This involves defining which parts of the game are actually "the game,"
maybe an example of this could be - playing GTA, driving a car which is normal, in real life and in the game but the difference or defining which part of the game are actually "the game" could be driving rash, illegally and irresponsibly.
These are techniques which make a player feel like he or she is playing the game, and not being "played" by it. And yes, these can even be implemented even in story-based games.
These techniques are hard to fully depict but if the game is able to do this then it is a successful game.
which make us "root for," or identify with, a given character
an emotional bond with a character in a game goes a long way and helps the aesthetics.
graphics alone were enough to make a great game, but players are becoming increasingly dissatisfied with experiences that lack in emotional breadth and depth
Graphics will never be enough to make a good game, it might be pleasing to look at the game but graphics alone do not give out the aesthetics of a game. Players will play a game maybe once or twice just for its graphics but when a player learns, or emotionally relates to a game, that is when a game can be termed as a good game.
Interesting to note how a player's expectations of generic conventions can have such a huge effect on the emotions created. Like if you can fight monsters, players assume you should be able to do so at least semi-effectively because that's how they've learned combat systems are "supposed to work." (Chekhov's combat system?) Balancing the necessity of failure or "death" for tension with the risk that repeated failures could also undermine the drama by highlighting the artificiality of the game seems like a very difficult thing to get right. I also think the idea of a player noticing the feedback systems and becoming more immersed because they "trust" the game to provide them a consistent experience is fascinating because that seems counter to the usual notion of "immersion." Designing the sanity system more as a continuous "mood feature" rather than a discrete mechanic based on resources seems like a clever adjustment to generic conventions. Allowing a negative feedback system invisibly advantage a player, avoiding players unknowingly "dooming" their game state, seems so counter to the hostile posture of a horror game but it's interesting to note how many very influential horror titles use the technique. Interesting how much of the game design of Amnesia was about minimizing frustration in the immediate gameplay, but still creates discomfort in other ways. Like how players being frustrated by a "bad" combat system was something to be avoided, yet removing the ability to fight back also could be seen as creating a different sort of frustration, as it disempowers players who may resent being "forced" to run.
It was also interesting to know about the blog which spoke about playing GTA 4 as a law abiding citizen and following all laws. Hearing conversations and abuses while walking the streets. All of these situations are inspired from our daily lives but we tend to miss them or ignore them as there are so many other attributes which require more of our attention.