A Framework and Taxonomy of Videogame Playing Preferences

© Owners/Authors, 2017. This is the author's version of the work. It is posted here for your personal use. Not for redistribution. The definitive Version of Record was published in CHI PLAY '17 - Proceedings of the Annual Symposium on Computer-Human Interaction in Play.Player preferences for different gaming styles or game elements has been a topic of interest in human-computer interaction for over a decade. However, current models suggested by the extant literature are generally based on classifying abstract gaming motivations or player archetypes. These concepts do not directly map onto the building blocks of games, taking away from the utility of the findings. To address this issue, we propose a conceptual framework of player preferences based on two dimensions: game elements and game playing styles. To investigate these two concepts, we conducted an exploratory empirical investigation of player preferences, which allowed us to create a taxonomy of nine groups of game elements and five groups of game playing styles. These two concepts are foundational to games, which means that our model can be used by designers to create games that are tailored to their target audience. In addition, we demonstrate that there are significant effects of gender and age on participants’ preferences and discuss the implications of these findings.NSERC || RGPIN-418622-2012 SSHRC || 895-2011-1014, IMMERSe CFI || 35819 Mitacs || IT07255 SWaGUR CNPq, Brazi

Five-Factor Inventory of Intrinsic Motivations to Gameplay (IMG)

In this study, we develop and validate Intrinsic Motivations to Gameplay (IMG) inventory. In Study 1, psychometric properties of a preliminary 10-item version of IMG were investigated by employing an online survey data collected among Finnish and Danish population (N = 2,205). In Study 2, a 23-item version of IMG was developed based on further interview data and survey data collected among Canadian population (N = 1,322). The 23-item version of IMG revealed five factors of intrinsic motivations for gameplay: Relatedness, Autonomy, Competence, Immersion, and Fun. In Study 3, a third survey was conducted among Finnish and Japanese participants (N = 2,057) to design a Self-Determination theory (SDT) informed confirmatory factor analysis (CFA). The CFA validated a 15-item version of IMG inventory, which can be utilized widely in studies on digital gaming and gamification to better understand player preferences

Virtual reality genres: Comparing preferences in immersive experiences and games

5 pagesEven though virtual reality (VR) shares features with video games, it offers a wider range of experiences. There is currently no cohesive classification for commercial VR offerings. As a first step to account for this deficiency, the work in progress considers the relationship between game genres and users’ ratings and downloads of VR experiences. We found Action, Shooter, and Simulation to be the most frequently downloaded genres; Action and Music/Rhythm the most highly rated; and Simulation and Music/Rhythm to occur at a statistically higher rate in VR compared to non-VR. Finally, we learned that VR experiences are less likely to receive positive ratings than 2D games. The findings can inform developers’ marketing decisions based on demand

ANALISIS PERBEDAAN GENRE GAME PADA GOOGLE PLAY MENGGUNAKAN FRAMEWORK OCTALYSIS

Android-based games are divided into various genres so that there are many variations of the game that can be played but many game developers don't know how to develop games based on the player's perspective that is closely related to human computer interaction. The purpose of this study was to find out the strongest characteristics of player motivation in each genre available on Google Play using Octalysis framework based on design and gameplay so that differences in player motivation were found. The Octalysis Framework has been used by many companies to make gamification products, because in gamification there are game elements so that they can be used to analyze game products. With this research, it is expected that each genre has the strength of characteristics and weaknesses as a benchmark of data for developers and game designers to create more varied games

Motivational strategies and approaches for single and multi-player exergames: A social perspective

Background: Exergames have attracted the interest of academics, practitioners, and designers, in domains as diverse as health, human-computer interaction, psychology, and information technology. This is primarily because exergames can make the exercise experience more enjoyable and entertaining, and in turn, can increase exercise levels. Despite the many benefits of exergames, they suffer from retention problems. Thus, the objective of this article was to review theories and game elements that have been empirically examined or employed in an attempt to make exergames more motivating so people engage in sustained physical activity (duration of physical activity) in a repeating pattern over time (frequency of physical activity). Methodology: A literature search and narrative review were conducted. Results: Five major theories and elements were prevalent in the exergaming literature: (1) self-determination theory, (2) gamification, (3) competition and cooperation, (4) situational interest, and (5) social interaction. These theories and elements are important for encouraging long-term play and show promise for designing exergames to promote sustained engagement and motivate physical activity. We discuss their strengths and weaknesses throughout the paper. Conclusions: The long-term effectiveness of exergame interventions is unclear mainly because of the limited amount of long-term studies. Better metrics are also needed to evaluate this effectiveness. We also identified particular attention to social factors and group dynamics, such as multi-player exergames and more effective player matchmaking strategies for increasing social connectedness, as a key area of future research

Preferences, emotions, and visual attention in the first-person shooter game experience

First-person shooter (FPS) games are one of the most popular yet notorious genres of digital games. They contain visceral emotional content and require intense visual attention from players, leading some people to appreciate and others to resent these types of games. This thesis investigated individual differences in the game experience of FPS games by exploring how preferences for violent game dynamics (e.g., preferences for shooting, killing, and exploding) affect players’ emotions and perceptions of curiosity, vitality, and self-efficacy. In addition, the thesis explored how visual attention skills affect the viewing of FPS games as indexed by viewers’ eye movements. In Study I, the role of visual attention skills in viewing FPS gameplay videos was explored. The results showed that viewers’ eye movements tended to progress from a diffuse scanning mode towards a more focal and central viewing mode as time passed. Visual qualities and saliency of events also guided eye movements. Individual differences in visual attention skills (namely, the ability to track multiple objects, perform a visual search for targets, and to see rapidly appearing serial targets) were related to what was attended to in the screen. The role of visual attention skills on eye movements was more prominent during visually distinct events. In sum, the results showed that specific visual attention skills predicted eye movement patterns during FPS gameplay video viewing. Study II explored whether game dynamics preferences and emotion-related responses to an FPS game are connected. Participants’ heart rate, electrodermal activity, and electric activity of facial muscles were recorded as indexes of emotion-related responses both during playing (active participation) and gameplay video viewing (passive watching). The participants also rated their level of experienced arousal and valence. The results showed that there were individual differences in physiological emotion-related responses as a function of dynamics preferences, especially in measures of physiological arousal. Those who liked violent dynamics showed a rather stable level of physiological arousal state both when playing and when viewing the game. In contrast, participants who disliked violent dynamics showed an overall higher level of physiological arousal during playing than when viewing, and the level of arousal increased across time in both conditions. The results on facial muscle activity likewise showed that activity differed between people who liked versus disliked violent dynamics. However, the results were somewhat conflicting: those who liked violent game dynamics showed a steep increase in the activity of the corrugator supercilii muscle, an index of negative valence. Instead, those who disliked the dynamics showed less increase in corrugator supercilii activity. The dynamics preferences did not affect self-reported emotional valence or arousal. Thus, the results highlight that game dynamics preferences were associated with physiological signals, although they may not be a straightforward index of emotions in a gaming context. In Study III, associations between game dynamics preferences and self-reported experiences of vitality, self-efficacy, and curiosity were explored both in association with life in general and with playing an FPS video game. The results showed that players who were neutral or mildly positive towards violent content experienced stable levels of vitality, curiosity, and emotional valence both in life in general and when playing. They also experienced a slight decline in self-efficacy in the playing context. Conversely, those who disliked violent dynamics experienced a clear decline in all of these measures in the playing context. Thus, game dynamics preferences were connected with wider experiential reflections related to playing. Overall, the results of all three studies showed why there is individual variation in the playing experience: players and viewers have differing skills and preferences. These skills and preferences affect how players and viewers pay attention to the game, and what kind of emotional reactions and experiences they have. This is valuable for understanding the psychological outcomes of FPS games, as well as why people hold differing opinions about these types of games. Likewise, the results have importance for game design, as they show that players respond in different ways to game contents. Thus, it may be fruitful to personalize and tailor game contents based on players’ preferences and visual attention skills.Mieltymykset, tunteet ja näönvarainen tarkkaavuus ensimmäisen persoonan ammuntapelien pelikokemuksessa Ensimmäisen persoonan ammuntapelit (FPS-pelit) ovat sekä yksi suosituimmista että pahamaineisimmista digitaalisten pelien genreistä. Ne sisältävät voimakasta tunnepitoista sisältöä ja vaativat äärimmäistä näönvaraista tarkkaavuutta. Näiden seikkojen takia toiset arvostavat ja toiset paheksuvat kyseisiä pelejä. Tässä väitöskirjassa tutkittiin yksilöllisiä eroja FPS-pelien pelikokemuksessa selvittämällä, kuinka mieltymykset väkivaltaisiin pelidynamiikkoihin (esimerkiksi mieltymykset ampumiseen, tappamiseen ja räjäyttämiseen) vaikuttavat pelaajien tunnetiloihin ja kokemuksiin uteliaisuudesta, elinvoimaisuudesta ja minäpystyvyydestä. Tämän lisäksi väitöskirjassa tutkittiin silmänliikkeitä tarkastelemalla kuinka näönvaraisen tarkkaavuuden taidot ovat yhteydessä FPS-pelivideoiden katseluun. Tutkimuksessa I tarkasteltiin, miten näönvaraisen tarkkaavuuden taidot vaikuttavat FPS-pelivideoiden katseluun. Tutkimuksessa havaittiin, että silmänliikkeet etenivät laajemmasta ja hajaantuneemmasta silmäilystä kohti pinta-alaltaan pienempää ja lähempänä näytön keskustaa olevaa aluetta. Lisäksi erilaisten pelitapahtumien visuaaliset ominaisuudet ja huomiota herättävyys suuntasivat silmänliikkeitä. Yksilölliset erot näönvaraisen tarkkaavuuden taidoissa (tässä tutkimuksessa taidot seurata useita liikkuvia kohteita, etsiä kohteita ja nähdä nopeasti peräkkäin ilmestyviä kohteita) olivat yhteydessä siihen, miten katselija tarkasteli pelinäkymää. Näönvaraisen tarkkaavuuden taitojen yhteys silmänliikkeisiin tuli esiin etenkin visuaalisesti toisistaan erottuvien pelitapahtumien aikana. Yhteenvetona tutkimuksen tulokset osoittivat, että tietyt näönvaraisen tarkkaavuuden taidot ennustavat silmänliikkeitä FPS-pelivideon katselun aikana. Tutkimuksessa II selvitettiin, ovatko pelidynamiikkamieltymykset ja FPS-peliin liittyvät tunnereaktiot yhteydessä toisiinsa. Tutkimukseen osallistujien sykettä, ihon sähkönjohtavuutta ja kasvolihasten sähköistä aktiivisuutta mitattiin indikaatioina tunnereaktioista sekä pelaamisen (aktiivinen osallistuminen) että pelivideon katselun (passiivinen tarkkailu) aikana. Osallistujat myös arvioivat oman tunnetilansa koettua virittävyyttä ja valenssia. Tulokset osoittivat, että yksilöiden välillä oli eroja fysiologisissa tunteisiin liittyvissä reaktioissa riippuen siitä, millaiset pelidynamiikkamieltymykset heillä oli. Tämä näkyi erityisesti fysiologisissa autonomisen hermoston tilaa kuvaavissa mittareissa. Väkivaltaisista dynamiikoista pitävillä osallistujilla oli suhteellisen tasainen fysiologisen aktivaation taso sekä pelatessa että pelivideota katsellessa. Sen sijaan niillä osallistujilla jotka eivät pitäneet väkivaltaisista dynamiikoista oli kaiken kaikkiaan korkeampi fysiologisen aktivaation taso pelatessa kuin pelivideota katsellessa, ja aktivaation taso kasvoi ajan kuluessa molemmissa tilanteissa. Kasvojen lihasten sähköiseen toimintaan liittyvät tulokset niin ikään osoittivat, että väkivaltaisista dynamiikoista pitävien ja niitä vieroksuvien henkilöiden välillä oli eroja. Tulokset olivat kuitenkin jossain määrin ristiriitaisia: väkivaltaisista dynamiikoista pitävillä osallistujilla negatiivista valenssia indikoiva corrugator supercilii -lihaksen aktiivisuus lisääntyi ajan kuluessa huomattavasti. Sen sijaan osallistujilla jotka eivät pitäneet väkivaltaisista dynamiikoista corrugator supercilii -lihaksen aktiivisuuden lisääntyminen oli lievempää. Pelidynamiikkamieltymykset eivät olleet yhteydessä osallistujien omiin arvioihin tunnekokemuksen virittävyydestä ja valenssista. Täten tulokset osoittivat, että pelidynamiikkamieltymykset olivat yhteydessä fysiologisiin vasteisiin, mutta niitä ei voida käyttää täysin mutkattomina mittareina tunteista pelikontekstissa. Tutkimuksessa III tarkasteltiin pelidynamiikkamieltymysten yhteyttä uteliaisuuden, elinvoimaisuuden ja minäpystyvyyden kokemuksiin elämässä ylipäätään ja FPS-pelin pelaamiseen liittyen. Tutkimuksessa havaittiin, että uteliaisuus, elinvoimaisuus ja tunteen valenssi olivat samankaltaiset sekä elämässä ylipäätään että pelatessa mikäli pelaaja suhtautui väkivaltaisiin dynamiikkoihin neutraalisti tai jonkin verran positiivisesti. Tällaisilla pelaajilla minäpystyvyys oli kuitenkin jonkin verran alhaisempi pelitilanteessa verrattuna elämään ylipäätään. Sen sijaan pelaajat jotka eivät pitäneet väkivaltaisista dynamiikoista arvioivat kaikkien näiden kokemusten olevan selvästi huonompia pelatessa. Pelidynamiikkamieltymykset olivat siis yhteydessä laajempiin reflektiivisiin kokemuksiin pelaamisesta. Väitöstutkimuksen tulokset auttavat ymmärtämään, miksi pelikokemuksessa on yksilöllistä vaihtelua: pelaajat ja katsojat eroavat taidoiltaan ja mieltymyksiltään. Nämä taidot ja mieltymykset ovat yhteydessä siihen, millä tavoin pelaajat ja katselijat kiinnittävät huomiota peliin ja minkälaisia tunnereaktioita ja kokemuksia heillä on. Näiden seikkojen huomioiminen on tärkeää FPS-pelien psykologisten vaikutusten ja peleihin liittyvien eriävien mielipiteiden ymmärtämiseksi. Tuloksilla on lisäksi merkitystä pelisuunnittelulle, sillä ne osoittavat, että pelaajat reagoivat eri tavoin pelisisältöihin. Tämän vuoksi voisi olla hyödyllistä muovata pelisisältöjä yksilöllisesti pelaajien mieltymysten ja näönvaraisen tarkkaavuuden taitojen mukaan

Games for non-gamers: Approaching video games from a non-gamer perspective

A indústria dos videojogos cresceu exponencialmente em anos recentes. Os jogos encontram-se agora mais diversificados do que nunca. Entre a pletora de géneros existentes estão os jogos críticos, conhecidos pelas suas mecânicas de jogo simples e capacidade para criticarem tanto o próprio meio, como problemáticas de índole social. Tendo em conta que os gamers já estão acostumados à forma em como os jogos funcionam, entender como um jogo crítico se joga, apesar de desafiante nos seus próprios termos, torna-se numa tarefa mais concretizável. No entanto, apesar dos gamers terem menos dificuldades em entrar dentro deste tipo de jogo, alguns jogadores poderão ter maior dificuldade em se adaptarem a estes jogos, especialmente aqueles não familiarizados com o meio: non-gamers. Este estudo tem como objetivo identificar como é que os jogos digitais, e mais especificamente os jogos críticos, podem ser adaptados de forma a que se tornem em ferramentas de crítica para non-gamers. Jogos críticos são um tipo de jogo digital específico que pode ser usado para comentar e criticar problemas sociais e culturais. Para tal efeito, estes jogos subvertem aspetos que se encontram comummente nos modelos convencionais dos jogos. Este estudo recorreu a várias metodologias para explorar cada uma das questões de investigação. Como tal, recorremos a revisões de literatura, análises comparativas, questionários seguidos por análises temáticas, e por fim, workshops de co-design posteriormente submetidos a um análise qualitativa de conteúdo. Os resultados mostraram que adaptar jogos críticos como ferramentas para crítica sociocultural para non-gamers pode ser uma questão bastante multifacetada. Enquanto que, de modo geral, os non-gamers desgostam de aspetos frustrantes, repetitivos e stressantes, gostaram contudo da liberdade no ciclo de jogo, designs de jogo divertidos mas desafiantes e temáticas relacionadas com problemas reais. Todavia, concluímos que adaptar jogos aos non-gamers depende fortemente dos seus motivos e preferências pessoais, tal como se pode observar com a demografia dos gamers.The video game industry has grown exponentially in recent years. Games are now more diverse than ever before. Among the plethora of genres available are critical games, known for their simple game mechanics and ability to critique both the medium and societal conundrums. Because gamers are already accustomed to how games work, understanding how to play a critical game, although challenging in its own right, makes it a more attainable task . But despite gamers having fewer difficulties approaching them, some players may not have such an easy time undertaking these games, especially those not familiarised with the medium: non-gamers. This study aims to identify how digital games, and more specifically critical games, can be adapted in a fashion that allows them to be critiquing tools for non-gamers. Critical games are a specific type of digital game that can be used to apply critical commentary on social and cultural issues. To do so, they oftentimes subvert that which is found in more conventional game models. This research resorted to several methods to explore each research question. As such, we resorted to literature reviews, comparative analyses, questionnaires, followed by thematic analyses, and lastly co-design workshops which underwent a qualitative content analysis. Results showed that adapting critical games as tools of sociocultural critique for non-gamers can be a very nuanced problem. While non-gamers generally dislike frustrative, repetitive, and stressful behaviour in games, they usually enjoy freedom in the gameplay loop, moderately challenging yet fun game designs, and thematic similarities to real world issues. However, we concluded that adapting games to non-gamers is highly dependent on their personal motives and preferences, as happens with the gamer demographic

A waste of time? Or an effective learning tool? - Assessing the effectiveness of a digital games-based learning approach in music education

This research is a multiple case study on four participants who had access to the game Rocksmith 2014 remastered for sixty days. Following the sixty-day period, a post-test was conducted. The participants were assessed by two guitar experts and then interviewed by the researcher to understand if Rocksmith was an effective way to learn how to play the guitar. At the time of the interview, these participants were aged between 25 and 28 years and had varying levels of experience playing the guitar and video games. The findings suggested that as a learning tool, Rocksmith can teach certain guitar playing skills. These include (but are not limited to): teaching technical skills (such as knowing how to hold the guitar, correct and efficient left and right-hand technique, tremolo picking, sliding, and moving across the fretboard efficiently). Despite this, the interviews revealed that the participants did learn about other aspects of guitar playing, such as being able to play hammer-ons and pull-offs. In their interviews, the participants expressed a belief that Rocksmith is a useful tool for learning. Still, they also said that it was hard to find the motivation to continue playing. While they described their experience of playing Rocksmith as enjoyable and immersive, they also expressed having little motivation to continue playing. The study further tried to assess whether the skill of being able to read guitar tablature was transferable outside of the game. The findings revealed that this was inconclusive and that further study needed to be conducted

Dynamic Personalization of Gameful Interactive Systems

Gameful design, the process of creating a system with affordances for gameful experiences, can be used to increase user engagement and enjoyment of digital interactive systems. It can also be used to create applications for behaviour change in areas such as health, wellness, education, customer loyalty, and employee management. However, existing research suggests that the qualities of users, such as their personality traits, preferences, or identification with a task, can influence gamification outcomes. It is important to understand how to personalize gameful systems, given how user qualities shape the gameful experience. Current evidence suggests that personalized gameful systems can lead to increased user engagement and be more effective in helping users achieve their goals than generic ones. However, to create these kinds of systems, designers need a specific method to guide them in personalizing the gameful experience to their target audience. To address this need, this thesis proposes a novel method for personalized gameful design divided into three steps: (1) classification of user preferences, (2) classification and selection of gameful design elements, and (3) heuristic evaluation of the design. Regarding the classification of user preferences, this thesis evaluates and validates the Hexad Gamification User Types Scale, which scores a person in six user types: philanthropist, socialiser, free spirit, achiever, player, and disruptor. Results show that the scale’s structural validity is acceptable for gamification studies through reliability analysis and factor analysis. For classification and selection of gameful design elements, this thesis presents a conceptual framework based on participants’ self-reported preferences, which classifies elements in eight groups organized into three categories: individual motivations (immersion and progression), external motivations (risk/reward, customization, and incentives), and social motivations (socialization, altruism, and assistance). And to evaluate the design of gameful applications, this thesis introduces a set of 28 gameful design heuristics, which are based on motivational theories and gameful design methods and enable user experience professionals to conduct a heuristic evaluation of a gameful application. Furthermore, this thesis describes the design, implementation, and pilot evaluation of a software platform for the study of personalized gameful design. It integrates nine gameful design elements built around a main instrumental task, enabling researchers to observe and study the gameful experience of participants. The platform is flexible so the instrumental task can be changed, game elements can be added or removed, and the level and type of personalization or customization can be controlled. This allows researchers to generate different experimental conditions to study a broad range of research questions. Our personalized gameful design method provides practical tools and clear guidelines to help designers effectively build personalized gameful systems