Hard Fun, as they seek challenges and opportunities to demonstrate their skills and prowess.

Explorers could be motivated by the curiosity aspect of Simple Fun, as well as the Serious Fun found in deep narratives and complex game worlds.

Socializers are likely to seek People Fun, enjoying the interactions and connections with other players.

Killers might find satisfaction in the competitive aspects of People Fun and the challenges of Hard Fun.

Lazzaro’s model also includes the concept of “Flow”, the state of intense focus and enjoyment where players lose track of time and are fully immersed in the game. This concept is particularly relevant across all player types as it describes a universal aspiration for a deeply satisfying gaming experience.

By considering both the behavioral and emotional aspects of players, game designers can create more engaging and inclusive games that cater to a wide range of player motivations and preferences. Understanding these emotional drivers can help tailor game mechanics, narrative, and social features to meet the needs of diverse audiences, enhancing overall player satisfaction and game longevity.