Griefers versus the Griefed - what motivates them to play Massively Multiplayer Online Role-Playing Games?

'Griefing' is a term used to describe when a player within a multiplayer online environment intentionally disrupts another player’s game experience for his or her own personal enjoyment or gain. Every day a certain percentage of users of Massively Multiplayer Online Role-Playing Games (MMORPG) are experiencing some form of griefing. There have been studies conducted in the past that attempted to ascertain the factors that motivate users to play MMORPGs. A limited number of studies specifically examined the motivations of users who perform griefing (who are also known as 'griefers'). However, those studies did not examine the motivations of users subjected to griefing. Therefore, the aim of this paper is to examine the factors that motivate the subjects of griefing to play MMORPGs, as well as the factors motivating the griefers. The authors conducted an online survey with the intention to discover the motivations for playing MMORPGs among those whom identified themselves as (i) those that perform griefing, and (ii) those who have been subjected to griefing. A previously devised motivational model by Nick Yee that incorporated ten factors was used to determine the respondents’ motivational trends. In general, players who identified themselves as griefers were more likely to be motivated by all three 'achievement' sub-factors (advancement, game mechanics and competition) at the detriment of all other factors. The subjects of griefing were highly motivated by 'advancement' and 'mechanics', but they ranked 'competition' significantly lower (compared to the griefers). In addition, 'immersion' factors were rated highly by the respondents who were subjected to griefing, with a significantly higher rating of the 'escapism' factor (compared with rankings by griefers). In comparison to the griefers, the respondents subjected to griefing with many years’ experience in the genre of MMORPGs, also placed a greater emphasis on the 'socializing' and 'relationship' factors. Overall, the griefers in this survey considered 'achievement' to be a prime motivating factor, whereas the griefed players tended to be motivated by all ten factors to a similar degree

Participant observation of griefing in a journey through the World of Warcraft

Through the ethnographic method of participant observation in World of Warcraft, this paper aims to document various actions that may be considered griefing among the Massively Multiplayer Online Role-Playing Game community. Griefing as a term can be very subjective, so witnessing the anti-social and intentional actions first-hand can be used as a means to understand this subjectivity among players as well as produce a thorough recount of some of the toxic behavior in this genre. The participant observation was conducted across several years and expansions of World of Warcraft and the author became familiar with many griefing related actions; although some of these were perceived as acceptable game-play elements

How Geek Therapy Plays Into Expressive Arts Therapy: A Literature Review

Within this paper, I explore how geek therapy plays well with the methods of expressive arts therapy. The combination of geek therapy and expressive arts therapy can assist clinicians in immediately connecting with their clients and identifying strength-oriented narratives that honor the client’s preferences, modes of expression, and pop culture affinities. This engagement with expressive approaches utilizing affinity-based interventions can lead to a deeper sense of understanding of the client’s intra-, inter-, and extra-personal relationships. Through this literature review of expressive arts therapy and geek therapy, primarily focusing on video games in therapy, clinicians from all walks of life can explore these techniques with clients in multiple settings and within a variety of age groups. Video games are immersive, multimodal, and interactive digital experiences that can promote wellness through engaging a spectrum of cognitive processes, regulating emotion and physical states, exploring meaning, identity, and expression, and building interpersonal tools through in-person and/or virtual means. This paper explores how video games can impact bio-psycho-sociocultural-spiritual domains as well as other potentially therapeutic characteristics of video gaming, whether through in-direct/direct or active/passive experiences. Through understanding gamer motivations, this paper explores player taxonomy models and profilers that can assist in gathering assessment information. Lastly, ethical considerations and the potential for maladaptive behaviors are explored

Causes, magnitude and implications of Griefing in Massively Multiplayer Online Role-Playing Games

This thesis presents findings from research into the global phenomenon known as griefing that occurs in Massively Multiplayer Online Role-Playing Games (MMORPGs). Griefing, in its simplest terms, refers to the act of one player intentionally disrupting another player’s game experience for personal pleasure and potential gain. For too long it has been unknown how pervasive griefing is, how frequently griefing occurs and, in particular, the impact on players that are subjected to griefing. There has also been limited research regarding what causes a player to perform griefing. This thesis addresses these concerns by answering the research question “What are the causes and implications of griefing in Massively Multiplayer Online Role-Playing Games, and what magnitude of griefing exists in this genre?” Mixed method research was employed using the “Sequential Explanatory Strategy”, in which a quantitative phase was followed by a qualitative phase to strengthen the findings. The quantitative phase consisted of a survey that attracted 1188 participants of a representative player population. The qualitative phase consisted of interviews with 15 participants to give more personalised data. The data was analysed from the perspectives of different demographics and different associations to griefing. The thesis contributed original findings regarding the causes, magnitude and implications of griefing in MMORPGs. Some of the main findings were: • Factors that motivated a player to cause grief; • how griefers selected their targets based on particular demographics or avatar characteristics; • the pervasiveness, frequency and impact of different types of griefing; • the amount of griefing that can be tolerated; • how players reacted to griefing; • the impact to the well-being of the players after a griefing incident. The thesis concluded with advice to MMORPG developers regarding the most pervasive, frequent and impactful types of griefing, and how game design may increase or decrease the amount and intensity of griefing.Doctor of Philosoph

Gamification of Education and Learning: Heuristic Elements, Player Types, and Learning Outcomes for Art History Games

The technology of virtual reality (VR) and the gamification of education and learning has had proven educational benefits, especially in secondary education. However, there remains little to no research on the heuristic elements and mechanics that contribute to learning at the postsecondary level of education. Most research conducted has been refined to science programs, but even in these instances, a study of the effects and interests of different demographics has yet to be considered. Given the visual nature of how the discipline of art history has traditionally been taught, there are a number of virtual reality (VR) applications to assist instructors in the field better engage students in immersive environments to provide a more accurate understanding of subjects covered. In order to capitalize on the strengths of the new digital medium, including immersion, engagement, and presence, the end user needs to be considered. This heuristic study investigates the different experiences, preferences, learning styles, and expectations relating to educational gaming of art history students at a private, Midwestern college. Results demonstrate that effective game design and development need consider the target audience to optimize user experience and learning outcomes

Experience requirements

Video game development is a high-risk effort with low probability of success. The interactive nature of the resulting artifact increases production complexity, often doing so in ways that are unexpected. New methodologies are needed to address issues in this domain. Video game development has two major phases: preproduction and production. During preproduction, the game designer and other members of the creative team create and capture a vision of the intended player experience in the game design document. The game design document tells the story and describes the game - it does not usually explicitly elaborate all of the details of the intended player experience, particularly with respect to how the player is intended to feel as the game progresses. Details of the intended experience tend to be communicated verbally, on an as-needed basis during iterations of the production effort. During production, the software and media development teams attempt to realize the preproduction vision in a game artifact. However, the game design document is not traditionally intended to capture production-ready requirements, particularly for software development. As a result, there is a communications chasm between preproduction and production efforts that can lead to production issues such as excessive reliance on direct communication with the game designer, difficulty scoping project elements, and difficulty in determining reasonably accurate effort estimates. We posit that defining and capturing the intended player experience in a manner that is influenced and informed by established requirements engineering principles and techniques will help cross the communications chasm between preproduction and production. The proposed experience requirements methodology is a novel contribution composed of: a model for the elements that compose experience requirements, a framework that provides guidance for expressing experience requirements, and an exemplary process for the elicitation, capture, and negotiation of experience requirements. Experience requirements capture the designer' s intent for the user experience; they represent user experience goals for the artifact and constraints upon the implementation and are not expected to be formal in the mathematical sense. Experience requirements are evolutionary in intent - they incrementally enhance and extend existing practices in a relatively lightweight manner using language and representations that are intended to be mutually acceptable to preproduction and to production

Friendly Fire Off

The increasing popularity of online videogames has raised questions concerning their potential to influence online and offline social behaviour. Previous research on social behaviour in relation to playing videogames has often focused on either cooperation (playing in pairs against the game) or competition (playing alone against other players); however, videogames, particularly multiplayer online games, often include both. This study investigates prosocial behaviour in videogames with both cooperative and competitive elements—team-based player versus player (PvP) games—and aims to examine whether the amount of time spent playing these games is related to in-game prosocial behaviour. A cross-sectional survey was conducted among 727 respondents and results were analysed using conditional process modelling. No significant direct or indirect relationship between the amount of time spent playing team-based PvP games and in-game prosocial behaviour was found. However, an exploratory linear regression analysis revealed a significant, positive relationship between in-game and offline prosocial behaviour. Implications and recommendations for future research are discussed

Gamification Strategies for Music Educators: An Online Continuing Education Course

This curriculum project is designed to provide music educators in the public and private sector with introductory knowledge about the topic of gamification and game-based learning, framed within the scope of an online continuing education course. It is meant for adult learners who teach young musicians in the K-12 range. The course offers a set of strategies and step-based processes that help transform a traditional music lesson plan into an interactive and meaningful learning experience that leverages games. The games created by the students in the course can serve to motivate music students by incorporating a sense of competition and personal achievement in and out of the classroom. Research in game-based design will demonstrate the usability of gamification within music education. This project aims to provide gamified knowledge delivery methods and assessment tools that apply to students in K-12. While one of the goals of gamification is to enhance music education through the creation of fun activities, the curriculum does not lose focus on the importance adhering to the National Core Arts Standards of creating and performing. 1 Game-based learning can complement hard-work and consistent practice through the use of game elements during a music lesson. Educational games can be a valuable method of instruction when a student struggles to understand complex subjects such as music theory by helping the student develop necessary critical thinking skills. Game-based music learning can also increase student interest and participation during class. Keywords: gamification, game-based learning, gamified system design, engagemen

Serious Games: Video Game Design Techniques for Academic and Commercial Communication

Serious Games: Video game design techniques for academic and commercial communication, by Christian Bull-Hansen, Department of Informatics, University of Oslo, Norway. Traditional academic and commercial communication sources, like schools and television, are losing ground to video games. People of all ages spend increasingly more time engaged in virtual worlds and on the Internet, and are becoming used to actively pursuing the information they want to know more about, while rejecting the old passive communication channels where information is presented, but not requested. The result is a generation in need of new ways of informing. This thesis aims to provide ways for academic and commercial communication to exist in commercially popular video games while retaining the entertainment value of the games. Thus making students learn while gaming, as well as provide means for commercial interests to reach the gamer audience. The thesis provides information and analysis of game culture, player-types, social structures, game design techniques, and how knowledge of this information can be used to create and improve academic and commercial communication in video games. The thesis utilizes a custom made prototype, “The Renaissance Prototype”, designed for the purpose of researching and test the theories presented in this thesis