Werewolves, cheats, and cultural sensitivity

This paper discusses the design and evaluation of the system MIXER (Moderating Interactions for Cross-Cultural Empathic Relationships), which applies a novel approach to the education of children in cultural sensitivity. MIXER incorporates intelligent affective and interactive characters, including a model of a Theory of Mind mechanism, in a simulated virtual world. We discuss the relevant pedagogical approaches, related work, the underlying mind model used for MIXER agents as well as its innovative interaction interface utilising a tablet computer and a pictorial interaction language. We then consider the evaluation of the system, whether this shows it met its pedagogical objectives, and what can be learned from our results.</p

To boldly go… : designing an agent-based intercultural training tool

People from all over the world must live and work together in today’s society. Such integration is not always a smooth process, and interactions with people from other cultures may lead to misunderstandings or even outright conflicts. In the last few years, researchers and practitioners have been working on creating digital tools that can be used to mediate these misunderstandings and conflicts. These tools typically involve interactions with so-called intelligent agents, i.e. virtual characters that are able to take decisions autonomously, that behave as if they are from another culture. The aim of these interactions is to make potential trainees experience how misunderstandings can shape interactions with and perceptions of people from other cultures. In this work, we take the first steps in the design of a digital culture-general training tool to help young adults deal with misunderstandings or conflicts due to differences in culture, through interactions with intelligent agents. We have posed the following design research questions and found the following answers: Which concepts are required to describe the design of a digital culture-general training tool involving agents that show culturally varying behaviour? The answer to this question can be found in the glossary, which presents the key concepts that have been used in this work to create agents that show culturally varying behaviour and to create scenarios that incorporate these agents to increase the intercultural competence of trainees. Can we use theories of culture to create scripted scenarios in which virtual characters behave appropriately for a given culture? To answer this question we designed scripted scenarios in which virtual characters show culturally varying behaviour based on a theory of culture. To ensure that the behaviours of these virtual characters were representative of real-life cultural differences, we conducted an evaluation with people from a wide range of cultures. The results show that the dimensions of culture can be used to generate culturally varying behaviour in agents, but that extensive (pre)testing is required to ensure that the underlying intention of the characters’ behaviour aligns with the users’ interpretation of that behaviour. Can we identify requirements for sociocultural agents that can help them to make sense of their social world? To answer this question we focused on describing important concepts of social interactions based on theories from sociology and psychology. These concepts are incorporated into a conceptual model for socio-cultural agents that can be used to describe their social world. The model differentiates between three levels of analysis: the interaction, the group, and the society. These levels range from being more specific, and thus more visible, to more abstract, and thus less visible, and help us to understand how each level affects interpretation and behaviour. Can we create intelligent agents that can vary their behaviour depending on the culture to be simulated? To answer this question we described the creation of intelligent agents that show culturally varying behaviour. We use an existing model to create believable social interactions, in which agents attribute, claim, and confer social importance in their interactions with other agents and users. Social importance is a way to measure the importance of a certain individual in the eyes of others. The strength of attribution, claims, and conferrals was varied using cultural modifiers. The generated behaviour of the agents was then evaluated to ensure that the intelligent agents showed behaviour representative of a given culture. The results suggest that it is possible to create intelligent agents that can act out appropriate culturally varying behaviour for a given culture. Can we create critical incidents, involving intelligent agents that show appropriate behaviour for given cultures, through which potential trainees become more sensitive to and knowledgeable about differences across cultures? To answer this question we focused on applying different methods of intercultural training in the design of a digital culture-general training tool. These methods were incorporated into critical incidents, in which users can interact with intelligent agents. To ensure that the critical incidents led to an attribution of perceived differences in behaviour to specific differences in culture and to (potential) trainees becoming less judgemental of inappropriate behaviours by people from different cultures, the tool was evaluated by two groups of students. The results suggest that it is possible to create agent-based critical incidents to make potential trainees more knowledgeable about differences across cultures. Contributions The findings to our design research questions represent a set of important contributions to the field. First, we have identified and structured important concepts to better understand the design and implementation of socio-cultural agents and the design of critical incidents that involve these agents for intercultural training. Second, we have described and used models that help to define the simulated world of the agents and help them to navigate through that world. Third, we have attempted to systematize the process of creating scenarios involving agents that show culturally varying behaviour through a set of guidelines that need to be met to ensure that the behaviour of socio-cultural characters is properly evaluated. Fourth, besides conceptual elements, we have also created practical implementations that can freely be used and modified by others. In our work, we have only taken the first steps in designing a digital culture-general training tool. Additional work on the generalization and validation of the critical incidents and the behaviours of the agents is still required; however, we believe that our results show our approach to be viable. We believe that future work will have to focus on three fields: understanding how trainees can be emotionally engaged in the scenarios, systematizing the process of using model-driven approaches to generate socio-cultural behaviour, and using the design outputs in different contexts and with different people from different cultures.</p

Gender stereotypes in virtual agents

Visual, behavioural and verbal cues for gender are often used in designing virtual agents to take advantage of their cultural and stereotypical effects on the users. However, recent studies point towards a more gender-balanced view of stereotypical traits and roles in our society. This thesis is intended as an effort towards a progressive and inclusive approach for gender representations in virtual agents. The contributions are two-fold. First, in an iterative design process, representative male, female and androgynous embodied AI agents were created with few differences in their visual attributes. Second, these agents were then used to evaluate the stereotypical assumptions of gendered traits and roles in AI virtual agents. The results showed that, indeed, gender stereotypes are not as effective as previously assumed, and androgynous agents could represent a middle-ground between gendered stereotypes. The thesis findings are presented in the hope to foster discussions in virtual agent research and the frequent stereotypical use of gender representations

Cultural literacy acquisition through video game environments of a digitally born generation

[ES] Los videojuegos modernos son complejos, diversos, inmersivos y muy extendidos, y su influencia en la sociedad y en las personas es muy profunda. Al principio, los videojuegos y sus impactos fueron demonizados, pero con el tiempo los estudios empezaron a evaluar sus efectos positivos en las competencias y habilidades relacionadas con las destrezas del siglo XXI, entre las que se encuentra la alfabetización cultural. Esta tesis sigue esta tendencia y examina el modo en que los juegos de entretenimiento comerciales, los juegos serios, los juegos educativos y las simulaciones pueden ayudar a los jugadores en su aprendizaje y en la adquisición de destrezas que mejoran su alfabetización cultural. Un análisis de las tendencias comunes en las destrezas y competencias necesarias para tener éxito en el siglo XXI (estudiadas por la UNESCO, el British Council, IBM, Google, LinkedIn y el Foro Económico Mundial) reveló que para vivir en un mundo VUCA (volátil, incierto, complejo y ambiguo) hace falta un modelo nuevo y actualizado de la alfabetización cultural. Esta tesis propone tal modelo. Se hizo una revisión de la literatura reciente sobre el impacto y los resultados de los videojuegos. Dicha revisión mostró que los videojuegos pueden reforzar o debilitar los estereotipos, que ayudan a adquirir conocimientos culturales y a desarrollar la alfabetización intercultural, la alfabetización sociocultural, la conciencia cultural, la autoconciencia y el entendimiento cultural de diferentes espacios geopolíticos, y que hasta cierto punto facilitan el desarrollo de las habilidades interculturales. El corazón de la tesis es una investigación sobre la efectividad de los videojuegos en el abordaje de problemas sociales difíciles como son los movimientos migratorios y la crisis de refugiados. Se realizaron dos estudios, uno cuantitativo y otro cualitativo, que obtuvieron resultados alentadores para los creadores de videojuegos de empatía. Muchos participantes informaron que sintieron más empatía y menos rechazo hacia los migrantes y refugiados, así como una mayor motivación para ayudar de forma activa a gente necesitada. Se hizo, además, una encuesta amplia que dio a conocer los géneros de entretenimiento AAA, los personajes, los elementos de juego y las características que los nativos digitales encuentran atractivos, así como los que echan en falta y que les gustaría ver en el futuro. Los hallazgos también confirmaron que los juegos no son solamente una fuente de diversión, sino también de mucho aprendizaje. El inglés, las bases de la informática, el pensamiento estratégico, la geografía y la historia, el trabajo en equipo, conocimientos culturales, el cambio de perspectiva y la creatividad... todo esto se aprende y refuerza con los videojuegos. Las evidencias presentadas en esta tesis sugieren que hay una demanda para herramientas que faciliten la educación intercultural. El punto culminante de esta tesis es el diseño de Chuzme, un juego educativo digital que pretende elevar la autoconciencia (cultural) y el reconocimiento del sesgo cultural con el fin de generar actitudes positivas hacia los migrantes, refugiados y expatriados. En resumen, esta tesis apoya la idea de que los videojuegos facilitan la adquisición de la alfabetización cultural y aporta pruebas de que los videojuegos proporcionan beneficios culturales, sociales y comunicativos que espere animen a los profesores a integrar activamente los videojuegos en su práctica docente. Descriptores: investigación sobre videojuegos, impacto de los videojuegos, comunicación intercultural, aprendizaje basado en juegos, alfabetización cultural[CA] Els videojocs moderns són complexos, diversos, immersius i molt estesos, i la seva influència en la societat i en les persones és molt profunda. Al principi, els videojocs i els seus impactes van ser demonitzats però amb el temps els estudis van començar a avaluar els seus efectes positius en les competències i habilitats relacionades amb les destreses del segle XXI, entre les quals es troba l'alfabetització cultural. Aquesta tesi segueix aquesta tendència i examina la manera en què els jocs d'entreteniment comercials, els jocs seriosos, els jocs educatius i les simulacions poden ajudar els jugadors en el seu aprenentatge i en l'adquisició de destreses que milloren la seva alfabetització cultural. Una anàlisi de les tendències comunes en les destreses i competències necessàries per tenir èxit en el segle XXI (estudiades per la UNESCO, el British Council, IBM, Google, LinkedIn i el Fòrum Econòmic Mundial) va revelar que per viure en un món VUCA (volàtil , incert, complex i ambigu) cal un model nou i actualitzat de l'alfabetització cultural. Aquesta tesi proposa aquest model. Es va fer una revisió de la literatura recent sobre l'impacte i els resultats dels videojocs. La dita revisió va mostrar que els videojocs poden reforçar o debilitar els estereotips, que ajuden a adquirir coneixements culturals i a desenvolupar l'alfabetització intercultural, l'alfabetització sociocultural, la consciència cultural, l'autoconsciència i l'enteniment cultural de diferents espais geopolítics, i que fins a cert punt faciliten el desenvolupament de les habilitats interculturals. El cor de la tesi és una investigació sobre l'efectivitat dels videojocs en l'abordatge de problemes socials difícils com són els moviments migratoris i la crisi de refugiats. Es van realitzar dos estudis, un quantitatiu i un altre qualitatiu, que van obtenir resultats encoratjadors per als creadors de videojocs d'empatia. Molts participants van informar que van sentir més empatia i menys rebuig cap als immigrants i refugiats, així com una major motivació per ajudar de forma activa a gent necessitada. Es va fer, a més, una enquesta àmplia que va donar a conèixer els gèneres d'entreteniment AAA, els personatges, els elements de joc i les característiques que els nadius digitals troben atractius així com els que troben a faltar i que els agradaria veure en el futur. Les troballes també van confirmar que els jocs no són només una font de diversió, sinó també de molt aprenentatge. L'anglès, les bases de la informàtica, el pensament estratègic, la geografia i la història, el treball en equip, coneixements culturals, el canvi de perspectiva i la creativitat ... tot això s'aprèn i reforça amb els videojocs. Les evidències presentades en aquesta tesi suggereixen que hi ha una demanda per a eines que facilitin l'educació intercultural. El punt culminant d'aquesta tesi és el disseny de Chuzme, un joc educatiu digital que pretén elevar l'autoconsciència (cultural) i el reconeixement del biaix cultural amb la finalitat de generar actituds positives cap als migrants, refugiats i expatriats. En resum, aquesta tesi dóna suport a la idea que els videojocs faciliten l'adquisició de l'alfabetització cultural i aporta proves que els videojocs proporcionen beneficis culturals, socials i comunicatius que esperi animin els professors a integrar activament els videojocs en la seva pràctica docent. Descriptors: investigació sobre videojocs, impacte dels videojocs, comunicació intercultural, aprenentatge basat en jocs, l'alfabetització cultural[EN] Modern video games are complex, diverse, immersive and pervasive, and their influence on society and people is far-reaching. Video games and their impacts were initially demonised, but over time research started assessing the positive effects of games on competencies and abilities connected to twenty-first-century skills that include cultural literacy. In line with this trend, this thesis examines how entertaining commercial titles, serious games, educational games and simulations can support players in learning and in acquiring skills that enhance cultural literacy. An analysis of the common trends for the skills and competencies needed for success in the twenty-first century ¿studied by UNESCO, the British Council, IBM, Google, LinkedIn, and the World Economic Forum, among other,¿ revealed that living in a VUCA (volatility, uncertainty, complexity and ambiguity) world requires a new, updated model of cultural literacy. This thesis proposes such a model. A review was made of the recent literature on the impact and outcomes of video games, showing that video games can reinforce or weaken stereotypes; help to acquire cultural knowledge and develop intercultural literacy, socio-cultural literacy, cultural awareness, self-awareness, and the cultural understanding of different geopolitical spaces; and to some extent also facilitate the development of intercultural skills. The heart of the thesis is an investigation into the effectiveness of video games for tackling difficult social issues such as migratory movements and the refugee crisis. Two studies were conducted one quantitative and the other qualitative that obtained heartening results for producers of empathy video games. Many participants reported feeling more empathy and less rejection towards migrants and refugees, as well as being more motivated to actively help people in need. Additionally, a broad survey revealed the AAA entertainment game genres, characters, and in-game elements and features that digital natives find attractive and those they miss and would like in the future. The findings also confirmed that games produce not only fun but also a great deal of learning. The English language, the basics of informatics, strategic thinking, geography and history, teamwork, cultural knowledge, perspective change, and creativity are all learnt and reinforced during video game play. The evidence presented in this thesis suggests there is a demand for tools facilitating intercultural education. The high point of the thesis is the design of Chuzme, an educational digital game that focuses on raising cultural self-awareness and the acknowledgement of cultural bias in order to generate positive attitudes towards migrants, refugees and expatriates. In summary, this thesis supports the idea that video games facilitate the acquisition of cultural literacy and provides evidence on the cultural, social and communication bene¿ts of gaming that hopefully encourages scholars to actively integrate video games in their teaching practice. Keywords: games studies; intercultural communication, impact of video games, games-based learning, cultural literacyShliakhovchuk, O. (2019). Cultural literacy acquisition through video game environments of a digitally born generation [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/13084

Everything You Never Wanted to Know about Trolls:An Interdisplinary Exploration of the Who's, What's, and Why's of Trolling in Online Games

Summary Within the world of online gaming, trolling has become a regular menace. While gamers try to connect and socialize with one another, or even simply play the game, there are other gamers – trolls – on the prowl for an entirely different kind of good time, one in which they are enjoying themselves at the expense of everyone else (Chapters 2 and 3). Although trolling is common, and mass-media has latched onto it as a hot topic, it is only recently that the academic community has begun to take a serious look at how trolling occurs in and affects the gaming community at large. However, a lot of this literature is either descriptive in nature (see Thacker & Griffiths, 2012), or jumps ahead to prevention (see Cheng et al., 2017) without taking a deeper look at more than a single underlying motivation at a time. In short, there is a complex and prolific phenomenon happening online, but the research on it is only emerging. This dissertation’s goal is to take a deeper look at trolling as a phenomenon, beyond what has been done so far. More specifically, I aim to figure out a) what trolling is, b) why people do it, and c) who helps and who hinders trolling in online games. To do this, I took four different perspectives: the troll’s (Chapter 2), the researcher’s (Chapter 3), the victim’s (Chapter 4), and the bystander’s (Chapter 5). The purpose of Chapter 2 is to give the troll’s perspective on trolling, something that researchers had yet to do at the time. To do this, I interviewed 22 people who said that they had a history of trolling in online games. More specifically, I asked them about times they witnessed, were victims of, or perpetrated trolling, as well as what they thought about how the gaming community dealt with and felt about trolls and trolling. My goal with these interviews was threefold: I wanted to figure out a) what trolls consider trolling, b) what motivates them to do it, and c) the role of everyone else in game when it comes to encouraging or discouraging more trolling. What I found was that although trolling was almost universally considered a negative part of online gaming culture, and all the trolls in our group of participants started as victims of trolls before becoming trolls themselves, the online community neither encourages nor discourages it, making it an asocial activity. The next chapter allowed me to look at an archive of trolling incidents to find patterns in the way that different people involved in real-life trolling incidents communicate with one another. This public online archive consisted of 10,000 reported incidents of trolling in the popular online game League of Legends, and it included game data like player statistics, as well as everything all the players involved said during the game. Once the data was properly cleaned and prepared, myself and my co-author, Dr. Rianne Conijn, analysed the chat logs in two different ways: structural topic modelling (STM), and a traditional dictionary-based content analysis. In this way, we were able to see what characterized all the different actors – the troll, their victim(s), and the bystanders – and what was similar when it came to their messages. All this information was then compared to what existed already in literature used to describe trolls and trolling and complement what I had learned about trolls from Chapter 2. The key finding was that trolls and their teammates actually share a lot of the negative speech patterns (e.g., profanity, negative emotional content) normally associated with only trolls. Practically, this means that we have to be extremely careful as researchers when labelling trolls for the purpose of study, as we could very easily be falsely labelling victims. After speaking to trolls and looking at trolling interactions broadly, Chapter 4 focuses intently on the victim and their personal experience in a trolling simulation, taking into account their cultural background and values. It is also the first study to directly compare and contrast two different types of trolling: verbal (flaming) and behavioural (ostracism). They are both really common online occurrences, so the participants could easily relate, but they are extremely different in how they are executed, with flaming being vicious insults and ostracism being totally ignoring a person. Our participants were either Dutch, Pakistani, or Taiwanese, so that we could also look at how people from vastly different cultural backgrounds would react to – behaviourally and emotionally – the different kinds of trolling in the study. We simulated a trolling experience by putting our participants in a virtual game of catch with two computerized co-players, who they were led to believe were real people of either the same nationality or a minority member (e.g., a Moroccan immigrant in the Netherlands), who I had programmed to either troll them or silently watch the trolling happen. We found that there are indeed cultural differences when it comes to reactions, as well as differences between reactions to the two trolling types, but the core take-away is that future trolling interventions have to take into account the cultures of the target population as well as the specific type of trolling they are trying to fix or prevent in order to be effective. In the penultimate chapter, I shift the focus one last time to bystanders by putting participants in a game of League of Legends with two confederates who would troll one another throughout the game. This study’s goal was to see what motivated gamers to report trolls to an authority figure (the game developer) using the game’s built-in reporting functions, as the results of Chapter 2’s study suggested that this was an effective trolling deterrent. It is also, according to the results of the same study, the least-used recourse by bystanders faced with trolls in the proverbial wild. We found that how warm and friendly the troll was perceived to be and how competent the victim was perceived to be were what determined whether the participant reported our fake troll or not. A more competent victim and a less warm troll lead to more reports. To conclude, there is still a lot more to learn about trolls and trolling, but the field is farther along now than when this project started in 2015. There is a broad definition developed that encompasses most of the descriptive literature on trolling in games thus far. We also now know that there is the indication of a trolling cycle that requires further exploration. This is particularly important to know when it comes to the world of game development, as knowing the cycle exists allows for multiple points of intervention in order to protect their customers. Finally, this dissertation has shown the complexity of not just trolls – who are often portrayed in the media as one-dimensional antagonists – but also of everyone else involved in trolling interactions. Trolls, victims, and bystanders are all multi-faceted humans, and trolling, like all interactions, is an intricate social dance that deserves to be studied in even further depth in the future than what I have done here

Engagement in independent video games through narrative and character development

Independent videogames (also known as “indie games”) have experienced an increasingly prominent role in the videogame industry. In the last decade, this particular genre has seen an exponential growth, filling its own niche in the market. Furthermore, the low level of investment required by this genre (both in terms of economical and human resources) makes it a favoured path for small companies to start producing videogames. This paradigm of low resources, allied with the technological limitations of mobile devices (this genre's most common platform) defines the “indie game's” playability and visual/narrative aesthetics; the result being a peculiar creative simplicity. We believe this simplicity to be the source of the independent videogames' appeal to the general playerbase. In other words, these videogames engage the player by presenting him/her with a simple yet rich storytelling experience, where complex elements such as long cinematics are eschewed in favor of a more primal and direct experience. Simply put, by investing on a solid narrative and fleshing out interesting, relatable characters, an independent videogame manages to achieve the engagement potential of its commercial counterparts, while doing so with a fraction of the cost. In this dissertation we aim to understand exactly how independent videogames achieve this phenomenon of player engagement through their narrative and characters. We will do so by allying theoretical research on these two creative resources with a the practical exercise of developing our own videogame concept (as a part of our Master's Degree project). Strictly speaking, we will study tools and techniques relating to achieving engagement through narrative and character development, subsequently testing them out in our own project and drawing conclusions on their effectiveness in the process

Slice of life in a live and wired masquerade: playful prosumption as identity work and performance in an identity college Bilibili

This article investigates Chinese urban youth’s mediated ‘slice of life’ and playful encounters as part of their identity construction and performance work on Bilibili, one of China’s most influential video-sharing social media sites mediating anime, comics, games and novels. Using a mix-method approach of digital ethnography, participant observation, interviews and data visualisation, this article examines fans’ hermeneutic practices through anime, comic, game and novel prosumption, exemplified by danmaku: ‘bullet screen’, barrage-like comments overlaid on videos. This article argues that Bilibili works as an ‘identity college’ for fans to perform various roles and explore their hybrid identities in a social-hermeneutic engagement process. In particular, the function of anonymous danmaku comments will be closely analysed as it offers a quasi-real-time engagement experience for fans and helps shape fans’ social self. Following a symbolic interactionist tradition, Mead’s ‘generalised other’ and Goffman’s dramaturgical theory are contextualised in the Chinese socio-cultural milieu where fans’ identity performance is regarded as masquerade. Departing from the moral panic rhetoric that Generation Z is ‘amused to death’, becoming ‘infantile and animalised’, or even enslaved by their desires and capable only of ‘cold intimacies’, the findings of this explorative study present a more complex understanding of Chinese youth’s identity work through participatory social media use and networked fandom

‘What I see is not what you get’:why culture-specific behaviours for virtual characters should be user-tested across cultures

Integrating culture into the behavioural models of virtual characters requires knowledge from very different disciplines such as cross-cultural psychology and computer science. If culture-related behavioural differences are simulated with a virtual character system, users might not necessarily understand the intent of the designer. This is, in part, due to the influence of culture on not only users, but also designers. To gain a greater understanding of the instantiation of culture in the behaviour of virtual characters, and on this potential mismatch between designer and user, we have conducted two experiments. In these experiments, we tried to simulate one dimension of culture (Masculinity vs. Femininity) in the behaviour of virtual characters. We created four scenarios in the first experiment and six in the second. In each of these scenarios, the same two characters interact with each other. The verbal and non-verbal behaviour of these characters differs depending on their cultural scripts. In two user perception studies, we investigated how these differences are judged by human participants with different cultural backgrounds. Besides expected differences between participants from Masculine and Feminine countries, we found significant differences in perception between participants from Individualistic and Collectivistic countries. We also found that the user’s interpretation of the character’s motivation had a significant influence on the perception of the scenarios. Based on our findings, we give recommendations for researchers that aim to design culture-specific behaviours for virtual characters