Explaining how to play real-time strategy games

Real-time strategy games share many aspects with real situations in domains such as battle planning, air traffic control, and emergency response team management which makes them appealing test-beds for Artificial Intelligence (AI) and machine learning. End-user annotations could help to provide supplemental information for learning algorithms, especially when training data is sparse. This paper presents a formative study to uncover how experienced users explain game play in real-time strategy games. We report the results of our analysis of explanations and discuss their characteristics that could support the design of systems for use by experienced real-time strategy game users in specifying or annotating strategy-oriented behavior

Understanding Computer Role-Playing Games: A Genre Analysis Based on Gameplay Features in Combat Systems

A game genre as diverse as that of computer role-playing games is difficult to overview. This poses challenges or both developers and researchers to position their work clearly within the genre. We present an overview of the genre based on clustering games with similar gameplay features. This allows a tracing of relations between subgenres through their gameplay, and connecting this to concrete game examples. The analysis was done through using gameplay design patterns to identify gameplay features and focused upon the combat systems in the games. The resulting cluster structure makes use of 321 patterns to create 37 different subgenre classifications based solely on gameplay features. In addition to the clusters, we identify four categories of patterns that help designers and researchers understand the combat systems in computer role-playing games

Feedback-Based Gameplay Metrics and Gameplay Performance Segmentation: An audio-visual approach for assessing player experience.

Gameplay metrics is a method and approach that is growing in popularity amongst the game studies research community for its capacity to assess players’ engagement with game systems. Yet, little has been done, to date, to quantify players’ responses to feedback employed by games that conveys information to players, i.e., their audio-visual streams. The present thesis introduces a novel approach to player experience assessment - termed feedback-based gameplay metrics - which seeks to gather gameplay metrics from the audio-visual feedback streams presented to the player during play. So far, gameplay metrics - quantitative data about a game state and the player's interaction with the game system - are directly logged via the game's source code. The need to utilise source code restricts the range of games that researchers can analyse. By using computer science algorithms for audio-visual processing, yet to be employed for processing gameplay footage, the present thesis seeks to extract similar metrics through the audio-visual streams, thus circumventing the need for access to, whilst also proposing a method that focuses on describing the way gameplay information is broadcast to the player during play. In order to operationalise feedback-based gameplay metrics, the present thesis introduces the concept of gameplay performance segmentation which describes how coherent segments of play can be identified and extracted from lengthy game play sessions. Moreover, in order to both contextualise the method for processing metrics and provide a conceptual framework for analysing the results of a feedback-based gameplay metric segmentation, a multi-layered architecture based on five gameplay concepts (system, game world instance, spatial-temporal, degree of freedom and interaction) is also introduced. Finally, based on data gathered from game play sessions with participants, the present thesis discusses the validity of feedback-based gameplay metrics, gameplay performance segmentation and the multi-layered architecture. A software system has also been specifically developed to produce gameplay summaries based on feedback-based gameplay metrics, and examples of summaries (based on several games) are presented and analysed. The present thesis also demonstrates that feedback-based gameplay metrics can be conjointly analysed with other forms of data (such as biometry) in order to build a more complete picture of game play experience. Feedback based game-play metrics constitutes a post-processing approach that allows the researcher or analyst to explore the data however they wish and as many times as they wish. The method is also able to process any audio-visual file, and can therefore process material from a range of audio-visual sources. This novel methodology brings together game studies and computer sciences by extending the range of games that can now be researched but also to provide a viable solution accounting for the exact way players experience games

Playing with the future: social irrealism and the politics of aesthetics

In this paper we wish to explore the political possibilities of video games. Numerous scholars now take seriously the place of popular culture in the remaking of our geographies, but video games still lag behind. For us, this tendency reflects a general response to them as imaginary spaces that are separate from everyday life and 'real' politics. It is this disconnect between abstraction and lived experience that we complicate by defining play as an event of what Brian Massumi calls lived abstraction. We wish to short-circuit the barriers that prevent the aesthetic resonating with the political and argue that through their enactment, video games can animate fantastical futures that require the player to make, and reflect upon, profound ethical decisions that can be antagonistic to prevailing political imaginations. We refer to this as social irrealism to demonstrate that reality can be understood through the impossible and the imagined

Overcoming adversity: a design framework for action melee combat systems

In the complex world of game design, there are many systems that are taken into account when it comes to convey the intended experience of the game or, as it is usually referred to, the fun. Of these systems, there are some that are treated in a different way for a handful of players and gamer designers alike. Whether the reason might be, they usually get a greater prestige both in the professional and user level; one of these systems is, undoubtedly, the Combat System. Although not all games in the market have systems dedicated to violent-traditional style combat, it has undeniable being a large part of video games since they were convicted as a medium; with titles like Doom or Pac-man still being relevant today. This is because, at its core, combat is conflict; which seems to be deeply attached to human beings, being most obvious in the stories we tell each other. In these stories, takes grand importance the overcoming of obstacles, which is a quality we intrinsically find remarkable and admirable when see it in someone else, fictional character or not. This translates to video games perfectly, whether it is smashing through enemies, kicking and punching an equal skill foe or, most notoriety, progressing through a campaign; there is some sort of conflict inherit within most video games. This conflict impulses players to overcome aforementioned obstacles, usually though the use of rewards the such as points for their score, ammunition for their weapons or the advancement of their skills. Furthermore, there are two major issues in the actual combat design field that you can easily spot when compare multiple sources of research. The first one being that it is very difficult for combat designers to migrate from making a type of combat system to another. For the second one, there is confusion when it comes to discuss combat design, since there is no taxonomy established. This paper will try to answer why do we find conflict in combat so fascinating, whether it is special or not and how can be develop a framework to apply a successful and taxonomical formula to game design. How we allow players to enjoy the battle

Anthony\u27s Silence: The Intersection of Sex, Gender and Race in \u3cem\u3eDesigning Women\u3c/em\u3e

Editor\u27s Note: Lynn H. Turner and Helen Sterk examine one small part of the Designing Women script, a short speech by Anthony (one of the series\u27 regulars). They argue that, as the only African American male in the series, Anthony was in a unique position to examine the gender and race issues posed by the Thomas/Hill hearings, and by the Thomas nomination itself. Calling on writings by African .American scholars commenting on the Senate hearings and on race and gender issues generally, the authors conclude that the structure of Anthony\u27s speech represents a missed opportunity

Fuzzy Approach for Audio-Video Emotion Recognition in Computer Games for Children

Computer games are widespread nowadays and enjoyed by people of all ages. But when it comes to kids, playing these games can be more than just fun, it is a way for them to develop important skills and build emotional intelligence. Facial expressions and sounds that kids produce during gameplay reflect their feelings, thoughts, and moods. In this paper, we propose a novel framework that integrates a fuzzy approach for the recognition of emotions through the analysis of audio and video data. Our focus lies within the specific context of computer games tailored for children, aiming to enhance their overall user experience. We use the FER dataset to detect facial emotions in video frames recorded from the screen during the game. For the audio emotion recognition of sounds a kid produces during the game, we use CREMA-D, TESS, RAVDESS, and Savee datasets. Next, a fuzzy inference system is used for the fusion of results. Besides this, our system can detect emotion stability and emotion diversity during gameplay, which, together with prevailing emotion report, can serve as valuable information for parents worrying about the effect of certain games on their kids. The proposed approach has shown promising results in the preliminary experiments we conducted, involving 3 different video games, namely fighting, racing, and logic games, and providing emotion-tracking results for kids in each game. Our study can contribute to the advancement of child-oriented game development, which is not only engaging but also accounts for children's cognitive and emotional states.Comment: 8 pages. Prepared for the Elsevier conferenc

Virtual Reality Games for Motor Rehabilitation

This paper presents a fuzzy logic based method to track user satisfaction without the need for devices to monitor users physiological conditions. User satisfaction is the key to any product’s acceptance; computer applications and video games provide a unique opportunity to provide a tailored environment for each user to better suit their needs. We have implemented a non-adaptive fuzzy logic model of emotion, based on the emotional component of the Fuzzy Logic Adaptive Model of Emotion (FLAME) proposed by El-Nasr, to estimate player emotion in UnrealTournament 2004. In this paper we describe the implementation of this system and present the results of one of several play tests. Our research contradicts the current literature that suggests physiological measurements are needed. We show that it is possible to use a software only method to estimate user emotion