Emotions in archetypal media content

Emotion is an intriguing and mysterious psychological phenomenon. While everyone seems to know what it is, researchers have not yet come to consensus on its definition, and many questions still remain unanswered. While the nature of emotion is yet to discover, the design community has noticed is importance, and poses the challenge of how emotion could inform design. We see the necessity to follow the state of the art in psychology and initiate the undertaking by exploring the emotional qualities in various types of media content. The first part of this thesis aims at constructing a theoretical framework. Recent years have seen empirical studies suggest that emotion could be unconscious. While this is to be further justified, scientists are motivated to reconsider current theories of emotion to account for this phenomenon. In light of this, we integrate these studies about unconscious emotion into our literature review. An overview from theory to practice is illustrated to provide a reference for viewing the current states in application domains, such as affective computing and emotional design. This review offers a holistic understanding about emotion from various perspectives, which allow us to look for new directions in future studies. Based on our review, we see a promising direction by applying psychoanalysis methods to analyze the media content as affective stimuli, and these stimuli can be evaluated by using quantitative measures to investigate the connection between the content and the corresponding emotions. The analysis on the media content is based on a psychoanalysis theory¿the theory of archetypes¿proposed by Carl Jung. He argues that there exists a universal pattern in humans¿ unconscious thoughts, which can be manifested as symbolic content in various forms of narratives, such as myth and fairy tales. Today, this archetypal symbolic content can be seen in modern media, particularly in movies. By applying the Jungian approach, we analyzed the symbolic meaning in movie scenes and edit these feature scenes into a collection of archetypal media content, which serve as the experimental materials for later explorations. In the second part of this thesis, we present three experimental studies that aim at determining if archetypal media content can be differentiated based on emotional responses. We adopted the psychoanalytical approach described earlier to collect feature scenes in movies as archetypal media content. Meanwhile, affective stimuli of explicit emotions are also included as benchmarks for comparison, such as sadness and joy. Self-reports and physiological signals are both adopted for measuring emotional responses. These three studies follow similar experimental design: presenting stimuli and measuring emotion concurrently. The results of these studies confirm that emotions induced by archetypal content are different from explicit emotions, and the statistical analysis further indicate that the predictive model obtained from physiological signals outperforms the model generated from self-reports while viewing archetypal media content. These results, however, are opposite to the results gained from affective stimuli of explicit emotions, leading us to the conclusion that archetypal media content might induce unconscious emotions, and physiological signals are more effective than self-reports for recognizing emotions induced by archetypal media content.La emoción es un fenómeno psicológico intrigante y misterioso. Aunque todo el mundo parece saber lo que es, los investigadores aún no han llegado a un consenso sobre su definición, y todavía quedan muchas preguntas sin respuesta. Si bien la naturaleza de las emociones está aún por descubrir, la comunidad de profesionales del diseño ha entendido su importancia, y se plantea el desafío de interrelacionar ambos mundos, explorando de las cualidades emocionales en diversos tipos de contenido en medios de comunicación. La primera parte de esta tesis tiene como objetivo la construcción de un marco teórico. Recientemente se han realizado estudios empíricos que sugieren que las emociones puede ser inconscientes. Si bien esto debe justificarse mejor, los científicos están motivados a reconsiderar las teorías actuales de la emoción para explicar este fenómeno. En vista de ello, integramos estos estudios sobre las emociones inconscientes en nuestra revisión de referencias bibliográficas incluyendo dominios de aplicación recientes, tales como la Computación Afectiva y el Diseño Emocional. Una dirección prometedora de investigación se basa en la aplicación de métodos del psicoanálisis para analizar contenidos multimedia como estímulos afectivos, y estos estímulos pueden ser evaluados mediante el uso de medidas cuantitativas para investigar la conexión entre el contenido y las emociones correspondientes. Este análisis se basa en la teoría de los arquetipos propuesto por el psicólogo Carl Jung. El autor sostiene que existe una patrón universal en los pensamientos inconscientes de los personas, que puede manifestarse como un símbolo contenido en las diversas formas de narrativas, como en los mitos y los cuentos de hadas. Hoy en día, estos arquetipos de contenido simbólico se puede ver frecuentemente en los contenidos multimedia modernos, sobre todo en las películas. Mediante la aplicación del enfoque de Jung, analizamos el significado simbólico en escenas de películas seleccionando las correspondientes a diversos arquetipos, que servirá como material experimental para exploraciones posteriores. En la segunda parte de esta tesis, se presentan tres estudios experimentales que apuntan a determinar si el contenido multimedia arquetípico puede diferenciarse en base a respuestas emocionales. Con el enfoque psicoanalítico descrito anteriormente para los arquetipos, también se incluye los estímulos afectivos de emociones explícitas son como puntos de referencia para la comparación, como la tristeza y la alegría. Se realizan auto-informes y se miden señales fisiológicas para la determinación de las respuestas emocionales en todos los experimentos realizados. Los resultados de estos estudios confirman que las emociones inducidas por arquetipos son diferentes de las emociones explícitas, y el análisis estadístico indica además que el modelo predictivo obtenido a partir de señales fisiológicas supera el modelo generado por los auto-informes durante la visualización de contenidos multimedia arquetípicos. Estos resultados, sin embargo, son opuestos a los resultados obtenidos a partir de los estímulos afectivos de emociones explícitas, llevándonos a la conclusión de que los contenidos de los medios arquetípicos podría inducir emociones inconscientes, y que las señales fisiológicas son más eficaces que los auto informes para el reconocimiento de las emociones inducidas por el contenido de medios arquetípico. En la tercera parte de esta tesis, exploramos cómo los contenidos arquetípicos podrían utilizarse para diseñar contenido multimedia mediante "mood boards". Se realizaron dos estudios con diseñadores para responder a la pregunta de investigación de si es posible generar contenido emocionalmente rico a través de la generación automática de contenido arquetípico por "mood boards" en comparación con el contenido multimedia no arquetípico

A dataset of continuous affect annotations and physiological signals for emotion analysis

From a computational viewpoint, emotions continue to be intriguingly hard to understand. In research, direct, real-time inspection in realistic settings is not possible. Discrete, indirect, post-hoc recordings are therefore the norm. As a result, proper emotion assessment remains a problematic issue. The Continuously Annotated Signals of Emotion (CASE) dataset provides a solution as it focusses on real-time continuous annotation of emotions, as experienced by the participants, while watching various videos. For this purpose, a novel, intuitive joystick-based annotation interface was developed, that allowed for simultaneous reporting of valence and arousal, that are instead often annotated independently. In parallel, eight high quality, synchronized physiological recordings (1000 Hz, 16-bit ADC) were made of ECG, BVP, EMG (3x), GSR (or EDA), respiration and skin temperature. The dataset consists of the physiological and annotation data from 30 participants, 15 male and 15 female, who watched several validated video-stimuli. The validity of the emotion induction, as exemplified by the annotation and physiological data, is also presented.Comment: Dataset available at: https://rmc.dlr.de/download/CASE_dataset/CASE_dataset.zi

Neurophysiological Profile of Antismoking Campaigns

Over the past few decades, antismoking public service announcements (PSAs) have been used by governments to promote healthy behaviours in citizens, for instance, against drinking before the drive and against smoke. Effectiveness of such PSAs has been suggested especially for young persons. By now, PSAs efficacy is still mainly assessed through traditional methods (questionnaires and metrics) and could be performed only after the PSAs broadcasting, leading to waste of economic resources and time in the case of Ineffective PSAs. One possible countermeasure to such ineffective use of PSAs could be promoted by the evaluation of the cerebral reaction to the PSA of particular segments of population (e.g., old, young, and heavy smokers). In addition, it is crucial to gather such cerebral activity in front of PSAs that have been assessed to be effective against smoke (Effective PSAs), comparing results to the cerebral reactions to PSAs that have been certified to be not effective (Ineffective PSAs). &e eventual differences between the cerebral responses toward the two PSA groups will provide crucial information about the possible outcome of new PSAs before to its broadcasting. &is study focused on adult population, by investigating the cerebral reaction to the vision of different PSA images, which have already been shown to be Effective and Ineffective for the promotion of an antismoking behaviour. Results showed how variables as gender and smoking habits can influence the perception of PSA images, and how different communication styles of the antismoking campaigns could facilitate the comprehension of PSA’s message and then enhance the related impac

Social Media and the Effect on Social Comparison, Recovery, and Motivation Measures in High-Intensity Functional Fitness Athletes (HIFT)

The use of social media in high-intensity functional fitness (HIFT) athletes facilitated social comparisons that affected recovery and motivation. Purpose: The purpose of this study was to use social comparison theory to investigate the impact that short workout videos had on heart rate (HR), heart rate recovery (HRR), rating of perceived exertion (RPE), perceived recovery status (PRS) and time to completion. Methods:Thirty-three individuals who identified as HIFT athletes participated in this study (age: 30.45 years ± 6.59, height: 169.41cm ± 8.69, weight: 73.07 kg ± 13.65). The participants were made up of 57.6% (n=19) female and 42.4% (n=14). Participants were randomized and put through three conditions of a control, elite athlete video and recreational athlete videos which were shown before completing a HIFT workout of: 3 rounds of 10 pull-ups, 15 push-ups, 20 sit-ups, and 25 air-squat. The following data was collected between each round: HR, HRR, RPE, PRS, and time. Athletes were asked to fill out the Iowa-Netherlands Comparison Orientation Scale to assess social comparison during the treatment conditions. Descriptive statistics were run to determine means and standard deviations for all data. The data was checked for normality. Questionnaires were analyzed for reliability and scores were compared using dependent samples t-test. A repeated measures ANOVA was run between total averages using an alpha level of .05 and between rounds with Bonferroni correction using an alpha level of .002. Results: Significant differences in social comparison were found in the elite video condition (3.68 ± .62, p= .046) while RPE showed significant differences in the elite video condition (14.41 ± 1.84, p=.023). Time to completion showed significant differences in both conditions of recreational (11.25 mins ± 1.22, p \u3c .001) and elite (11.15 mins ±1.28, p = .011) as well as in between round comparisons (p \u3c .001) with participants finishing 8.4 seconds faster in the recreational video condition. Conclusion: Social comparison during exercise is used as a motivator to push athletes. Social comparison during exercise is possible and further investigation should be completed to understand the effects on physiological and psychological measurements in high-intensity exercise

Understanding user experience of mobile video: Framework, measurement, and optimization

Since users have become the focus of product/service design in last decade, the term User eXperience (UX) has been frequently used in the field of Human-Computer-Interaction (HCI). Research on UX facilitates a better understanding of the various aspects of the user’s interaction with the product or service. Mobile video, as a new and promising service and research field, has attracted great attention. Due to the significance of UX in the success of mobile video (Jordan, 2002), many researchers have centered on this area, examining users’ expectations, motivations, requirements, and usage context. As a result, many influencing factors have been explored (Buchinger, Kriglstein, Brandt & Hlavacs, 2011; Buchinger, Kriglstein & Hlavacs, 2009). However, a general framework for specific mobile video service is lacking for structuring such a great number of factors. To measure user experience of multimedia services such as mobile video, quality of experience (QoE) has recently become a prominent concept. In contrast to the traditionally used concept quality of service (QoS), QoE not only involves objectively measuring the delivered service but also takes into account user’s needs and desires when using the service, emphasizing the user’s overall acceptability on the service. Many QoE metrics are able to estimate the user perceived quality or acceptability of mobile video, but may be not enough accurate for the overall UX prediction due to the complexity of UX. Only a few frameworks of QoE have addressed more aspects of UX for mobile multimedia applications but need be transformed into practical measures. The challenge of optimizing UX remains adaptations to the resource constrains (e.g., network conditions, mobile device capabilities, and heterogeneous usage contexts) as well as meeting complicated user requirements (e.g., usage purposes and personal preferences). In this chapter, we investigate the existing important UX frameworks, compare their similarities and discuss some important features that fit in the mobile video service. Based on the previous research, we propose a simple UX framework for mobile video application by mapping a variety of influencing factors of UX upon a typical mobile video delivery system. Each component and its factors are explored with comprehensive literature reviews. The proposed framework may benefit in user-centred design of mobile video through taking a complete consideration of UX influences and in improvement of mobile videoservice quality by adjusting the values of certain factors to produce a positive user experience. It may also facilitate relative research in the way of locating important issues to study, clarifying research scopes, and setting up proper study procedures. We then review a great deal of research on UX measurement, including QoE metrics and QoE frameworks of mobile multimedia. Finally, we discuss how to achieve an optimal quality of user experience by focusing on the issues of various aspects of UX of mobile video. In the conclusion, we suggest some open issues for future study

Cinematic Transmedia: A Physiological Look at Engagement with Marvel\u27s Cinematic Universe as Measured by Brainwaves and Electrodermal Activity

This study looks at engagement levels within the Marvel Cinematic Universe (MCU) at physiological and neurological levels, and with self-reported measures. One show or movie in each of three categories of Marvel media (a movie, television show, and streaming show) were shown to participants who then had their brainwaves and galvanic skin response recorded to determine whether or not they were engaged with the transmedia aspects of the MCU. Results showed that participants were consistently engaged with the transmedia throughout all three media types, with brainwaves varying only slightly between each content. The Marvel movie, “The Avengers” was most engaging to participants who had their brainwaves and galvanic skin response rates recorded, while participants in a control group consisting of only a survey agreed with the finding that movies in the MCU were the most enjoyable and were able to keep their interest the longest. There were significant findings between ratings of television shows and engagement with each of the three media types for participants in the control group

Psycho-Physiological Effects of Television Viewing During Exercise

Purpose: To examine the effects of television (TV) viewing on psychological and physiological variables during a moderate-intensity exercise bout. Methods: 28 insufficiently active adults participated in this study. Each participant performed three separate 30-minute walking bouts on a motorized treadmill. The bouts were separated by 48 hours and the majority of participants completed all bouts within three weeks. During each bout, participants watched a program they selected (self-selected TV condition), a British Broadcasting Corporation (BBC) nature program the investigators selected (standardized TV condition), and one bout involved no TV viewing (no TV condition). Variables measured during exercise were: heart rate (HR), perceived exertion (RPE), affect (FS), and arousal (FAS). The physical activity enjoyment scale (PACES), subjective exercise experience scale (SEES), and three VAS were administered at the end of each bout. Repeated measures ANOVAs were performed on all variables and additional analyses were conducted to assess the potential mediators of exercise enjoyment (e.g., exercise motivation types). Results: Participants rated enjoyment of exercise higher during both self-selected TV and standardized TV conditions (97.1 ± 15.2 and 92.7 ± 15.2) compared to the No TV condition (77.5 ± 13.4, p \u3c 0.001). Participants reported more positive affect during the self-selected TV condition compared to the no TV control condition (3.49 ± 0.17 vs. 2.7 ± 0.3, p=0.025). They reported liking the self-selected program more (84.3 ± 2.1 vs. 67.2 ± 4.3, p=0.001) than the standardized program. Nonetheless, the two types of TV programs resulted in similar levels of attentional focus on TV viewing (self: 81.2 ± 19.7 and standardized: 79.1 ± 14.2, p \u3e 0.05) and dissociation from walking, (no TV: 72.6 ± 5.6 vs. self: 38.1 ± 6.7 and standardized: 33.2 ±3.9, p=0.002) compared to the no TV condition. Conclusion: The findings indicate that TV viewing, regardless of whether the programming is self-selected or standardized, resulted in greater enjoyment of exercise. This may have occurred because TV viewing caused the participants to focus their attention more on the TV program, and less on the physiological demands of the exercise bout itself

Preferences, emotions, and visual attention in the first-person shooter game experience

First-person shooter (FPS) games are one of the most popular yet notorious genres of digital games. They contain visceral emotional content and require intense visual attention from players, leading some people to appreciate and others to resent these types of games. This thesis investigated individual differences in the game experience of FPS games by exploring how preferences for violent game dynamics (e.g., preferences for shooting, killing, and exploding) affect players’ emotions and perceptions of curiosity, vitality, and self-efficacy. In addition, the thesis explored how visual attention skills affect the viewing of FPS games as indexed by viewers’ eye movements. In Study I, the role of visual attention skills in viewing FPS gameplay videos was explored. The results showed that viewers’ eye movements tended to progress from a diffuse scanning mode towards a more focal and central viewing mode as time passed. Visual qualities and saliency of events also guided eye movements. Individual differences in visual attention skills (namely, the ability to track multiple objects, perform a visual search for targets, and to see rapidly appearing serial targets) were related to what was attended to in the screen. The role of visual attention skills on eye movements was more prominent during visually distinct events. In sum, the results showed that specific visual attention skills predicted eye movement patterns during FPS gameplay video viewing. Study II explored whether game dynamics preferences and emotion-related responses to an FPS game are connected. Participants’ heart rate, electrodermal activity, and electric activity of facial muscles were recorded as indexes of emotion-related responses both during playing (active participation) and gameplay video viewing (passive watching). The participants also rated their level of experienced arousal and valence. The results showed that there were individual differences in physiological emotion-related responses as a function of dynamics preferences, especially in measures of physiological arousal. Those who liked violent dynamics showed a rather stable level of physiological arousal state both when playing and when viewing the game. In contrast, participants who disliked violent dynamics showed an overall higher level of physiological arousal during playing than when viewing, and the level of arousal increased across time in both conditions. The results on facial muscle activity likewise showed that activity differed between people who liked versus disliked violent dynamics. However, the results were somewhat conflicting: those who liked violent game dynamics showed a steep increase in the activity of the corrugator supercilii muscle, an index of negative valence. Instead, those who disliked the dynamics showed less increase in corrugator supercilii activity. The dynamics preferences did not affect self-reported emotional valence or arousal. Thus, the results highlight that game dynamics preferences were associated with physiological signals, although they may not be a straightforward index of emotions in a gaming context. In Study III, associations between game dynamics preferences and self-reported experiences of vitality, self-efficacy, and curiosity were explored both in association with life in general and with playing an FPS video game. The results showed that players who were neutral or mildly positive towards violent content experienced stable levels of vitality, curiosity, and emotional valence both in life in general and when playing. They also experienced a slight decline in self-efficacy in the playing context. Conversely, those who disliked violent dynamics experienced a clear decline in all of these measures in the playing context. Thus, game dynamics preferences were connected with wider experiential reflections related to playing. Overall, the results of all three studies showed why there is individual variation in the playing experience: players and viewers have differing skills and preferences. These skills and preferences affect how players and viewers pay attention to the game, and what kind of emotional reactions and experiences they have. This is valuable for understanding the psychological outcomes of FPS games, as well as why people hold differing opinions about these types of games. Likewise, the results have importance for game design, as they show that players respond in different ways to game contents. Thus, it may be fruitful to personalize and tailor game contents based on players’ preferences and visual attention skills.Mieltymykset, tunteet ja näönvarainen tarkkaavuus ensimmäisen persoonan ammuntapelien pelikokemuksessa Ensimmäisen persoonan ammuntapelit (FPS-pelit) ovat sekä yksi suosituimmista että pahamaineisimmista digitaalisten pelien genreistä. Ne sisältävät voimakasta tunnepitoista sisältöä ja vaativat äärimmäistä näönvaraista tarkkaavuutta. Näiden seikkojen takia toiset arvostavat ja toiset paheksuvat kyseisiä pelejä. Tässä väitöskirjassa tutkittiin yksilöllisiä eroja FPS-pelien pelikokemuksessa selvittämällä, kuinka mieltymykset väkivaltaisiin pelidynamiikkoihin (esimerkiksi mieltymykset ampumiseen, tappamiseen ja räjäyttämiseen) vaikuttavat pelaajien tunnetiloihin ja kokemuksiin uteliaisuudesta, elinvoimaisuudesta ja minäpystyvyydestä. Tämän lisäksi väitöskirjassa tutkittiin silmänliikkeitä tarkastelemalla kuinka näönvaraisen tarkkaavuuden taidot ovat yhteydessä FPS-pelivideoiden katseluun. Tutkimuksessa I tarkasteltiin, miten näönvaraisen tarkkaavuuden taidot vaikuttavat FPS-pelivideoiden katseluun. Tutkimuksessa havaittiin, että silmänliikkeet etenivät laajemmasta ja hajaantuneemmasta silmäilystä kohti pinta-alaltaan pienempää ja lähempänä näytön keskustaa olevaa aluetta. Lisäksi erilaisten pelitapahtumien visuaaliset ominaisuudet ja huomiota herättävyys suuntasivat silmänliikkeitä. Yksilölliset erot näönvaraisen tarkkaavuuden taidoissa (tässä tutkimuksessa taidot seurata useita liikkuvia kohteita, etsiä kohteita ja nähdä nopeasti peräkkäin ilmestyviä kohteita) olivat yhteydessä siihen, miten katselija tarkasteli pelinäkymää. Näönvaraisen tarkkaavuuden taitojen yhteys silmänliikkeisiin tuli esiin etenkin visuaalisesti toisistaan erottuvien pelitapahtumien aikana. Yhteenvetona tutkimuksen tulokset osoittivat, että tietyt näönvaraisen tarkkaavuuden taidot ennustavat silmänliikkeitä FPS-pelivideon katselun aikana. Tutkimuksessa II selvitettiin, ovatko pelidynamiikkamieltymykset ja FPS-peliin liittyvät tunnereaktiot yhteydessä toisiinsa. Tutkimukseen osallistujien sykettä, ihon sähkönjohtavuutta ja kasvolihasten sähköistä aktiivisuutta mitattiin indikaatioina tunnereaktioista sekä pelaamisen (aktiivinen osallistuminen) että pelivideon katselun (passiivinen tarkkailu) aikana. Osallistujat myös arvioivat oman tunnetilansa koettua virittävyyttä ja valenssia. Tulokset osoittivat, että yksilöiden välillä oli eroja fysiologisissa tunteisiin liittyvissä reaktioissa riippuen siitä, millaiset pelidynamiikkamieltymykset heillä oli. Tämä näkyi erityisesti fysiologisissa autonomisen hermoston tilaa kuvaavissa mittareissa. Väkivaltaisista dynamiikoista pitävillä osallistujilla oli suhteellisen tasainen fysiologisen aktivaation taso sekä pelatessa että pelivideota katsellessa. Sen sijaan niillä osallistujilla jotka eivät pitäneet väkivaltaisista dynamiikoista oli kaiken kaikkiaan korkeampi fysiologisen aktivaation taso pelatessa kuin pelivideota katsellessa, ja aktivaation taso kasvoi ajan kuluessa molemmissa tilanteissa. Kasvojen lihasten sähköiseen toimintaan liittyvät tulokset niin ikään osoittivat, että väkivaltaisista dynamiikoista pitävien ja niitä vieroksuvien henkilöiden välillä oli eroja. Tulokset olivat kuitenkin jossain määrin ristiriitaisia: väkivaltaisista dynamiikoista pitävillä osallistujilla negatiivista valenssia indikoiva corrugator supercilii -lihaksen aktiivisuus lisääntyi ajan kuluessa huomattavasti. Sen sijaan osallistujilla jotka eivät pitäneet väkivaltaisista dynamiikoista corrugator supercilii -lihaksen aktiivisuuden lisääntyminen oli lievempää. Pelidynamiikkamieltymykset eivät olleet yhteydessä osallistujien omiin arvioihin tunnekokemuksen virittävyydestä ja valenssista. Täten tulokset osoittivat, että pelidynamiikkamieltymykset olivat yhteydessä fysiologisiin vasteisiin, mutta niitä ei voida käyttää täysin mutkattomina mittareina tunteista pelikontekstissa. Tutkimuksessa III tarkasteltiin pelidynamiikkamieltymysten yhteyttä uteliaisuuden, elinvoimaisuuden ja minäpystyvyyden kokemuksiin elämässä ylipäätään ja FPS-pelin pelaamiseen liittyen. Tutkimuksessa havaittiin, että uteliaisuus, elinvoimaisuus ja tunteen valenssi olivat samankaltaiset sekä elämässä ylipäätään että pelatessa mikäli pelaaja suhtautui väkivaltaisiin dynamiikkoihin neutraalisti tai jonkin verran positiivisesti. Tällaisilla pelaajilla minäpystyvyys oli kuitenkin jonkin verran alhaisempi pelitilanteessa verrattuna elämään ylipäätään. Sen sijaan pelaajat jotka eivät pitäneet väkivaltaisista dynamiikoista arvioivat kaikkien näiden kokemusten olevan selvästi huonompia pelatessa. Pelidynamiikkamieltymykset olivat siis yhteydessä laajempiin reflektiivisiin kokemuksiin pelaamisesta. Väitöstutkimuksen tulokset auttavat ymmärtämään, miksi pelikokemuksessa on yksilöllistä vaihtelua: pelaajat ja katsojat eroavat taidoiltaan ja mieltymyksiltään. Nämä taidot ja mieltymykset ovat yhteydessä siihen, millä tavoin pelaajat ja katselijat kiinnittävät huomiota peliin ja minkälaisia tunnereaktioita ja kokemuksia heillä on. Näiden seikkojen huomioiminen on tärkeää FPS-pelien psykologisten vaikutusten ja peleihin liittyvien eriävien mielipiteiden ymmärtämiseksi. Tuloksilla on lisäksi merkitystä pelisuunnittelulle, sillä ne osoittavat, että pelaajat reagoivat eri tavoin pelisisältöihin. Tämän vuoksi voisi olla hyödyllistä muovata pelisisältöjä yksilöllisesti pelaajien mieltymysten ja näönvaraisen tarkkaavuuden taitojen mukaan