Aspects of Play: Stunt Pilot 2

As part of the module, the task was to look into the various types of games within the 3 specific bands of play. The band this game I shall be discussing ‘Stunt Pilot 2’ belongs to is Internet Based.


When playing Stunt Pilot 2, I found that it belonged to the following categories of play in relation to Roger Caillois’ theory of play; Mimicry, Agon, Illinx and Alea

In terms of Mimicry, the player takes control of a stunt plane of which the objective is to avoid crashing into various obstacles in an attempt to make it to the end of the level and thus complete the entitled ‘stunt’. Agon does make a brief appearance within the game, as the highscore section at the menu screen that allows the player to compare their score with other players. Illinx does appear in this game, at least from my perception at least, as the controls for the game were very disorientating to pilot the plane itself. Alea makes an appearance in a small instance of the movable obstacles being in a random motion path that have the ability to block the player and cause failure.

In terms of the elements in this game that I liked, I really liked the dynamic of the level and the behavioural enforcement of having things easily cause failure to have the player replay the game more often.

State of Flow, was it achieved?

No. I found that the motor controls of the plane were too noticeable and annoying for me to instigate flow and appreciate the challenge of the game. Also I didn’t feel like the game has a credible motivating factor to play it.

If I were designing a game similar to this, I would add a motivating factor that would systemically persuade the player on a subconscious level to continue playing the game, because after I died on my first run of playing this game, I didn’t care for replaying it because it seemed pointless. I did so out of desire to see more elements of the game, but looking from a general player perception, there needs to be something more substantial to make it more interactive and replayable.


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