The design-by-adaptation approach to universal access: learning from videogame technology

This paper proposes an alternative approach to the design of universally accessible interfaces to that provided by formal design frameworks applied ab initio to the development of new software. This approach, design-byadaptation, involves the transfer of interface technology and/or design principles from one application domain to another, in situations where the recipient domain is similar to the host domain in terms of modelled systems, tasks and users. Using the example of interaction in 3D virtual environments, the paper explores how principles underlying the design of videogame interfaces may be applied to a broad family of visualization and analysis software which handles geographical data (virtual geographic environments, or VGEs). One of the motivations behind the current study is that VGE technology lags some way behind videogame technology in the modelling of 3D environments, and has a less-developed track record in providing the variety of interaction methods needed to undertake varied tasks in 3D virtual worlds by users with varied levels of experience. The current analysis extracted a set of interaction principles from videogames which were used to devise a set of 3D task interfaces that have been implemented in a prototype VGE for formal evaluation

Narratology

This essay provides an overview of the different types of study that can be conducted when considering the narrative aspects of video game play. It contextualizes this research among the larger movements of narratology, particularly concerning the structuralist roots of the discipline and the parallels between gameplay and narrative structures. A brief overview of the key points of the ludology/narratology debate is made, followed by an introduction to the three domains of narrative in video game studies: story content, story structures, and narration as the discursive mode that games use to relay the game-state

Videogames: the new GIS?

Videogames and GIS have more in common than might be expected. Indeed, it is suggested that videogame technology may not only be considered as a kind of GIS, but that in several important respects its world modelling capabilities out-perform those of most GIS. This chapter examines some of the key differences between videogames and GIS, explores a number of perhaps-surprising similarities between their technologies, and considers which ideas might profitably be borrowed from videogames to improve GIS functionality and usability

A semiotic and usability analysis of Diegetic UI: Metro - Last Light

A narrativa de um jogo é um dos principais componentes da criação da imersão do jogador. À medida que a tecnologia avança, novas ferramentas possibilitam aos desenvolvedores de jogos a criação mundos digitais cada vez mais complexos. A Interface de Usuário tem um papel crucial, fornecendo ao jogador feedback sobre os vários atributos e mecânicas do jogo. Alguns jogos buscaram integrar a interface tradicionalmente intrusiva dentro da narrativa e da arte do jogo, por meio das Interfaces Diegética. O objetivo desta tese é entender como a integração da interface na arte e na narrativa do jogo - criando o que é chamado de Interface Diegética - pode aumentar a sensação de imersão do jogador. Para identificar os processos através dos quais o significado é observado na Interface Diegética, contamos com a Semiótica Discursiva proposta por A.J. Greimas e para avaliar se essas representações Diegéticas afetam a Usabilidade, empregamos as Heurísticas proposta por Desurvire e Wiberg. A metodologia mostrou resultados interessantes acerca das relações entre Interface e Narrativa, bem como o impacto de Usabilidade derivado de tal implementação no jogo Metro: Last Light.A Game’s narrative is one of the key components of creating Player immersion. As technology advances, game developers increase their toolset for creating increasingly complex game worlds. The UI has a crucial role, providing the Player with feedback about the various attributes and mechanics within the game. Some games sought to integrate the traditionally intrusive UI within the game’s narrative and art, by the means of Diegetic UI. The goal of this Thesis is to understand how integrating the User Interface into the game’s art and narrative – creating what is called a Diegetic Interface – can increase the feeling of immersion for the Player. To identify the processes through which meaning is observed in Diegetic UI, we’ve relied on the Discoursive Semiotics proposed by A.J. Greimas and to assess if these Diegetic Representations affect usability, we employed Game Usability Heuristics proposed by Desurvire and Wiberg. The methodology proved to yield interesting results regarding the relationships between UI and Narrative as well as the Usability impact derived from such implementation in the game Metro: Last Light

The Effects of Displayed Violence and Game Speed in First-Person Shooters on Physiological Arousal and Aggressive Behavior

Many studies have been conducted to examine the effects of displayed violence in digital games on outcomes like aggressive behavior and physiological arousal. However, they often lack a proper manipulation of the relevant factors and control of confounding variables. In this study, the displayed violence and game speed of a recent first-person shooter game were varied systematically using the technique of modding, so that effects could be explained properly by the respective manipulations. Aggressive behavior was measured with the standardized version of the Competitive Reaction Time Task or CRTT (Ferguson et al., 2008}. Physiological arousal was operationalized with four measurements: galvanic skin response (GSR), heart rate (HR), body movement, force on mouse and keyboard. A total of N = 87 participants played in one of four game conditions (low- vs. high-violence, normal- vs. high speed) while physiological measurements were taken with finger clips, force sensors on input devices (mouse and keyboard), and a Nintendo Wii balance board on the chair they sat on. After play, their aggressive behavior was measured with the CRTT. The results of the study do not support the hypothesis that playing digital games increases aggressive behavior. There were no significant differences in GSR and HR, but with a higher game speed, participants showed less overall body movement, most likely to meet the game’s higher demands on cognitive and motor capacities. Also, higher game speed and displayed violence caused an increase in applied force on mouse and keyboard. Previous experience with digital games did not moderate any of these findings. Moreover, it provides further evidence that the CRTT should only be used in a standardized way as a measurement for aggression, if at all. Using all 7 different published (though not validated) ways to calculate levels of aggression from the raw data, “evidence” was found that playing a violent digital game increases, decreases, or does not change aggression at all. Thus, the present study does extend previous research. Firstly, it shows the methodological advantages of modding in digital game research to accomplish the principles of psychological (laboratory) experiments by manipulating relevant variables and controlling all others. It also demonstrates the test-theoretical problems of the highly diverse use of the CRTT. It provides evidence that for a meaningful interpretation of effects of displayed violence in digital games, there are other game characteristics that should be controlled for since they might have an effect on relevant outcome variables. Further research needs to identify more of those game features, and it should also improve the understanding of the different measures for physiological arousal and their interrelatedness

What is the Avatar? Fiction and Embodiment in Avatar-Based Singleplayer Computer Games: Revised and Commented Edition

What are the characteristic features of avatar-based singleplayer videogames, from Super Mario Bros. to Grand Theft Auto? The author examines this question with a particular focus on issues of fictionality and realism, and their relation to cinema and Virtual Reality. Through close-up analysis and philosophical discussion, the author argues that avatar-based gaming is a distinctive and dominant form of virtual self-embodiment in digital culture. This book is a revised edition of Rune Klevjer's pioneering work from 2007, featuring a new introduction by the author and afterword by Stephan Günzel, Jörg Sternagel, and Dieter Mersch

Intelligent Cinematic Camera Control for Real-Time Graphics Applications

E-sports is currently estimated to be a billion dollar industry which is only growing in size from year to year. However the cinematography of spectated games leaves much to be desired. In most cases, the spectator either gets to control their own freely-moving camera or they get to see the view that a specific player sees. This thesis presents a system for the generation of cinematically-pleasing views for spectating real-time graphics applications. A custom real-time engine has been built to demonstrate the effect of this system on several different game modes with varying visual cinematic constraints, such as the rule of thirds. To create the cinematic views, we encode cinematic rules as cost functions that are fed into a non-linear least squares solver. These cost functions rely on the geometry of the scene, minimizing residuals based on the 3D positions and 2D reprojections of the geometry. The final cinematic view is found by altering camera position and angle until a local minimum is met. The system was evaluated by comparing video output from a traditional rigidly constrained camera and the results of our algorithm’s optimally solved views. User surveys are then used to qualitatively evaluate the system. The results of these surveys do not statistically find a preference between the cinematic views and the rigidly constrained views. In addition, we present performance and timing considerations for the system, reporting that the system can operate within modern expectations of latency when enough constraints are placed on the non-linear least squares solver

Time and Space in Digital Game Storytelling

The design and representation of time and space are important in any narrative form. Not surprisingly there is an extensive literature on specific considerations of space or time in game design. However, there is less attention to more systematic analyses that examine both of these key factors—including their dynamic interrelationship within game storytelling. This paper adapts critical frameworks of narrative space and narrative time drawn from other media and demonstrates their application in the understanding of game narratives. In order to do this we incorporate fundamental concepts from the field of game studies to build a game-specific framework for analyzing the design of narrative time and narrative space. The paper applies this framework against a case analysis in order to demonstrate its operation and utility. This process grounds the understanding of game narrative space and narrative time in broader traditions of narrative discourse and analysis