‘It’s a-me, Mario!’ Exploring dynamic changes and similarities in the composition of early Nintendo video game music

As with films, a thoughtfully composed video game soundtrack has the ability to dramatically enhance and elevate the experience for the audience or player. This article explores the potential issues and difficulties of composing for video game systems by studying the sound-producing hardware and music for two popular systems from one manufacturer. By comparing two of Nintendo’s Super Mario titles, which appeared on both 8-bit and 16-bit systems, through an analysis of the technology, audio, visual (audiovisual), music, and gameplay elements, it is shown that the musical composition was affected by the limitations of processing power. The discussion shows how the composer, Koji Kondo, overcame the issues of limited computing power by using layers of repetition while applying various functions of music for film to enhance player immersion. Kondo composed theme music that has become engrained in popular culture and is synonymous with one of Nintendo’s flagship franchises (Greening, 2014). By attempting to understand the method or approach behind the composition for earlier systems, it is possible to investigate and discuss the evolution of video game music while acknowledging and contributing to the study of music for games. A musical analysis of the Castle and Underwater themes on each system allows for a direct comparison of the compositional approach, while an audiovisual analysis reveals the presence of existing cinematic tropes and identifies potential influences on the creation of effective musical soundtracks for video games. Applying audiovisual theory to games will require the use of existing literature from Lissa (1965), Gorbman (1987), Chion (1994) and Tagg (2004), along with the work of Collins (2005; 2007a; 2007b; 2008a; 2008b), which adapts and applies audiovisual analysis to video games

Design methodology for 360-degree immersive video applications

360-degree immersive video applications for Head Mounted Display (HMD) devices offer great potential in providing engaging forms of experiential media solutions. Design challenges emerge though by this new kind of immersive media due to the 2D form of resources used for their construction, the lack of depth, the limited interaction, and the need to address the sense of presence. In addition, the use of Virtual Reality (VR) is related to cybersickness effects imposing further implications in moderate motion design tasks. This research project provides a systematic methodological approach in addressing those challenges and implications in 360-degree immersive video applications design. By studying and analysing methods and techniques efficiently used in the area of VR and Games design, a rigorous methodological design process is proposed. This process is introduced by the specification of the iVID (Immersive Video Interaction Design) framework. The efficiency of the iVID framework and the design methods and techniques it proposes is evaluated through two phases of user studies. Two different 360-degree immersive video prototypes have been created to serve the studies purposes. The analysis of the purposes of the studies ed to the definition of a set of design guidelines to be followed along with the iVID framework for designing 360-degree video-based experiences that are engaging and immersive

Immersive user interface for first person view games

This study aimed to investigate the immersion of user interfaces that bring first person games using virtual reality based on the concepts established by the Diegesis theory. To conclude, a table has been created with identified elements of the games that bring more or less immersion to the player. Through the data collected, a questionnaire was developed to obtain information from developers, designers and players, in relation to the more immersive elements, and others with less immersive elements of the interfaces and concluding that the Diegetic and Spatial Interfaces are the most immersive for first-person games in virtual reality, and less immersive were the Meta and Non-Diegetic interfaces. Through this information, it is possible that there is a strong influence in the creation of games interfaces, after all we all want to be immersed when playing digital games.Este trabalho se propôs a investigar a imersão que as interfaces de usuário trazem a jogos de primeira pessoa que utilizam a realidade virtual, baseada nos conceitos estabelecidos pela teoria da Diegese. Por fim, foi criado uma tabela com interfaces identificadas dos jogos que trazem mais ou menos imersão ao jogador. Através dos dados coletados foi desenvolvido um questionário para obter informações de desenvolvedores, designers e jogadores, em relação com os elementos mais imersivos, e outros com elementos menos imersivos, e concluímos que as interfaces Diegetic e Spatial são as mais imersivas para os jogos em primeira pessoa na realidade virtual, e menos imersivas são as interfaces Meta e Non-Diegetic. Através dessa informação, é possível que exista uma influência forte na criação de interfaces de jogos, afinal todos queremos ficar imersos enquanto jogamos

Gamemunication: prosthetic communication ethnography of game Avatars

This study revisits Hymes’ ethnography of communication for game avatars, functioning as a communication nexus connecting games and gamers. Hymes formulates his ethnography of communication into SPEAKING (Settings and Scenes, Participants, Ends, Act Sequences, Keys, Instrumentalities, Norms, and Genres) and this formula deems to be unfit to explain how game avatars communicate. Implementing Klevjer’s prosthetic telepresence (2012) to analyze sixty-two game titles, it is revealed that SPEAKING requires an extension when applied to study game avatars since the formula is not designed to explain the prosthetic nature of game avatars. This prosthetic nature produces specific communication ethnography of avatars, which we dub prosthetic communication ethnography. By prosthetic communication ethnography refers to technical elements of gaming, which contribute to the ways the avatars communicate. As Hymes’ ethnography of communication with SPEAKING, this avatar based communication ethnography requires the same tool of analysis, which we call GAMING (Gaming systems, Attributes, Mechanics, Indexicalities, Narratives, and Geosocial systems), constructed with indexical storytelling by Fernández-Vara (2011), user interface types of games by Stonehouse (2014) and prosthetic video game theory by Jagodzinski (2019) as the theoretical foundations. GAMING and SPEAKING are integrated by bridging them with Aarseth’s ludonarrative dimensions (2012)

Autopoiesis through agency in virtual reality nonfiction

Documentary filmmakers are gradually embracing immersive media to create novel Virtual Reality Nonfiction (VRNF) content. Over the past twenty years initial experimentation in this new medium has brought forward numerous linearly structured 360° documentaries that maintain a close link to traditional documentary modes. More recently, we have observed a shift from the relatively passive 360° cinema towards more open-world, non-linear, game-like interactive experiences that challenge traditional definitions of the documentary genre. Volumetric world-building techniques provide nonfiction creators with additional tools that afford ‘viewer-users’ spatial and interactive agency, leading to a heightened autopoietic realisation of the storyworld. VRNF creators have the potential to allow their viewer-users enhanced control over framing, temporal ordering of the plot and spatial unfolding of the diegetic world, thus inviting them to become actual co-creators of a deeply personal and personalized experience. This article addresses how VRNF may go beyond the mere ‘documentation’ of people, places or past events that existed in a pre-filmic reality and provide viewer-users through augmented agency a unique present-tense autopoietic experience that pushes the boundaries of traditional 2D documentary.<br/

A semiotic and usability analysis of Diegetic UI: Metro - Last Light

A narrativa de um jogo é um dos principais componentes da criação da imersão do jogador. À medida que a tecnologia avança, novas ferramentas possibilitam aos desenvolvedores de jogos a criação mundos digitais cada vez mais complexos. A Interface de Usuário tem um papel crucial, fornecendo ao jogador feedback sobre os vários atributos e mecânicas do jogo. Alguns jogos buscaram integrar a interface tradicionalmente intrusiva dentro da narrativa e da arte do jogo, por meio das Interfaces Diegética. O objetivo desta tese é entender como a integração da interface na arte e na narrativa do jogo - criando o que é chamado de Interface Diegética - pode aumentar a sensação de imersão do jogador. Para identificar os processos através dos quais o significado é observado na Interface Diegética, contamos com a Semiótica Discursiva proposta por A.J. Greimas e para avaliar se essas representações Diegéticas afetam a Usabilidade, empregamos as Heurísticas proposta por Desurvire e Wiberg. A metodologia mostrou resultados interessantes acerca das relações entre Interface e Narrativa, bem como o impacto de Usabilidade derivado de tal implementação no jogo Metro: Last Light.A Game’s narrative is one of the key components of creating Player immersion. As technology advances, game developers increase their toolset for creating increasingly complex game worlds. The UI has a crucial role, providing the Player with feedback about the various attributes and mechanics within the game. Some games sought to integrate the traditionally intrusive UI within the game’s narrative and art, by the means of Diegetic UI. The goal of this Thesis is to understand how integrating the User Interface into the game’s art and narrative – creating what is called a Diegetic Interface – can increase the feeling of immersion for the Player. To identify the processes through which meaning is observed in Diegetic UI, we’ve relied on the Discoursive Semiotics proposed by A.J. Greimas and to assess if these Diegetic Representations affect usability, we employed Game Usability Heuristics proposed by Desurvire and Wiberg. The methodology proved to yield interesting results regarding the relationships between UI and Narrative as well as the Usability impact derived from such implementation in the game Metro: Last Light

Diegetic Tool Management in a Virtual Reality Training Simulation

Researchers have suggested that diegetic interfaces can enhance users’ sense of presence and immersion in virtual reality. We present a study (N = 58) in which we compare participants’ experiences of diegetic and non-diegetic interfaces, in a prototype VR CSI training application. Contrary to expectations, we do not find evidence that participants’ sense of presence is elevated when using the diegetic interface; however, we suggest that this may be due to reported higher levels of perceived workload. We conclude by discussing the relationship between diegetic interface design and interaction fidelity, and highlighting trade-offs between fidelity and engagement

Perbandingan Elemen Diegetik Dan Non Diegetik Terhadap Game Experience Pada Game Matematika

Kegiatan pembelajaran yang dilakukan secara daring atau School From Home (SFH) melibatkan banyak pihak untuk memudahkan para siswa dalam belajar. Banyak media atau aplikasi game yang dibuat untuk proses belajar mengajar para siswa seperti aplikasi game edukasi pada mata pelajaran matematika. Penelitian ini bertujuan untuk menganalisa dan membandingkan pengalaman bermain game pada elemen diegetik dan non diegetik terhadap game matematika. Metode penelitian dalam membandingkan game ini menggunakan metode CEGE yang terdiri dari beberapa bagian yaitu enjoyment, frustration, Puppetry, dan bagian Video-Game. Pengujian dilakukan dengan mengisi kuesioner yang berjumlah 38 pertanyaan terhadap 22 responden. Berdasarkan hasil pengujian, sebagian besar pengguna memilih game dengan elemen diegetik pada skala enjoyment dengan nilai 16 dan CEGE dengan nilai 146, sedangkan pada game non diegetik sebagian besar memilih pada skala video-game (environment) dengan nilai 29. Sehingga hasil penelitian ini menunjukkan bahwa user lebih banyak menggunakan elemen diegetik

A sound idea: An investigation into accessible video game design for the deaf and hard of hearing

A widely accepted, and incorrect, assumption towards hearing accessibility in video games is that deaf and hard of hearing (DHH) users are those who encounter the least barriers and are generally well catered for. Rapid advancement in video game technology has seen video game sound evolve from simple blips generated by internal circuitry to fully realised digital audio used to convey critical information. To accommodate the DHH, this information needs to be conveyed in an alternative manner. However, evidence suggests existing accessible design solutions for the DHH lack specificity and are insufficient. Thus, the inability to hear, or hear well, has historically resulted in DHH users left with impeded experience and gameplay. This thesis describes an investigation to address the primary research question: How might accessible video game design practices be facilitated to better accommodate the deaf and hard of hearing? To examine this question, an action research method as part of a transformative mixed methods methodology was used. Data collection procedures included critical analysis of literature, observations, and a cross-sectional self-administered survey for triangulation. The critical analysis of literature exposed issues relating to accessible video game design, particularly in relation to the identification of solutions and technical implementation. Further, issues related to the classification of video game software were identified. This posed potential problems with identification of game design methods and led to the development of a new video game classification model. The new model informed an analysis on the methods used for the design of video games, and results were visually represented and mapped to the different approaches to accessible design. Subsequent analysis determined that a game assessment framework is a suitable approach to facilitating accessible design. Further investigation identified visual feedback as the most suitable form of complementary feedback to game audio. This led to the development of a new model to classify visual feedback elements used in video games, and identification of audio feedback categories based on diegetic film theory. Through triangulation of results, a new game feedback model (GFM) was developed. The GFM was used for observational experimentation to identify and classify individual visual feedback elements used in video games. Each element was analysed and mapped to categories of game sound. The resulting model, with populated data, was used to determine what visual feedback elements may be used to complement specific categories of critical game audio. A survey was subsequently used for triangulation, and resulted in amendments to the final model. Through iterative development, and interpretation of findings, the research culminated in the development of a game assessment framework. The three-step framework aids in the classification of game sounds; assesses the impact of those game sounds; and provides recommendations for complementary visual feedback elements for sounds identified as having an adverse impact on user experience and gameplay if they were to be removed. The framework is innovative and has the potential to provide practical guidance for developers of video games. In addition, this research provides the foundation for future research, with the potential to influence accessible game design for the DHH