The Flow of GRIS

The game is analysed through the lens of behavioural game design, more specifically through the psychologist Csikszentmihaly’s Flow theory. In the following paragraphs I will summarize the content with excerpts from the essay.

“Csikszentmihalyi's concept of Flow is about the focus on experiencing with full involvement. The Flow model closely resembles that of intrinsic motivation: doing things just for the sake of doing them, driven by curiosity. It gives a feeling of empowerment, competence and autonomy. People who often delve into activities with this mentality are defined autotelic.”

“Autotelic people channel all their focus towards one limited area, and aren't distracted. This is exactly what Gris does. The design is focused on enhancing the emotional experience of the main character, not only through music and graphics but all of the elements that go into designing a game. The game flows from one sections to the next seamlessly, devoid of unnecessary distractions.

“The UI is limited. The main menu gives you the option to start a new game, exit or load a previous game. In game, there are a couple of minimal instructions simply telling to press a button. When the player follows the instruction, Gris will demonstrate a new ability. Even the loading screen, a staple in games, is missing. Instead the player explores the world freely without even realizing they are approaching a new section.

“The players are always surprised by a new task, ability or environment. The interactions always change, and it takes them some time to figure them out. However, when they do, they can start breezing through the level. […] Gris feels effortless and does a good job in pleasing the player, who experiences the feeling of reward for managing when the current task is solved. This caters to the need to to please the player, allowing them to experience progress and feel in control.

“In Gris there is razor like focus on ensuring that the gameplay, along with the story, is well paced. It continuously impresses and surprises as the simple mechanics can actually be used in several different ways. […] This requires lateral thinking from the player to solve the puzzles: Gris is very creative in that sense as well. However they are never as hard as to break the flow the player is in the moment. The player still feel in control. Once they complete the task, they will forget the hardships and mainly remember the effortlessness.

“[…] Gris is always clear about the current goal. There is never any mystery on what the situation is and what should be done next (and yet again, this is another characteristic of Flow). Gris guides the player through subtle environmental elements like lighting contrast, assets' size and shape or camera movements without them even realizing it. [..] The camera also zooms out always at the perfect time, showing the entire environment when necessary. This both pleases the eye with the wonderful graphics and gives an idea of where we are, what we are up against. In that sense, the elements all always go hand in hand: the emotional side of Gris doesn't hinder the gameplay. Everything caters both to our emotional turmoil as we follow her journey, and our own journey as players. And so we are fully immersed in the world of Gris.

“The game is a four hour experience. It might be short for a video game, but in that time is condensed a whole life experience. The trauma, the storm of feelings and the roller coaster of recovery. The abstract way this story is represented makes it relatable to a large part of the audience: everyone can relate to pain and the consequent turmoil.”

Read the full essay “Nomada Studio’s Gris - The Emotion in the Gameplay”.