Towards a new ITU-T recommendation for subjective methods evaluating gaming QoE

This paper reports on activities in Study Group 12 of the International Telecommunication Union (ITU-T SG12) to define a new Recommendation on subjective evaluation methods for gaming Quality of Experience (QoE). It first resumes the structure and content of the current draft which has been proposed to ITU-T SG12 in September 2014 and then critically discusses potential gaming content and evaluation methods for inclusion into the upcoming Recommendation. The aim is to start a discussion amongst experts on potential evaluation methods and their limitations, before finalizing a Recommendation. Such a recommendation might in the end be applied by non -expert users, hence wrong decisions in the evaluation design could negatively affect gaming QoE throughout the evaluation

A interação jogador e videojogo na construção da experiência de jogo

Doutoramento em Informação e Comunicação em Plataformas DigitaisAmong the many discussions and studies related to video games, one of the most recurrent, widely debated and important relates to the experience of playing video games. The gameplay experience – as appropriated in this study – is the result of the interplay between two essential elements: a video game and a player. Existing studies have explored the resulting experience of video game playing from the perspective of the video game or the player, but none appear to equally balance both of these elements. The study presented here contributes to the ongoing debate with a gameplay experience model. The proposed model, which looks to equally balance the video game and the player elements, considers the gameplay experience to be both an interactive experience (related to the process of playing the video game) and an emotional experience (related to the outcome of playing the video game). The mutual influence of these two experiences during video game play ultimately defines the gameplay experience. To this gameplay experience contributes several dimensions, related to both the video game and player: the video game includes a mechanics, interface and narrative dimension; the player includes a motivations, expectations and background dimension. Also, the gameplay experience is initially defined by a gameplay situation, conditioned by an ambient in which gameplay takes place and a platform on which the video game is played. In order to initially validate the proposed model and attempt to show a relationship among the multiple model dimensions, a multi-case study was carried out using two different video games and player samples. In one study, results show significant correlations between multiple model dimensions, and evidence that video game related changes influence player motivations as well as player visual behavior. In specific player related analysis, results show that while players may be different in terms of background and expectations regarding the game, their motivation to play are not necessarily different, even if their performance in the game is weak. While further validation is necessary, this model not only contributes to the gameplay experience debate, but also demonstrates in a given context how player and video game dimensions evolve during video game play.Entre as muitas discussões e estudos relacionados com os videojogos, um dos mais recorrentes, amplamente debatido e importante relaciona-se com a experiência de jogar videojogos. A experiência de jogo - como empregado neste estudo - é o resultado da interação entre dois elementos essenciais: um videojogo e um jogador. Os estudos existentes têm explorado a experiência resultante do ato de jogar a partir da perspectiva do videojogo ou do jogador, mas nenhum parece igualmente equilibrar estes dois elementos. O estudo aqui apresentado contribui para o debate em curso com um modelo da experiência de jogo. O modelo proposto, que procura equilibrar de forma igual os elementos videojogo e jogador, considera a experiência de jogo como uma experiência interativa (relacionada com o processo de jogar o videojogo) e uma experiência emocional (relacionada com o resultado de jogar o videojogo). A influência mútua destas duas experiências durante o ato de jogar define a experiência de jogo. Para esta experiência de jogo contribuem várias dimensões, relacionadas com o videojogo e o jogador: o videojogo inclui a dimensão da mecânica, da interface e narrativa; o jogador inclui a dimensão das motivações, expectativas e background. Além disso, a experiência de jogo é inicialmente definida por uma situação de jogo, condicionada por um ambiente em que o jogo se realiza e uma plataforma na qual se joga. Para inicialmente validar o modelo e tentar mostrar uma relação entre as múltiplas dimensões do modelo proposto, um estudo multicaso foi concretizado utilizando dois videojogos e amostras diferentes. Num dos estudos, os resultados mostram correlações significativas entre as múltiplas dimensões do modelo, e evidências de que alterações ao videojogo podem influenciar as motivações do jogador e o seu comportamento visual. Numa análise relacionada com características dos jogadores, os resultados mostram que os jogadores, embora possam ser diferentes em termos de experiência e expectativas em relação ao jogo, a sua motivação para jogar não é necessariamente diferente, mesmo que o seu desempenho no jogo seja fraco. Embora uma validação contínua do modelo seja necessária, este modelo não só contribui para o debate da experiência de jogo, mas também mostra num determinado contexto como as dimensões do jogador e videojogo evoluem durante o ato de jogar

Player Types, Motivations & The Western Australian Live Action Role-Play Community: An investigation of Possible LARP Player & Digital Game Theory Compatibility

This thesis aimed to investigate the extent to which Bartle’s (1996) Multi-User Dungeon (MUD) player taxonomy can be applied to the classification of the motivations of the Western Australian Live Action Role-Play (LARP) community. This work resulted in the production of the refined LARPer Motivation Typology theory which can provide a greater understanding of the motivational behaviours of WA LARP participants for the benefit of scholarly researchers, LARP Organisers and individual LARP players

Considerations of Mutual Exchange in Prosocial Decision-Making

Research using economic decision-making tasks has established that direct reciprocity plays a role in prosocial decision-making: people are more likely to help those who have helped them in the past. However, less is known about how considerations of mutual exchange influence decisions even when the other party’s actions are unknown and direct reciprocity is therefore not possible. Using a two-party economic task in which the other’s actions are unknown, Study 1 shows that prosociality critically depends on the potential for mutual exchange; when the other person has no opportunity to help the participant, prosocial behavior is drastically reduced. In Study 2, we find that theories regarding the other person’s intentions influence the degree of prosociality that participants exhibit, even when no opportunity for direct reciprocity exists. Further, beliefs about the other’s intentions are closely related to one’s own motivations in the task. Together, the results support a model in which prosociality depends on both the social conditions for mutual exchange and a mental model of how others will behave within these conditions, which is closely related to knowledge of the self

Video Game Development Strategies for Creating Successful Cognitively Challenging Games

The video game industry is a global multibillion dollar industry with millions of players. The process of developing video games is essential for the continued growth of the industry, and developers need to employ effective strategies that will help them to create successful games. The purpose of this explorative qualitative single case study was to investigate the design strategies of video game developers who have successfully created video games that are challenging, entertaining, and successful. The technology acceptance model served as a conceptual framework. The entire population for this study was members of a video game development team from a small successful video game development company in North Carolina. The data collection process included interviews with 7 video game developers and analysis of 7 organizational documents. Member checking was used to increase the validity of the findings from the participants. Through the use of triangulation, 4 major themes were identified in the study: the video game designer has a significant impact on the development process, the development process for successful video games follows iterative agile programming methods, programming to challenge cognition is not a target goal for developers, and receiving feedback is essential to the process. The findings in this study may benefit future video game developers and organizations to develop strategies for developing successful games that entertain and challenge players while ensuring the viability of the organization. Findings may influence society as they demonstrate where the points of interest should be directed concerning the impact of video games upon behavior of the players

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

As cinemáticas e narrativas de jogos digitais: implicações para o design de jogos

Game cinematics integrating filming techniques, cutscenes, and animations are likely to have a pivotal role in the player experience, emotional attachment, and relatedness to the game narrative content. In recent years, the avoidance of cuts to generate a seamless and connected game experience has challenged older patterns on storytelling in games and find new ways of intertwining gameplay with the narrative. However, a one-size-fits-all strategy may not be applied when considering different storytelling purposes, structures, and language used in diversified game genres. The purpose of this research is to examine the contributions of cinematics to affect game story comprehension, especially in young adults. A multi-stage development research method is applied, encompassing the following activities: (1) identification of requirements to develop game cinematics based on the literature review and interviews with 16 scholars and industry professionals in Game UX, and cinematic development; (2) Development of a Game Cinematics experiment for the game Mutation Madness, using first- and third- perspectives; and a (3) Comparative evaluation of game cinematics in terms of experience and narrative comprehension. The cinematics developed are tested with 46 young adults to assess the effect of the Point Of View (POV) camera on visual attention and story comprehension in Mutation Madness, using an eye- tracking experiment. The results suggest that third- perspective in game cinematics constitute omniscient knowledge of the story, evoking the sense of time and focusing on the story agents, while first- perspective visually guides the player to the game events happening in the time of gameplay. This research contributes to the Communication Sciences and Technologies field by presenting a set of best practices developing game cinematics.As cinemáticas de jogos que integram técnicas de filmagem, cutscenes, e animações, tendem a ter um papel central na experiência do jogador, envolvimento emocional, e relação com a narrativa. Nos últimos anos, os padrões mais antigos inerentes ao processo de contar histórias nos jogos têm sido desafiados pela ausência de cortes e interrupções na experiência, de modo a garantir a interconexão e o entrelaçar da jogabilidade com a narrativa. No entanto, a adoção de uma estratégia de dimensão única pode não atender a diferentes propósitos da narrativa, estruturas e linguagem utilizadas em diferentes géneros de jogos. O objetivo desta investigação é compreender o modo como as cinemáticas podem afetar a compreensão de histórias de jogos, especialmente em jovens adultos. O método de investigação de desenvolvimento é aplicado, subdividido nas seguintes etapas: (1) Identificação de requisitos para desenvolver cinemáticas de jogos com base na revisão da literatura e entrevista a 16 académicos e profissionais da indústria em experiência de jogo, e desenvolvimento de cinemáticas; (2) Desenvolvimento de cinemáticas do jogo Mutation Madness, com recurso à primeira e terceira perspetiva; e (3) Avaliação comparativa das cinemáticas de jogo em termos de experiência e compreensão da narrativa. As cinemáticas desenvolvidas são testadas por 46 jovens adultos, recorrendo à metodologia eye-tracking, para avaliar o efeito da perspetiva da câmara [Point Of View (POV)] na atenção visual e na compreensão da narrativa do jogo Mutation Madness. Os resultados sugerem que a cinemática em que é adotada a terceira perspetiva no jogo proposto contribui para um conhecimento omnisciente da história, evocando o sentido do tempo e concentrando-se nos agentes da história, enquanto a primeira perspetiva orienta visualmente o jogador para os eventos do jogo que acontecem no tempo da jogabilidade. Esta investigação contribui para a área das Ciências da Tecnologia da Comunicação ao apresentar um conjunto de melhores práticas para desenvolver as cinemáticas nos jogos.Mestrado em Comunicação Multimédi

#InstagramELE: Learning Spanish Through a Social Network

Social networking (SN) tools have the potential to contribute to language learning because they promote linguistic interactions in person-to-person communication, increasing the opportunities to process input in the L2, engaging learners in negotiation of meaning and requiring learners to produce L2 output, as proposed in the interactionist theory by Long (1985, 1996). These virtual personal connections with other learners and language experts around the world could provide a rich environment for sociocultural language exchanges (following the principles of the sociocultural approach proposed by Lantolf, 2002, based on the work of Vygotsky, 1978) that may increase motivation for learning, develop L2 sociopragmatic competence and learners’ online identities through expression, interaction and community building, as researchers have found (see Lomicka & Lord, 2010, for a summary of SN research). In addition, social networking is also believed to promote autonomous learning because the learners take responsibility of their own learning process in socially interactive environments by exploring the L2 through communication, collaboration and experimentation (Blake, 2013). Due to the popularity of social networking sites such as Instagram, Facebook and Twitter, language teachers have explored different ways to integrate them into the language education curriculum. This presentation will describe the #InstagramELE global learning community of Spanish learners and teachers. Instagram involves sharing photos and images that lend themselves to the development of descriptive language. The use of visual elements often leads nicely into cultural issues and development of cultural awareness and competence. We will describe an instructional task, the #instragramELE challenge, that could be a vehicle for the acquisition of new vocabulary, cultural topics, and the development of reading and writing expression. This challenge has already accumulated more than 30000 tagged photos, from all over the world. We will also discuss its benefits and challenges as an autonomous learning tool and some ideas for classroom implementation and teacher training