17,765 research outputs found

    Player immersion in the computer game narrative

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    Abstract. The main characteristics of the computer game narrative are interactive and nonlinear, so this study proposes a questionnaire aim at studying player immersion in the computer game narrative. To evaluate the questionnaire, a survey was conducted on the Internet. After factor analysis and reliability test, an instrument for measuring player immersion were obtained. This instrument not only can be applied to the computer game narrative, it also ca be used to measure user experience in story-oriented virtual reality

    Narratives in Video Games and User Experience

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    This presentation will discuss how the narratives within video games create a better gaming experience for the player. Specifically, this presentation addresses user experience based on interactive and immersive narratives within the game. A narrative is a story or event presented in sequence; a narrative within a video game is the interactive storyline presented by the game designer. The key components of this paper rely heavily on user experience research done on video game interaction. This topic will cover human-computer interaction and immersion models which take into account interface interaction, user-defined tasking, and narrative building within video games. The importance of intuitive interface interaction between the game design and the player facilitates a better gameplay experience as well as user-defined tasking, such as being assigned quests and goals to achieve in the game. The dialogue built between the player and game utilizes certain tools to increase immersion and thus bettering the gaming experience. The user experience is a major factor which comes into play when discussing player and game interaction. As stated by Ermi and Mayra, the essence of a game is rooted in its interactive nature, and there is no game without a player (Ermi & Mäyrä, 2005). Research on this topic is progressing as technology in “Interactive Storytelling” grows and moves in the direction of dynamic user interaction (e.g., Cavazza, Lugrin, Pizzi, and Charles, 2002). This presentation will elaborate on the need for further research by expanding on already researched foundations within the topic of user experience and video game research

    The threshold of the real: A site for participatory resistance in Blast Theory's Uncle Roy all around you (2003)

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    This article examines the collision of virtual and real spaces through simultaneous live and online play in Uncle Roy All Around You, and how this disruption of immersion is used to expose the habitual engagements associated with the digital interface. The nature of the participants' immersion and the subsequent reintegration into the real will be explored, before attempting to articulate what defines this piece as politically resistant, through discussion of a self reflexive participation, which undermines what Baudrillard terms the 'simulated response' (Baudrillard 1985/1988 p.216

    Facilitating open plot structures in story driven video games using situation generation

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    Story driven video games are rising in popularity, along with the players desire to make meaningful choice within the plot and therefore become more involved and immersed within the experience. This paper investigates the problems which arise from implementing interactive narrative within video games and potential techniques to solve those problems. The main focus of the study was the situation generation technique, used to maintain the continuity within open, emergent plot structures, using behaviour trees as a means to implement and traverse plot sequences. The ISGEngine was developed during the course of this study in order to implement and evaluate the situation generation technique

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

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    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

    ‘In the game’? Embodied subjectivity in gaming environments

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    Human-computer interactions are increasingly using more (or all) of the body as a control device. We identify a convergence between everyday bodily actions and activity within digital environments, and a trend towards incorporating natural or mimetic form of movement into gaming devices. We go on to reflect on the nature of player ‘embodiment’ in digital gaming environments by applying insights from the phenomenology of Maurice Merleau-Ponty. Three conditions for digital embodiment are proposed, with implications for Calleja’s (2011) Player Involvement Model (PIM) of gaming discussed

    Sound for Fantasy and Freedom

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    Sound is an integral part of our everyday lives. Sound tells us about physical events in the environ- ment, and we use our voices to share ideas and emotions through sound. When navigating the world on a day-to-day basis, most of us use a balanced mix of stimuli from our eyes, ears and other senses to get along. We do this totally naturally and without effort. In the design of computer game experiences, traditionally, most attention has been given to vision rather than the balanced mix of stimuli from our eyes, ears and other senses most of us use to navigate the world on a day to day basis. The risk is that this emphasis neglects types of interaction with the game needed to create an immersive experience. This chapter summarizes the relationship between sound properties, GameFlow and immersive experience and discusses two projects in which Interactive Institute, Sonic Studio has balanced perceptual stimuli and game mechanics to inspire and create new game concepts that liberate users and their imagination

    Understanding Engagement within the Context of a Safety Critical Game

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    One of the most frequent arguments for deploying serious games is that they provide an engaging format for student learning. However, engagement is often equated with enjoyment, which may not be the most relevant conceptualization in safety-critical settings, such as law enforcement and healthcare. In these contexts, the term ‘serious’ does not only relate to the non-entertainment purpose of the game but also the environment simulated by the game. In addition, a lack of engagement in a safety critical training setting can have serious ethical implications, leading to significant real-world impacts. However, evaluations of safety-critical games (SCGs) rarely provide an in-depth consideration of player experience. Thus, in relation to simulation game-based training, we are left without a clear understanding of what sort of experience players are having, what factors influence their engagement and how their engagement relates to learning. In order to address these issues, this paper reports on the mixed-method evaluation of a SCG that was developed to support police training. The findings indicate that engagement is supported by the experience situational relevance, due to the player’s experience of real-world authenticity, targeted feedback mechanisms and learning challenges
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