Virtual Reality Games for Motor Rehabilitation

This paper presents a fuzzy logic based method to track user satisfaction without the need for devices to monitor users physiological conditions. User satisfaction is the key to any product’s acceptance; computer applications and video games provide a unique opportunity to provide a tailored environment for each user to better suit their needs. We have implemented a non-adaptive fuzzy logic model of emotion, based on the emotional component of the Fuzzy Logic Adaptive Model of Emotion (FLAME) proposed by El-Nasr, to estimate player emotion in UnrealTournament 2004. In this paper we describe the implementation of this system and present the results of one of several play tests. Our research contradicts the current literature that suggests physiological measurements are needed. We show that it is possible to use a software only method to estimate user emotion

TIME BALANCING OF COMPUTER GAMES USING ADAPTIVE TIME-VARIANT MINIGAMES

Game designers spend a great deal of time developing balanced game experiences. However, differences in player ability, hardware capacity (e.g. network connections) or real-world elements (as in mixed-reality games), make it difficult to balance games for different players in different conditions. In this research, adaptive time-variant minigames have been introduced as a method of addressing the challenges in time balancing as a part of balancing players of games. These minigames were parameterized to allow both a guaranteed minimum play time (the minimum time to complete a minigames to address the fixed temporal constraints) and dynamic adaptability (the ability of adapting the game during the game play to address temporal variations caused by individual differences). Three time adaptation algorithms have been introduced in this research and the interaction between adaptive algorithm, game mechanic, and game difficulty were analyzed in controlled experiments. The studies showed that there are significant effects and interactions for all three factors, confirming the initial hypothesis that these processes were important and linked to each other. Furthermore, the studies revealed that finer temporal granularity leads to less-perceptible adaptation and smaller deviations in game completion times. The results also provided evidence that adaptation mechanisms allow accurate prediction of play time. The designed minigames were valuable in helping to balance temporal asymmetries in a real mixed-reality game. It was also found that these adaptation algorithms did not interrupt the overall play experience

Research method for locative games

This paper presents a methodology approach for locative games studies using as reference the actor-network theory. The hypothesis supports that actor-network theory could be useful because it focuses on agencies between humans and non-humans; by the same way, it provides useful categories to support the researcher in the description of an emerging phenomenon. Locative gaming is a fruitful experience to use concepts from actor-network theory because it is connected to many humans and non-humans actants. In the attempt to achieve a research method for locative games using actor-network theory, this study provides a description of some game sessions of Pokémon GO played in Copenhagen during the summer of 2017.This paper presents a methodology approach for locative games studies using as reference the actor-network theory. The hypothesis supports that actor-network theory could be useful because it focuses on agencies between humans and non-humans; by the same way, it provides useful categories to support the researcher in the description of an emerging phenomenon. Locative gaming is a fruitful experience to use concepts from actor-network theory because it is connected to many humans and non-humans actants. In the attempt to achieve a research method for locative games using actor-network theory, this study provides a description of some game sessions of Pokémon GO played in Copenhagen during the summer of 2017

Virtual Online Worlds: Towards a Collaborative Space for Architects

Although research has been trickling forth in the last eight years about online collaboration and use of virtual online worlds (VOW) amongst architects and architectural students (2006-2010), little discussion is dedicated to how the use of VOWs have improved collaboration, communication and quality of design for those that have used it. Researching VOWs and their use in architecture was a difficult task since much of what needed to be found was scattered amongst the fields of education, construction engineering, computer science and even online blogs dedicated to architecture in video games. An analysis of those findings has contributed to the development of a pilot project conducted in a VOW called Blue Mars. The project was set up in order to discover how VOWs improve communication skills of its users and analyze what happens when architecture students are allowed to virtually experience their designs as avatars. This study is part of a growing body of research on the exploration of virtual online worlds in the practice of architecture both in the classroom and out in the field

Player agency in interactive narrative: audience, actor & author

The question motivating this review paper is, how can computer-based interactive narrative be used as a constructivist learn- ing activity? The paper proposes that player agency can be used to link interactive narrative to learner agency in constructivist theory, and to classify approaches to interactive narrative. The traditional question driving research in interactive narrative is, ‘how can an in- teractive narrative deal with a high degree of player agency, while maintaining a coherent and well-formed narrative?’ This question derives from an Aristotelian approach to interactive narrative that, as the question shows, is inherently antagonistic to player agency. Within this approach, player agency must be restricted and manip- ulated to maintain the narrative. Two alternative approaches based on Brecht’s Epic Theatre and Boal’s Theatre of the Oppressed are reviewed. If a Boalian approach to interactive narrative is taken the conflict between narrative and player agency dissolves. The question that emerges from this approach is quite different from the traditional question above, and presents a more useful approach to applying in- teractive narrative as a constructivist learning activity

Digital material: tracing new media in everyday life and technology

Three decades of societal and cultural alignment of new media have yielded a host of innovations, trials, and problems, accompanied by versatile popular and academic discourse. New Media Studies crystallized internationally into an established academic discipline, and this begs the question: where do we stand now? Which new questions are emerging now that new media are being taken for granted, and which riddles are still unsolved? Is contemporary digital culture indeed all about 'you', the participating user, or do we still not really understand the digital machinery and how this constitutes us as 'you'? The contributors to the present book, all employed in teaching and researching new media and digital culture, assembled their 'digital material' into an anthology, covering issues ranging from desktop metaphors to Web 2.0 ecosystems, from touch screens to blogging and e-learning, from role-playing games and cybergothic music to wireless dreams. Together the contributions provide a showcase of current research in the field, from what may be called a 'digital-materialist' perspective.Nieuwe media zijn vanaf hun opkomst begeleid door revolutionaire beloften en bedreigingen: hypertekst zou lezers veranderen in auteurs, digitale beelden zouden de waarheid en werkelijkheid ondermijnen, en online communicatie zou alle afstanden overbruggen. 'Cyberspace' werd gevierd dan wel gevreesd als immaterieel en autonoom, losgezongen van onze dagelijkse leefwereld. Na twee decennia 'cyberrevolutie' zijn nieuwe media vanzelfsprekend geworden en blijken zij allesbehalve immaterieel. Vanuit dat perspectief belicht de bundel Digital Material digitale culturen. De bijdragen onderzoeken onder meer computer games, mobiele communicatie, interfacemetaforen, weblogculturen, software ontwikkeling en digitale beeldproductie. Bij elkaar vormen zij een inspirerend theoretisch kader om de hedendaagse betekenis van nieuwe media te doorgronden