Analyzing the Impact of Spatio-Temporal Sensor Resolution on Player Experience in Augmented Reality Games

Along with automating everyday tasks of human life, smartphones have become one of the most popular devices to play video games on due to their interactivity. Smartphones are embedded with various sensors which enhance their ability to adopt new new interaction techniques for video games. These integrated sen- sors, such as motion sensors or location sensors, make the device able to adopt new interaction techniques that enhance usability. However, despite their mobility and embedded sensor capacity, smartphones are limited in processing power and display area compared to desktop computer consoles. When it comes to evaluat- ing Player Experience (PX), players might not have as compelling an experience because the rich graphics environments that a desktop computer can provide are absent on a smartphone. A plausible alternative in this regard can be substituting the virtual game world with a real world game board, perceived through the device camera by rendering the digital artifacts over the camera view. This technology is widely known as Augmented Reality (AR). Smartphone sensors (e.g. GPS, accelerometer, gyro-meter, compass) have enhanced the capability for deploying Augmented Reality technology. AR has been applied to a large number of smartphone games including shooters, casual games, or puzzles. Because AR play environments are viewed through the camera, rendering the digital artifacts consistently and accurately is crucial because the digital characters need to move with respect to sensed orientation, then the accelerometer and gyroscope need to provide su ciently accurate and precise readings to make the game playable. In particular, determining the pose of the camera in space is vital as the appropriate angle to view the rendered digital characters are determined by the pose of the camera. This defines how well the players will be able interact with the digital game characters. Depending in the Quality of Service (QoS) of these sensors, the Player Experience (PX) may vary as the rendering of digital characters are affected by noisy sensors causing a loss of registration. Confronting such problem while developing AR games is di cult in general as it requires creating wide variety of game types, narratives, input modalities as well as user-testing. Moreover, current AR games developers do not have any specific guidelines for developing AR games, and concrete guidelines outlining the tradeoffs between QoS and PX for different genres and interaction techniques are required. My dissertation provides a complete view (a taxonomy) of the spatio-temporal sensor resolution depen- dency of the existing AR games. Four user experiments have been conducted and one experiment is proposed to validate the taxonomy and demonstrate the differential impact of sensor noise on gameplay of different genres of AR games in different aspect of PX. This analysis is performed in the context of a novel instru- mentation technology, which allows the controlled manipulation of QoS on position and orientation sensors. The experimental outcome demonstrated how the QoS of input sensor noise impacts the PX differently while playing AR game of different genre and the key elements creating this differential impact are - the input modality, narrative and game mechanics. Later, concrete guidelines are derived to regulate the sensor QoS as complete set of instructions to develop different genres or AR games

Scaffolding Novices to Leverage Auditory Awareness Cues in First-Person Shooters

Today's digital games require the mastery of many different skills. This is accomplished through play itself -- sometimes experientially and other times by using explicit guidance provided by the game designer. Multiplayer games, due to their competitive nature, provide fewer opportunities for designers to guide players into mastering particular skills, and so players must learn and master skills experientially. However, when novices compete against better players -- as they would if they were new to the game -- they can feel overwhelmed by the skill differential. This may hinder the ability of novices to learn experientially, and more importantly, may lead to extended periods of unsatisfying play and missed social play opportunities as they struggle to improve in a competitive context. A game genre that suffers from this problem is the multiplayer first-person shooter (FPS), in which the skill difference between new players and experts who have reached a high level of expertise can be quite large. To succeed in a FPS, players must master a number of skills, the most obvious of which are navigating a complex 3D environment and targeting opponents. To target opponents in a 3D environment, you must also be able to locate them -- a skill known as "opponent location awareness". With the goal of helping novices learn the skill of opponent location awareness, we first conducted an experiment to determine how experts accomplish this important task in multiplayer FPS games. After determining that an understanding of audio cues -- and how to leverage them -- was critical, we designed and evaluated two systems for introducing this skill of locating opponents through audio cues -- an explicit stand-alone training system, and a modified game interface for embedded training. We found that both systems improved accuracy and confidence, but that the explicit training system led to more audio cues being recognized. Our work may help people of disparate skill be able to play together, by scaffolding novices to learn and use a strategy commonly employed by experts

Feedback control for exergames

The concept of merging exercise equipment with video games, known as exergaming, has the potential to be one of the main tools used in addressing the current rising obesity epidemic. Existing research shows that exergaming can help improve fitness and additionally motivate people to become more active. The two key elements of attractiveness - how much people want to play or use the exergaming system; and effectiveness – how effective the exergaming system is in actually increasing or maintaining physical fitness, need to be maximised to obtain the best outcomes from an exergaming system; we put this forward as the Dual Flow Model. As part of the development of our exergame system we required the use of a heart rate response simulator. We discovered that there was no existing quantitative model appropriate for the simulation of heart rate responses to exercise. In order to overcome this, we developed our own model for the simulation of heart rate response. Based on our model, we developed a simulation tool known as the Virtual Body Simulator, which we used during our exergame development. Subsequent verification of the model using the trial data indicated that the model accurately represented exergame player heart rate responses to a level that was more than sufficient for exergame research and development. In our experiment, attractiveness was controlled by manipulation of the game difficulty to match the skill of the player. The balance of challenge and skills to facilitate the attainment of the flow state, as described by Csikszentmihalyi (1975), is widely accepted as a motivator for various activities. Effectiveness, in our experiments was controlled through exercise intensity. Exercise intensity was adjusted based on the player‟s heart rate to maintain intensity within the limits of the ASCM Guidelines (ACSM, 2006) for appropriate exercise intensity levels. We tested the Dual Flow Model by developing an exergame designed to work in four different modes; created by selectively varying the control mechanisms for exercise workout intensity and game mental challenge. We then ran a trial with 21 subjects who used the exergame system in each of the different modes. The trial results in relation to the Dual Flow Model showed that we developed an excellent intensity control system based on heart rate monitoring; successfully managing workout intensity for the subjects. However, we found that the subjects generally found the intensity controlled sessions less engaging, being closer to the flow state in the sessions where the intensity was controlled based on heart rate. The dynamic difficulty adjustment system developed for our exergame also did not appear to help facilitate attainment of the flow state. Various theories are put forward as to why this may have occurred. We did find that challenge control had an impact on the actual intensity of the workout. When the intensity was not managed, the challenge control modes were generally closer to the desired heart rates. While the difference was not statistically very large, there was a strong correlation between the intensity of the different modes. This correlation was also present when looking at the players‟ perception of intensity, indicating that the difference was enough to be noticed by the subjects

Gesture Object Interfaces to enable a world of multiple projections

Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2010.Cataloged from PDF version of thesis.Includes bibliographical references (p. [209]-226).Tangible Media as an area has not explored how the tangible handle is more than a marker or place-holder for digital data. Tangible Media can do more. It has the power to materialize and redefine our conception of space and content during the creative process. It can vary from an abstract token that represents a movie to an anthropomorphic plush that reflects the behavior of a sibling during play. My work begins by extending tangible concepts of representation and token-based interactions into movie editing and play scenarios. Through several design iterations and research studies, I establish tangible technologies to drive visual and oral perspectives along with finalized creative works, all during a child's play and exploration. I define the framework, Gesture Object Interfaces, expanding on the fields of Tangible User Interaction and Gesture Recognition. Gesture is a mechanism that can reinforce or create the anthropomorphism of an object. It can give the object life. A Gesture Object is an object in hand while doing anthropomorphized gestures. Gesture Object Interfaces engender new visual and narrative perspectives as part of automatic film assembly during children's play. I generated a suite of automatic film assembly tools accessible to diverse users. The tools that I designed allow for capture, editing and performing to be completely indistinguishable from one another. Gestures integrated with objects become a coherent interface on top of natural play. I built a distributed, modular camera environment and gesture interaction to control that environment. The goal of these new technologies is to motivate children to take new visual and narrative perspectives. In this dissertation I present four tangible platforms that I created as alternatives to the usual fragmented and sequential capturing, editing and performing of narratives available to users of current storytelling tools. I developed Play it by Eye, Frame it by hand, a new generation of narrative tools that shift the frame of reference from the eye to the hand, from the viewpoint (where the eye is) to the standpoint (where the hand is). In Play it by Eye, Frame it by Hand environments, children discover atypical perspectives through the lens of everyday objects. When using Picture This!, children imagine how an object would appear relative to the viewpoint of the toy. They iterate between trying and correcting in a world of multiple perspectives. The results are entirely new genres of child-created films, where children finally capture the cherished visual idioms of action and drama. I report my design process over the course of four tangible research projects that I evaluate during qualitative observations with over one hundred 4- to 14-year-old users. Based on these research findings, I propose a class of moviemaking tools that transform the way users interpret the world visually, and through storytelling.by Catherine Nicole Vaucelle.Ph.D

DEVELOPMENT AND VALIDATION OF SIMULATORS FOR POWER WHEELCHAIR DRIVING EVALUATIONS

Of all those people with severe physical and cognitive disabilities who are rated as unsafe to drive a power wheelchair and hence denied a wheelchair, a significant number can have positive outcomes by using advanced control interfaces and by getting adequate amount of driving training. This dissertation research presents development and user evaluations with a virtual reality based wheelchair driving simulator system. Using the software systems validated in these research studies clinicians can select and customize joystick interfaces that can optimally use their client’s physical and cognitive capabilities. When people with traumatic brain injury and cerebral palsy used the isometric joystick they committed equivalent or lesser driving errors than when they used the conventional movement sensing joystick to drive a wheelchair. Potential wheelchair users can benefit from such customizable control interfaces to reliably and safely control their power wheelchairs and improve their community participation. An immersive virtual reality simulator was further developed as a driving training and evaluation tool. People with various disabilities completed a clinically validated driving evaluation protocol in real and virtual environments. Their virtual driving performances in the simulator were predictive of their performances in real world. Experienced clinicians showed high inter and intra rater reliabilities in their driving evaluations. Research was also performed to understand the relative contribution of different system components of the simulator system to the overall mental and physical workload of users. This research may assist researchers in selecting simulator system components that best suit the clinical needs of potential users. Clinicians who were trained to evaluate wheelchair driving using this system and wheelchair users who used it gave a general positive feedback that that this simulator has good potential for use in clinical or community settings

Video Game Art Reader

The inaugural issue of VGAR celebrates video game culture as inclusive and global. Opening with an interview with the art director of the first independent Cuban video game, Savior, while the following essays from art historians, literary theorists, game designers, artists, educators, museum curators, and programmers all engage with video games as an important part of the global art landscape. Each engages with what makes good game art with special attention to the transnational cadre of gamers that play them

Video games: Changing the way we think of home entertainment

In this paper the various aspects of video games in modern day households will be discussed. According to marketing trends, video games will be extremely influential in the future of home entertainment, however not all gaming companies are able to understand the importance of this growing trend deep enough to make an effort in producing family-oriented1 video games [43, par. 2]. The need for more varied video games will be discussed in this paper and examples of successful family games will be used to solidify research conclusions. There are issues that are clearly holding the video gaming industry back from developing further faster. Among these are the inequalities in game design itself in terms of gender. Even though there are some games targeting females specifically, there are still not enough female-oriented games on the market in order to satisfy the growing demand. In order to determine the right path for video game designers to correctly satisfy the void in the market, materials on gender issues will be reviewed closely in this paper and suggestions on improvements will be provided. There are other issues that prevent video games from being fully accepted into everyday culture. The biggest one is the belief that violent video games lead to violent behavior in children. This argument will be examined from both sides of the issue and appropriate suggestions for game makers will be provided. If video games shall become the center of home entertainment, they will achieve better results if they are family-oriented vs. traditional, male oriented, games. The above could be accomplished by developing games that could be enjoyed by the whole family. Examples and suggestions will be given on how to do that, including marketing research and various usability techniques that could aid in better understanding and design of video games. Among other issues, the one of access (can users get the games?) and availability (are games available to users?) will be discussed. The reasons that prevent people from acquiring certain consoles range between the poor quality of games to the lack of broadband in some areas. These and other roadblocks will be discussed and the appropriate suggestions will be presented in order to fix the situation. Even though the world of video games is largely divided between computer (PC) games and console games, this paper will primarily focus on consoles. It will also illustrate various theories that support the notion of console games being the center of home entertainment as opposed to computer games. Overall, this paper will supply answers to some questions about video games but will also provide various suggestions on what needs to be implemented in order for video games to become more accepted worldwide. 1 Games that can be played by all members of the family, young and old, with different levels of game mastery, different tastes, and preferences. This would be straying away from traditional male dominated industry

Haptics Rendering and Applications

There has been significant progress in haptic technologies but the incorporation of haptics into virtual environments is still in its infancy. A wide range of the new society's human activities including communication, education, art, entertainment, commerce and science would forever change if we learned how to capture, manipulate and reproduce haptic sensory stimuli that are nearly indistinguishable from reality. For the field to move forward, many commercial and technological barriers need to be overcome. By rendering how objects feel through haptic technology, we communicate information that might reflect a desire to speak a physically- based language that has never been explored before. Due to constant improvement in haptics technology and increasing levels of research into and development of haptics-related algorithms, protocols and devices, there is a belief that haptics technology has a promising future

Understanding computer game culture: the cultural shaping of a new medium

In the past few decades, video games have developed from a marginal technological experiment into a mainstream medium. During this period they have gone through several transformations, from arcade machines offering a few minutes of solitary fun for a quarter to monthly subscription-based online MMOs in which thousands of players spend hundreds or even thousands of hours and lead a significant part of their social life as a fantasy character. But what is it that has driven video games? development? Is it technology? Indeed, with every new generation of hardware, game designers were given a broader set of tools for evoking exhilarating experiences. But is not culture at least as important? What would games look like if Tolkien never had written Lord of the Rings, or if Nintendo had not brought Japanese manga drawing styles to the new medium? This book looks at the theoretical challenges and foundations on which to base a cultural shaping approach towards the evolution of video games and proposes a set of concepts for analyzing and describing this process