SenToy and FantasyA: evaluating affective gaming

Gaming is a highly relevant application area for Intelligent Agents and Human Computer Interaction (HCI). Computer games bring us a full set of new gaming experiences where synthetic characters take on the main role.Using affective input in the interaction with a game and in particular with a character is a recent and fairly unexplored dimension. This video presents a study of a tangible interaction device for affective input and its use in a role-playing game where emotions are part of the game logic

Affective Videogames and Modes of Affective Gaming: Assist Me, Challenge Me, Emote Me

In this paper we describe the fundamentals of affective gaming from a physiological point of view, covering some of the origins of the genre, how affective videogames operate and current conceptual and technological capabilities. We ground this overview of the ongoing research by taking an in-depth look at one of our own early biofeedback-based affective games. Based on our analysis of existing videogames and our own experience with affective videogames, we propose a new approach to game design based on several high-level design heuristics: assist me, challenge me and emote me (ACE), a series of gameplay "tweaks" made possible through affective videogames

'I play, therefore I learn?' Measuring the Evolution of Perceived Learning and Game Experience in the Design Flow of a Serious Game

This article explores how the serious game Poverty Is Not a Game (PING) is experienced by high school students in its subsequent design stages. We first focus on the multifaceted construct of game experience and how it is related to serious games. To measure game experience we use the Game Experience Questionnaire and add a perceived learning scale to account for the specificity of serious games in a classroom. Next, the data obtained from testing PING in 22 classrooms are analyzed. Results suggest that the evolution in the different design stages of the game is not just an issue of game experience, but also of usability. Furthermore, little evidence is found indicating that the learning experience changed positively during the different test phases. However, findings show a strong effect of the game experience on perceived learning while the game experience also varies significantly between different classrooms

A Design Exploration of Affective Gaming

Physiological sensing has been a prominent fixture in games user research (GUR) since the late 1990s, when researchers began to explore its potential to enhance and understand experience within digital game play. Since these early days, it has been widely argued that “affective gaming”—in which gameplay is influenced by a player’s emotional state—can enhance player experience by integrating physiological sensors into play. In this thesis, I conduct a design exploration of the field of affective gaming by first, systematically exploring the field and creating a framework (the affective game loop) to classify existing literature; and second by presenting two design probes, to probe and explore the design space of affective games contextualized within the affective game loop: In the Same Boat and Commons Sense. The systematic review explored this unique design space of affective gaming, opening up future avenues for exploration. The affective game loop was created as a way to classify the physiological signals and sensors most commonly used in prior literature within the context of how they are mapped into the gameplay itself. Findings suggest that the physiological input mappings can be more action-based (e.g., affecting mechanics in the game such as the movement of the character) or more context-based (e.g., affecting things like environmental or difficulty variables in the game). Findings also suggested that while the field has been around for decades, there is still yet to be any commercial successes, so does physiological interaction really heighten player experience? This question instigated the design of the two probes, exploring ways to implement these mappings and effectively heighten player experience. In the Same Boat (Design Probe One) is an embodied mirroring game designed to promote an intimate interaction, using players’ breathing rate and facial expressions to control movement of a canoe down a river. Findings suggest that playing In the Same Boat fostered the development of affiliation between the players, and that while embodied controls were less intuitive, people enjoyed them more, indicating the potential of embodied controls to foster social closeness in synchronized play over a distance. Commons Sense (Design Probe Two) is a communication modality intended to heighten audience engagement and effectively capture and communicate the audience experience, using a webcam-based heart rate detection software that takes an average of each spectator’s heart rate as input to affect in-game variables such as lighting and sound design, and game difficulty. Findings suggest that Commons Sense successfully facilitated the communication of audience response in an online entertainment context—where these social cues and signals are inherently diminished. In addition, Commons Sense is a communication modality that can both enhance a play experience while offering a novel way to communicate. Overall, findings from this design exploration shows that affective games offer a novel way to deliver a rich gameplay experience for the player

Dark Lancaster

In this position paper we'll outline a few ongoing and planned projects at Lancaster that are not all sweetness and light. In some we are interested in some of the darker aspects of human nature: frustration when things go wrong in order to design games with the right emotional impact; and anger of those seeking jobs in order to help train those who need to defuse fraught situations. In others we deliberately seek to design ‘bad’ situations; obviously this is necessary to study issues like frustration, but also we design bad things in order to understand what is good! Finally, there are times when good is dark and the bright light of day needs to be shrouded just a little

Affective games:a multimodal classification system

Affective gaming is a relatively new field of research that exploits human emotions to influence gameplay for an enhanced player experience. Changes in player’s psychology reflect on their behaviour and physiology, hence recognition of such variation is a core element in affective games. Complementary sources of affect offer more reliable recognition, especially in contexts where one modality is partial or unavailable. As a multimodal recognition system, affect-aware games are subject to the practical difficulties met by traditional trained classifiers. In addition, inherited game-related challenges in terms of data collection and performance arise while attempting to sustain an acceptable level of immersion. Most existing scenarios employ sensors that offer limited freedom of movement resulting in less realistic experiences. Recent advances now offer technology that allows players to communicate more freely and naturally with the game, and furthermore, control it without the use of input devices. However, the affective game industry is still in its infancy and definitely needs to catch up with the current life-like level of adaptation provided by graphics and animation

Towards a Serious Game Experience Model: Validation, Extension and Adaptation of the GEQ for Use in an Educational Context

In this paper, we present the results of game experience measurements of three design stages of the serious game Poverty Is Not a Game (PING) using the FUGA Game Experience Questionnaire (GEQ) extended with a Perceived Learning (PL) module. It is hypothesized that subsequent design stages will evoke a more positive game experience and higher PL. In a first step the factor structure and convergent and discriminant validity of the existing GEQ modules are tested yielding disappointing results. Next an adapted version is proposed yielding more acceptable results. Based on this model the different design stages are compared failing to yield significant differences either for most GEQ dimensions (except for challenge and competence which is probably related to usability issues) or for PL. Significant differences were found between classrooms however pointing to the importance of taking into account context in future research

Affective gaming using adaptive speed controlled by biofeedback

This work is part of a larger project exploring how affective computing can support the design of player-adaptive video games. We investigate how controlling some of the game mechanics using biofeedback affects physiological reactions, performance, and the experience of the player. More specifically, we assess how different game speeds affect player physiological responses and game performance. We developed a game prototype with Unity1 which includes a biofeedback loop system based on the level of physiological activation through skin resistance (SKR) measured with a smart wristband. In two conditions, the player moving speed was driven by SKR, to increase (respectively decrease) speed when the player is less activated (SKR decreases). A control condition was also used where player speed is not affected by SKR. We collected and synchronized biosignals (heart rate [HR], skin temperature [SKT] and SKR), and game information, such as the total time to complete a level, the number of ennemy collisions, and their timestamps. Additionally, emotional profiling (TIPI, I-Panas-SF), measured using a Likert scale in a post-task questionnaire, and semi-open questions about the game experience were used. The results show that SKR was significantly higher in the speed down condition, and game performance improved in the speed up condition. Study collected data involved 13 participants (10 males, 3 females) aged from 18 to 50 (M = 24.30, SD = 9.00). Most of the participants felt engaged with the game (M = 6.46, SD = 0.96) and their level of immersion was not affected by wearing the prototype smartband. Thematic analysis (TA) revealed that the game speed impacted the participants stress levels such as high speed was more stressful than hypothesized; many participants described game level-specific effects in which they felt that their speed of movement reflected their level of stress or relaxation. Slowing down the participants indeed increased the participant stress levels, but counter intuitively, more stress was detected in high speed situations

Human factors in entertainment computing: designing for diversity

Although several casual gaming systems have been developed during the past years, little research examining the impact of human factors on the design and use of digital games has been carried out, and commercially available games are only partially suitable for audiences with special needs. The research project described within this paper aims to analyze and explore design guidelines for diverse audiences and results of focus group gaming sessions to develop a research toolbox allowing for the easy creation of adaptable and accessible game scenarios. Thereby, a controllable environment for the detailed evaluation of the interrelations between human factors and entertainment systems is provided. Results obtained by further testing will be integrated in the toolbox, and may foster the development of accessible games, thus opening up new opportunities for diverse audiences and allowing them to further engage in digital games. Copyright 2011 ACM

Using Frustration in the Design of Adaptive Videogames

In efforts to attract a wider audience, videogames are beginning to incorporate adaptive gameplay mechanics. Unlike the more traditional videogame, adaptive games can cater the gaming experience to the individual user and not just a particular group of users as with the former. Affective videogames, games that respond to the user's emotional state, may hold the key to creating such gameplay mechanics. In this paper we discus how the emotion frustration may be used in the design of adaptive videogames and the ongoing research into its detection and measurement