Written analysis — Ella Russell

Fruit Ninja Analysis

Brief: In this assignment students will play a digital game and critically evaluate it using the Mechanics-Gameplay-Experience analytic model from Robert Zubek's book, Elements of Game Design (Zubek 2020, Ch. 1, Elements). This analysis will need to be supported with additional insights and perspectives drawn from relevant academic literature.

Introduction
The straightforward phone game Fruit Ninja developed by Halfbrick (2010) will be analysed using Zubek’s (2020) Mechanics-Gameplay-Experience model. The review also covers analysis of design and aesthetics accompanied by evaluation of the app’s cultural impact. The combination of simple actions and goals provides a gratifying and enjoyable game experience. The game's premise is simple: slice fruits as they are thrown into the air while avoiding bombs to win points. The games popularity has grown significantly since its introduction in 2010 with over a billion downloads (Makuch, 2018).

A Ninja’s Overview
Fruit Ninja's gameplay is simple but addictive. One of the most important aspects of Fruit Ninja's gameplay is its simplicity. The game is simple to learn and may be enjoyed by players of all ages. The game's accessibility also allows users to pick it up and play for short periods of time, making it ideal for on-the-go gaming. The difficulty of the game grows as players move through missions and gameplay such as increased pace or time barriers, keeping the game challenging and intriguing.

The following Figure 1 provides visual premise for the basic system categorised into the mechanics-gameplay-experience model.

Evaluation

Mechanics

A technical overview of mechanics based on Sicart's (2008) study allows for an extended formal analysis based on Zubek's (2020) definition of mechanics, which describes the basic activities in the game and the rules that govern them. Sicart (2008) suggests that primary mechanics are easily accessible, demonstrated in Fruit Ninja by the swipe motion to stimulate a “blade” to complete the fruit cutting. Consequently, these are systemic core mechanics that are consistent and are used by agents to attain a systemically rewarded end-game result (Sicart, 2008). Therefore, Fruit Ninja is an example of concentrated game design, with limited player actions that are tweaked to create emergent gameplay (Juul, 2005, pp. 67–83). As a result, a plausible relationship exists between the mechanics design and its potential impact on the player experience. This relationship leads to the conclusion that the game lacks a variety of modifications to the mechanics' core interaction patterns. A result of breaking player expectations is absent which may impede emotional experience (Sicart, 2008).

Gameplay and Player Experience
Fruit Ninja’s design and capability means there is motivation to return to the game. This is due to the mechanics and gameplay. The Koster Model evaluates this player experience, based on a fundamental drive for player motivation: the joy of learning and improving (Sicart, 2008, pp. 36-37). From this conclusion, the game is grounded by sense pleasure, obstacle and reward, which emulates Yee’s model (Sicart, 2008, pp. 40-41). This model (Figure 2) suggests that there is reason for player motivation. This is evident as the game offers components that access each category. For example, the leader board creates social aspects and the increase in game play pace creates a sense of chaos and highlights action.

There are different gameplays (Figure 3), which keeps the system engaging via variety. There is an underlying core gameplay, which the user engages with in a cyclical matter at a micro loop frequency (Figure 4). The fact that the micro loop is the core loop suggests that the micro-level activities provide challenge and keep the player interested (Zubek, 2020, pp. 109-111). With this simple structure in mind, it could be argued the game can contribute to feelings of boredom. One user hinted at Flow Theory, meaning when they get ‘into the zone’ it can “provide endless hours of mindless and finger numbing swiping fun”. It is also notable that “it might get a little boring after some time, but I still find myself playing this game once a week.” (dhruvstarz, 2011). This suggests that after long time periods the game does not offer enough challenge for the user, but this may be disregarded when coming back to play at a different time. This makes for quick reward in short time periods.

Design and Aesthetics
Fruit Ninja's design is another component that adds to its success. The game's aesthetics are colourful and lively, making it visually enticing to gamers. The game's sound effects are particularly well-crafted, with a pleasing sound accompanying each fruit slice. The game's design also helps to its accessibility. The huge fruits and basic gameplay mechanics make it straightforward for players to see and comprehend what they need to do. Furthermore, the intuitive user interface and simple graphics that allows the game to run smoothly. Additionally, the 3D effects and varied fruit spatter provide a cartoonish realism to the game (Figure 5).

Another noteworthy part of Fruit Ninja's architecture is the character design. The game features a cute fruit-slicing ninja avatar (Figure 6) who has become an iconic character in the mobile gaming world. The character design is simple yet recognisable, providing a means for players to recall the game and its brand.

Cultural Impact
The influence of Fruit Ninja on mobile gaming culture cannot be emphasised. The game has become a cultural phenomenon. Halfbrick’s solid marketing strategy induced a relevant media presence in areas of popular culture. Most notably, Drake’s Hotling Bling music video was ‘Fruit Ninjafied’ which gained a lot of attention (Doyle, 2016). The success of the game has also had an impact on the mobile gaming industry. The game has aided the rise of casual gaming (Investigating News Network, 2021).

Although Fruit Ninja is a great space for casual gaming some of the features have reason to cause concern if overused. According to Shi et al. (2019), participants described mobile and non-mobile games being modelled after gambling principles and found games to be addictive. Buying in game currency to ‘level-up’ could trigger a gamer into these psychological loops, making this purpose as their main source of motivation to play. Furthermore, King et al. (2009) found that leader boards can encourage players to participate continuously over long periods which contributes to the adverse consequences of excessive playing highlighted by (Blaszczynski, 2007). This could be detrimental to a gamer’s experience and even wellbeing.

Conclusion
In conclusion, Fruit Ninja’s accessibility and simplicity makes playing an easy and attractive proposition. This evident through the analysis and evaluation of mechanics, gameplay, player experience, design aesthetics and cultural impact.

References
Blaszczynski, A. (2007). Commentary: A Response to “Problems with the Concept of Video Game ‘Addiction’: Some Case Study Examples.” International Journal of Mental Health and Addiction, 6(2), 179–181. https://doi.org/10.1007/s11469-007-9132-2

dhruvstarz. (2011, August 28). Fruit Ninja. GameSpot. https://www.gamespot.com/fruit-ninja/user-reviews/2200-565437/

Doyle, E. M. (2016, June 22). Fruit Ninja’s Marketing Strategy: Pop Culture & Instagram. B&T. https://www.bandt.com.au/fruit-ninja/

Halfbrick. (2010, April 10). Fruit Ninja - Halfbrick. Www.halfbrick.com. https://www.halfbrick.com/games/fruit-ninja

Investigating News Network. (2021, March 10). With over 1.8 billion downloads, Storms and Halfbrick Studios Bring Instantly Playable Fruit Ninja and Jetpack Joyride Games to the Emerging Markets - Investing News Australia. Investingnews.com.au. https://investingnews.com.au/with-over-1-8-billion-downloads-storms-and-halfbrick-studios-bring-instantly-playable-fruit-ninja-and-jetpack-joyride-games-to-the-emerging-markets

Juul, J. (2005). Half Real. Videogames between Real Rules and Fictional Worlds. (pp. 67–83). Cambridge, Massachusetts: The MIT Press.

King, D., Delfabbro, P., & Griffiths, M. (2009). Video Game Structural Characteristics: A New Psychological Taxonomy. International Journal of Mental Health and Addiction, 8(1), 90–106. https://doi.org/10.1007/s11469-009-9206-4

LLC, C. (2015). Sensei (Fruit Ninja) Minecraft Skin. Planet Minecraft. https://www.planetminecraft.com/skin/sensei-fruit-ninja-3448079/

Makuch, E. (2018, March 12). After 1 Billion Downloads, Fruit Ninja Developer Is Cutting Staff. GameSpot. https://www.gamespot.com/articles/after-1-billion-downloads-fruit-ninja-developer-is/1100-6457355/#:~:text=Fruit%20Ninja%2C%20a%20free%2Dto

Shi, J., Renwick, R., Turner, N. E., & Kirsh, B. (2019). Understanding the lives of problem gamers: The meaning, purpose, and influences of video gaming. Computers in Human Behavior, 97(97), 291–303. https://doi.org/10.1016/j.chb.2019.03.023

Sicart, M. (2008). Defining Game Mechanics. Game Studies, 8(2). https://gamestudies.org/0802/articles/sicart#:~:text=Game%20mechanics%20are%20used%20to

Zubek, R. (2020). Elements of Game Design. MIT Press.