Play Experience Enhancement Using Emotional Feedback

Innovations in computer game interfaces continue to enhance the experience of players. Affective games - those that adapt or incorporate a player’s emotional state - have shown promise in creating exciting and engaging user experiences. However, a dearth of systematic exploration into what types of game elements should adapt to affective state leaves game designers with little guidance on how to incorporate affect into their games. We created an affective game engine, using it to deploy a design probe into how adapting the player’s abilities, the enemy’s abilities, or variables in the environment affects player performance and experience. Our results suggest that affectively adapting games can increase player arousal. Furthermore, we suggest that reducing challenge by adapting non-player characters is a worse design choice than giving players the tools that they need (through enhancing player abilities or a supportive environment) to master greater challenges

The Gamification of Modern Dating: A Feminist Analysis

My project gg is a digitally rendered 360° animation of a tech-filled bedroom, accompanied by a joystick that can be used to navigate the 3D space. A visual comparison between multimedia games and modern dating culture, the bedroom scene draws parallels between the prioritization of male perspectives in fine art and digital media and the social prioritization of “masculine” qualities like logic over emotional vulnerability in the initialization of interpersonal relationships. My project investigates human motivations for playing games, both in the literal and idiomatic sense, using stereotypically feminized colors and symbols, to reclaim the patriarchal world of gaming for individuals who don’t identify with a hetero-masculine technological space

Playing with the dead:transmedia narratives and the Walking Dead games

This chapter discusses the theory and practice of transmedia narratives within the storyworld created by Robert Kirkman, Tony Moore and Charlie Adlard’s comics series The Walking Dead. It examines key aspects from the comics series and AMC’s adaptive television franchise to consider how both have been utilized and adapted for games. Particular focus will be paid to Telltale Games’ The Walking Dead, Gamagio’s The Walking Dead Assault and Terminal Reality’s The Walking Dead: Survival Instinct. The chapter explains the core concepts of transmedia narratives as they relate to The Walking Dead, places the games in the context of both the comics and television franchise, examines the significance of commercial and grassroot extensions and considers the role gaming and interactive narratives have within rich storyworlds. In examining The Walking Dead as a transmedia property, the authors demonstrate how vast narratives are adopted, modified and transformed in contemporary popular culture

Towards Emotionally Adapted Games based on User Controlled Emotion Knobs

In this paper, we present a framework for a gaming personalization system to systematically facilitate user-selected desired emotional states during gameplay with control knobs that regulate the emotional impact of the game. Underlying the framework is a Psychological Customization system. It entails personalization of the way of presenting information (user interface, visual layouts, modalities, narrative structures and other factors) per user or user group to create desired transient psychological effects and states, such as emotion, attention, involvement, presence, persuasion and learning (Saari and Turpeinen, 2004; Turpeinen and Saari, 2004). By varying the form of information presented in a game in an emotionally intelligent way it may be possible to achieve such effects. Theory, key concepts, available empiric evidence and an example of user controlled emotional gaming as well as a basic system design are presented. Psychological Customization includes modeling of individuals, groups, and communities to create psychological profiles and other profiles based on which customization may be conducted. In addition, a database of design rules is needed to define the desired cognitive and emotional effects for different types of profiles. Once these components are in place, content management technologies can be extended to cover variations of form and substance of information based on psychological profiles and design rules to create the desired psychological effects. (Turpeinen and Saari, 2004) Gaming research is often conducted on the basis of game content and genre analysis, typologies of gaming styles or consumption, narrative elements of the game and sales of games. Outside narrative elements of a game, also the factors related to the presentation of the substance of the game or the form of the game, such as visual representations of the gaming events, amount and pace of image motion, audio effects and background music, and the level of interactivity offered to the player, are important from the point of view of emotion. A basic approach to an element to be adapted inside a game is a psychologically validated template that is embedded inside the game to create a particular psychological effect. A broad view of templates may be that the whole game consists of a database of psychologically validated templates that are presented in sequences. A limited view entails that a smaller collection of templates is used. The element of psychological evaluation means that the selected psychological influence (such an emotional response) of the template on a particular type of user is sufficiently well predictable. These psychologically evaluated templates may consist of i) manipulating the substance of a game, such as story line (initiating events, new characters etc.) and manipulating the situations specifically related to the character of the player (such as putting the character into sudden and dangerous situations inside the game) and ii) manipulating the form or way of presentation of the game (such as visual elements, shapes, colours, types of objects, sound effects, background music, level of interactivity and feedback etc.). The difficulty level of the game may also be continuously automatically be adjusted, thereby keeping the skills and challenges in balance, which results in a maintenance of an optimal emotional experience and possibly also a flow-state. (Saari et al, in press) Introducing the element of user-controlled emotional regulation into such a gaming system happens by building a user experience control knob for the system. The user could select between emotions, such as wanting high arousal and positive emotion as much as possible or wanting to be calm and non-aroused while playing. One may also offer content-characteristic emotional regulation, such as less or more violence. This kind of a system could act as a parental control system for controlling the arousal states during childrens´ gameplay. One solution to verify the emotional reactios of the user during gaming is to have the user linked to a psychophysiological measurement system. An important advantage of psychophysiological measurements is that they can be performed continuously during game playing and have a high level of temporal precision. (Saari et al, in press) Several scenarios of using an emotional regulation system for gaming will be presented in the paper. It should be noted that from the point of view of ecological validity it may be stated that the key to a "good" fighting or war game is the optimal division of different types of emotional experiences while gaming, rather than just intensifying for instance excitement and arousal all the time. For instance, fear and hatred may be skillfully interlaced with joy and positive emotion. In other words, some parts of the game contain hatred and fear but there also have to be parts in which these are relieved and moments of victory and joy can be experienced (a terrible enemy has finally been devastated by the player). The value of the basic system design and approach presented in the article to HCI is obvious as a basis of new kind of paradigm for user controlled Human Computer Interaction based on emotional regulation. References Saari, T. and Turpeinen, M. (2004) Towards Psychological Customization of Information for Individuals and Social Groups. In Karat, M-C., Blom, J. and Karat. J. (eds.) Personalization of User Experiences for eCommerce, Kluwer, Germany. Saari, T., Ravaja, N., Laarni, J., Kallinen, K. and Turpeinen, M. (in press) Towards emotionally adapted Games. Accepted to Presence 2004 Turpeinen, M. and Saari, T. (2004) System Architechture for Psychological Customization of Information. Proceedings of HICSS-37- conference, 5.-8.1. 2004, Hawaii

Effectiveness of virtual reality in gamers versus non-gamers

In 2013, a new generation of consumer virtual reality systems began to be developed and marketed towards people with experience playing 3D video games. Since then, the consumer virtual reality market has increased dramatically with many virtual reality devices and pieces of software being available on the market today with garners still being a focus of much of the market. While a lot of research has gone into virtual reality over the years, little of it has focused on whether or not garners experience virtual reality in a different way than people without experience playing video games. This paper explores research that has been conducted on virtual reality through this lens and asserts that more experimental research should be conducted with virtual reality's effectiveness with garners and non-garners as this may dramatically influence the direction of virtual reality hardware and software in the coming years.Honors CollegeThesis (B.?

Does your profile say it all? Using demographics to predict expressive head movement during gameplay

In this work, we explore the relation between expressive head movement and user profile information in game play settings. Facial gesture analysis cues are statistically correlated with players' demographic characteristics in two different settings, during game-play and at events of special interest (when the player loses during game play). Experiments were conducted on the Siren database, which consists of 58 participants, playing a modified version of the Super Mario. Here, as player demographics are considered the gender and age, while the statistical importance of certain facial cues (other than typical/universal facial expressions) was analyzed. The proposed analysis aims at exploring the option of utilizing demographic characteristics as part of users' profiling scheme and interpreting visual behavior in a manner that takes into account those features.peer-reviewe

Measuring Fun: A Case Study in Adapting to the Evolving Metrics of Player Experience

The gaming industry and the concept of gamification have altered the way many developers and users approach interactive products. As social gaming demographics expand to what was previously considered “casual” audiences, more users expect an enjoyable experience from their digital applications and games. Developers now request more detailed subjective descriptions of satisfaction and the player experience from user-experience (UX) practitioners. Focusing on how fun a product is for users/players requires subjective, situationally dependent metrics rather than traditional UX efficiency metrics. The UX discipline is still constructing a comprehensive ecology of the player experience and how to measure it. This article contributes to that ecology by detailing a case in which our team conducted a usability test on a new video game peripheral. Our client’s primary concern dealt with how fun experienced gamers found the device. As our test progressed, we encountered a number of fun-related participant behaviors that led us to develop new metrics beyond our initial planned metrics. These new metrics helped us and our client better define and discuss enjoyability. Our case, in conjunction with a detailed definition and review of player experience and UX scholarship, shows the importance of adopting metrics contextually specific to the video-game product and player group when measuring fun is the primary goal

War/Game: Studying Relations Between Violent Conflict, Games, and Play

Source: http://gamestudies.org/1602/articles/potzschhammondGames and war have always stood in a close relationship to one another. From the ancient Chinese Go, via various iterations of chess to contemporary digital simulation games, or from classical Roman gladiator battles, via martial-arts competitions to today’s first-person shooters, the skills employed and the structures limiting participants’ actions and perceptions point to a variety of equivalences and connections between the two fields of practice

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