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Journal of the Philosophy of Games
Covert deceptions, like hidden difficulty adjustments, smooth the player experience without explicit awareness. Overt practices rely on the eventual revelation of the deception.
Think of covert deception as a 'white lie' that makes things easier, while overt deception is a plot twist that makes you…
Deceptive game design functions as a deliberate, transgressive practice that intentionally misguides players regarding the implied designer’s intentions to elicit specific aesthetic or emotional responses. By subverting standard user-centered design conventions, developers employ ludic unreliability—a state where a game’s signals diverge from its actual functionality—to foster meta-reflexive and critical engagement. Rather than serving as a flaw, this strategic manipulation transcends traditional design paradigms to create nuanced experiences that challenge the player’s relationship with the medium.
These practices are categorized into covert and overt deceptions. Covert deceptions, such as hidden difficulty adjustments or coyote time, function as white lies intended to smooth the player experience without their explicit awareness. In contrast, overt deceptions utilize the eventual revelation of the lie to disrupt player expectations. Titles such as Undertale, Metal Gear Solid 2, and Dark Souls exemplify this approach, using calculated subversions to force players to re-evaluate their assumptions about game mechanics and narrative reliability.
Ultimately, the intentional use of ludic unreliability serves to cultivate a critical stance toward established industry tropes. By forcing players to confront the discrepancy between the game’s projected reality and its underlying mechanics, designers encourage a deeper, more analytical form of play. This framework shifts the focus from mere user satisfaction to a sophisticated dialogue between the developer and the player, where the act of being deceived becomes a catalyst for a more profound understanding of game design theory and the nature of interactive media.
Journal of the Philosophy of Games · 2024
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