Paralympic VR Game Immersive Game using Virtual Reality Technology

Throughout the years virtual reality has been used for a wide range of applications, and several types of research have been made in order to improve its techniques and technology. In the last few years, the interest in virtual reality has been increasing partially due to the emergence of cheaper and more accessible hardware, and the increase in content available. One of the possible applications for virtual reality is to lead people into seeing situations from a different perspective, which can help change opinions. This thesis uses virtual reality to help people better understand paralympic sports by allowing them to experience the sports’ world from the athletes’ perspective. For the creation of the virtual environment, both computer-generated elements and 360 video are used. The integration of these two components presented a challenge to explore. This thesis focused on wheelchair basketball, and a simulator of this sport was created resorting to the use of a game engine (Unity 3D). For the development of this simulator, computer-generated elements were built, and the interaction with them implemented. Besides allowing the users to play the sport as if they are in the athlete’s shoes, users can also watch 360 videos in which explanations of the modality (rules and classification) are presented. They are also capable of interacting with some of these videos through virtual elements that are placed over the videos. User studies were conducted to evaluate the sense of presence, motion sickness and usability of the system developed. The results were positive although there are still some aspects that should be improved

Modelling Physical Activity in Virtual Reality Games

This thesis was inspired by the possibility that virtual reality (VR) games, which are designed primarily to be fun, could also provide exercise. It aimed to gain insights about this by exploring whether people can gain beneficial levels of exercise while playing VR games and how they might use VR games for exercise over several weeks. Furthermore, this work also focuses on how the level of physical activity that can be captured during gameplay and how a long-term user model can be created for individual players, as a foundation for supporting the user in gaining personal informatics insights about their exertion as well as being used for personalisation and external recommendation for VR games. The key contributions of this research are: • The first study of a diverse set of commercial VR games to gain insights about the level of actual and perceived exertion players have. • The first long-term study of VR games in a sedentary workplace to gain insights about the ways people utilise it and the levels of exertion they gain. • Based on reflections on the above studies, this thesis presents a framework and guidelines for designing physical activity VR games. • The systematic creation of a user model for representing a person’s long-term fitness and their VR gameplay, exertion and preferences. • A study of the ways that people can scrutinise their long-term personal informatics user model of exertion from VR game play and incidental walking. These contributions provide a foundation for future researchers and industry practitioners to design VR games that provide beneficial levels of exertion and allow people to gain insights into the relative contribution of the exercise from gameplay

XR, music and neurodiversity: design and application of new mixed reality technologies that facilitate musical intervention for children with autism spectrum conditions

This thesis, accompanied by the practice outputs,investigates sensory integration, social interaction and creativity through a newly developed VR-musical interface designed exclusively for children with a high-functioning autism spectrum condition (ASC).The results aim to contribute to the limited expanse of literature and research surrounding Virtual Reality (VR) musical interventions and Immersive Virtual Environments (IVEs) designed to support individuals with neurodevelopmental conditions. The author has developed bespoke hardware, software and a new methodology to conduct field investigations. These outputs include a Virtual Immersive Musical Reality Intervention (ViMRI) protocol, a Supplemental Personalised, immersive Musical Experience(SPiME) programme, the Assisted Real-time Three-dimensional Immersive Musical Intervention System’ (ARTIMIS) and a bespoke (and fully configurable) ‘Creative immersive interactive Musical Software’ application (CiiMS). The outputs are each implemented within a series of institutional investigations of 18 autistic child participants. Four groups are evaluated using newly developed virtual assessment and scoring mechanisms devised exclusively from long-established rating scales. Key quantitative indicators from the datasets demonstrate consistent findings and significant improvements for individual preferences (likes), fear reduction efficacy, and social interaction. Six individual case studies present positive qualitative results demonstrating improved decision-making and sensorimotor processing. The preliminary research trials further indicate that using this virtual-reality music technology system and newly developed protocols produces notable improvements for participants with an ASC. More significantly, there is evidence that the supplemental technology facilitates a reduction in psychological anxiety and improvements in dexterity. The virtual music composition and improvisation system presented here require further extensive testing in different spheres for proof of concept

Development of a virtual pet game using oculus rift and leap motion technologies.

Recent emerging technology with a Virtual Reality (VR) aspect is very research-driven as well as successful in commercial devices. Within it, the most advantageous technology is the Oculus Rift headset because of its light-weight, low-cost and high quality, which has potential to bring novel VR theory into practice. Furthermore, Leap Motion has emerged as a high precision bared hand tracker which supports VR integration. Thus, the combination of these technologies is promising in many application areas. Gaming is one of these, particularly the life simulation game genre because gaming not only bridges users to familiar technology but also gives them full immersion into the synthetic world. Among the many successful simulation games, the digital pet raising game genre has proven itself in the gamers’ community as well as in relation to advances in motion controller games. This has motivated the development of a virtual reality pet game. So, this research envisages to develop a prototype of a pet-raising game using the Unity game engine based on Leap Motion and Oculus Rift technologies. The prototype contains a variety of pet interactions including feeding, cleaning, throw-catch, tricks training, etc. to enhance the hand motion controlling of Leap Motion as well as playing with first person perspective to give full immersion in terms of VR. After that, the importance of game evaluation is justified via quantitative research approaches, aming to investigate into the interactive technologies like Leap Motion. Kinectimals game based on Xbox Kinect technology, was selected to compare two games in terms of motion controlling similarity. Two experiments which are similar procedure on the developed game and Kinectimals, are conducted in order to collect objective measures such as duration, task and failure rate; plus participant’s subjective reporting following three questionnaires, the After-Scenario Questionnaire (ASQ), IBM computer usability satisfaction questionnaire (CSUQ) and NASA-Task Load Index (NASA-TLX). Those questionnaires included standard questions and additional questions which are specific design for the prototype. Comparing to Kinectimals, the game achieved a high acceptable score in terms of workload, information and interface quality satisfaction. The final prototype received much positive feedback without simulator/motion sickness during long term playing and interface design. Moreover, beside the rich content game playing, some hand gestures including fist, face-up hand, throw-grab activities were the most reliable using Leap Motion. However, hand tracking issues were identified due to the lack of robustness, particular in dynamic gestures. As a result, main contribution is to make VR more accessible to ordinary people via gaming as well as how to apply the immersion into a specific game genre. In spite of some games/applications based on these technologies combinations, the serious experiments verifying their feasibility are limited, which makes this research worth to carry on. The experiment’s findings it is hoped contribute to promoting the pet game genre within a VR setting, in particular immersion role and motion controlling

Secondary World: The Limits of Ludonarrative

Secondary World: The Limits of Ludonarrative is a series of short narrative animations that are a theoretical treatise on the limitations of western storytelling in video games. The series covers specific topics relating to film theory, game design and art theory: specifically those associated with Gilles Deleuze, Jean Baudrillard, Jay Bolter, Richard Grusin and Andy Clark. The use of imagery, editing and presentation is intended to physically represent an extension of myself and my thinking process and which are united through the common thread of my personal feelings, thoughts and experiences in the digital age

New Game Physics - Added Value for Transdisciplinary Teams

This study focused on game physics, an area of computer game design where physics is applied in interactive computer software. The purpose of the research was a fresh analysis of game physics in order to prove that its current usage is limited and requires advancement. The investigations presented in this dissertation establish constructive principles to advance game physics design. The main premise was that transdisciplinary approaches provide significant value. The resulting designs reflected combined goals of game developers, artists and physicists and provide novel ways to incorporate physics into games. The applicability and user impact of such new game physics across several target audiences was thoroughly examined. In order to explore the transdisciplinary nature of the premise, valid evidence was gathered using a broad range of theoretical and practical methodologies. The research established a clear definition of game physics within the context of historical, technological, practical, scientific, and artistic considerations. Game analysis, literature reviews and seminal surveys of game players, game developers and scientists were conducted. A heuristic categorization of game types was defined to create an extensive database of computer games and carry out a statistical analysis of game physics usage. Results were then combined to define core principles for the design of unconventional new game physics elements. Software implementations of several elements were developed to examine the practical feasibility of the proposed principles. This research prototype was exposed to practitioners (artists, game developers and scientists) in field studies, documented on video and subsequently analyzed to evaluate the effectiveness of the elements on the audiences. The findings from this research demonstrated that standard game physics is a common but limited design element in computer games. It was discovered that the entertainment driven design goals of game developers interfere with the needs of educators and scientists. Game reviews exemplified the exaggerated and incorrect physics present in many commercial computer games. This “pseudo physics” was shown to have potentially undesired effects on game players. Art reviews also indicated that game physics technology remains largely inaccessible to artists. The principal conclusion drawn from this study was that the proposed new game physics advances game design and creates value by expanding the choices available to game developers and designers, enabling artists to create more scientifically robust artworks, and encouraging scientists to consider games as a viable tool for education and research. The practical portion generated tangible evidence that the isolated “silos” of engineering, art and science can be bridged when game physics is designed in a transdisciplinary way. This dissertation recommends that scientific and artistic perspectives should always be considered when game physics is used in computer-based media, because significant value for a broad range of practitioners in succinctly different fields can be achieved. The study has thereby established a state of the art research into game physics, which not only offers other researchers constructive principles for future investigations, but also provides much-needed new material to address the observed discrepancies in game theory and digital media design

Realnav: Exploring Natural User Interfaces For Locomotion In Video Games

We present an exploration into realistic locomotion interfaces in video games using spatially convenient input hardware. In particular, we use Nintendo Wii Remotes to create natural mappings between user actions and their representation in a video game. Targeting American Football video games, we used the role of the quarterback as an exemplar since the game player needs to maneuver effectively in a small area, run down the field, and perform evasive gestures such as spinning, jumping, or the juke . In our study, we developed three locomotion techniques. The first technique used a single Wii Remote, placed anywhere on the user\u27s body, using only the acceleration data. The second technique just used the Wii Remote\u27s infrared sensor and had to be placed on the user\u27s head. The third technique combined a Wii Remote\u27s acceleration and infrared data using a Kalman filter. The Wii Motion Plus was also integrated to add the orientation of the user into the video game. To evaluate the different techniques, we compared them with a cost effective six degree of freedom (6DOF) optical tracker and two Wii Remotes placed on the user\u27s feet. Experiments were performed comparing each to this technique. Finally, a user study was performed to determine if a preference existed among these techniques. The results showed that the second and third technique had the same location accuracy as the cost effective 6DOF tracker, but the first was too inaccurate for video game players. Furthermore, the range of the Wii remote infrared and Motion Plus exceeded the optical tracker of the comparison technique. Finally, the user study showed that video game players preferred the third method over the second, but were split on the use of the Motion Plus when the tasks did not require it

Audience Immersion: environment, interactivity, narrative in the work of Punchdrunk

The phrase immersive theatre has experienced a surge in popularity in recent years, and is often applied loosely. In 2012 (‘theatre roundup: advice for playwrights’) Lyn Gardner noted that ‘immersive is theatre’s new buzzword’ and expressed irritation with its often vague and unspecific application, commenting on ‘marketeers who seem to be applying the term “immersive” to practically anything that isn’t a play by David Hare.’ A specialised vocabulary and set of critical approaches are required. This thesis is about audience immersion in the work of Punchdrunk, a pioneering company working in the form. The thesis proposes that immersive theatre (the theatrical form) and immersive experience (the sensation) have a reciprocal relationship. The thesis begins with an overview of approaches to audience in theatre scholarship and other fields, and establishes a definition of immersive experience that will be applied to case studies in the chapters. The thesis is divided into three sections that consider topics integral to Punchdrunk’s theatre: interactive elements; a fractured and nonlinear approach to narrative; and the creation of scenographically rich environments. The chapters consider the relationship between these topics and immersive experience. The thesis is interested in how immersive experience is created and maintained, and discussed and framed in wider discourse. The first section is about interactivity and immersion. Chapter 1 considers various approaches to interactivity and proposes a multivalent model. Chapter 2 applies this model to a discussion of interactivity and immersive experience in The Drowned Man. Chapter 3 widens the definition of interactivity to consider audience engagement beyond the moment of the theatrical encounter. The second section is about narrative and immersion. Chapter 4 outlines current critical approaches to narrative, and discusses immersion in the interplay of story structure and theatrical structure, using the linear The Crash of the Elysium as a case study. Following on from this, Chapter 5 considers how immersive experience is created and maintained in the context of a Punchdrunk trademark: a nonlinear structure, with scenes in non-chronological order encountered only when a wandering spectator comes across them. Chapter 6 draws on the narrative ‘vs’ ludology debate in the field of gaming; a debate concerned with what a player is actually immersed in – the story or the mechanics of play. The chapter considers immersive experience and story in the Sleep No More project Punchdrunk undertook with MIT Media Lab in 2012, which used gaming mechanics to explore ‘remote and real world interconnected theatrical immersion’. The final section is about environment and immersion. Chapter 7 outlines approaches to environment and draws on methodological approaches from site-specific performance to discuss how immersive experience manifests in the interplay between the original site and the creation of a fictional world in/on that site.AHR

Performance Through an Avatar: Exploring Affect and Ideology Through Narrative in Videogames

Videogames are a major source of popular cultural narratives surpassing even Hollywood films. Videogames, however, cast the player as the active agent within the narrative as opposed to film, television, and traditional theatre where the separation between performer and audience is clearly demarcated. This dissertation investigates the affective potential of videogames realized through the relationship of the player and the avatar within the game world. Specifically, I look at the avatar as an affective conduit for the player, how the feedback between the player and avatar creates a cybernetic relationship, how this relationship changes the player, and how this change potentially augments the players interpretation of realityvirtual and otherwise. It is through this changed (and augmented) interpretation of reality that socio/political ideological meaningsintentional or notmay be absorbed by the player. Ethnographic research conducted with six volunteer participants combined with my own autoethnographic research into several recent popular videogames is intersected with theories of affect, embodiment, and ideology. My findings suggest that experience with the virtual realities of game worlds is one step removed from actual experience. Since videogames are composed of representations, the ideological positions embedded within those representations are not simply presented and understood like traditional theatre, film, and television, but are embodied by the player through the avatar as (nearly direct) experience. Theatre, film, and television have rich critical histories and this study of the players performance through the avatar as an affective conduit and receiver/transmitter of ideology joins the growing critical body of work regarding the newer storytelling medium of videogames