HGSET545

Mr. Porter attributed the game’s success to its real-time feel. Players can watch animated playbacks of their teammates trying to guess their creation before taking their turn. The word choices are another big selling point; in addition to standard selections like “orange” and “dynamite,” the game is liberally infused with pop culture references, like members of the Wu-Tang Clan and Skrillex, a dubstep DJ. “We’re also benefiting from hitting at a time when a lot of people are moving from feature phones to smartphones,” he said. Mr. Porter thinks that just as Facebook has a social graph — the people its users want to be friends with — OMGPop can learn more about its “gamer graph,” or the people their users like to play games with. “It’s really about relationships,” he said  of the game. “How well do I know you and can guess what you drew. That is part of the fun.”

In order to design a game for broader audiences, the in-game experience can’t be linear and static. Instead, it needs to offer a wide coverage of potential experiences to fit in different players’ Flow Zones

To expand a game's Flow Zone coverage, the design needs to offer a wide variety of gameplay experiences. From extremely simple tasks to complex problem solving, different players should always be able to find the right amount of challenges to engage during the Flow experience.

Once a network of choices is applied, the Flow experience is very much customizable by the players. If they start feeling bored, they can choose to play harder, vice versa.