Fun Versus Meaningful Video Game Experiences: A Qualitative Analysis of User Responses

Emerging research on video games has suggested that feelings of both enjoyment and meaningfulness can be elicited from gameplay. Studies have shown enjoyment and meaningfulness evaluations to be associated with discrete elements of video games (ratings of gameplay and narrative, respectively), but have relied on closed-end data analysis. The current study analyzed participants’ open-ended reviews of either their “most fun” or “most meaningful” video game experience (N = 575, randomly assigned to either condition). Results demonstrated that “fun” games were explained in terms of gameplay mechanics, and “meaningful” games were explained in terms of connections with players and in-game characters

Eliciting Behavior From Interactive Narratives: Isolating the Role of Agency in Connecting With and Modeling Characters

A key component differentiating interactive storytelling from non-interactive media is agency, or control over character choices. A series of experiments show that providing agency over a character increased the user-character connection, which then increased engagement in a character-consistent charitable act. Findings were observed in technologically simple online narratives that controlled for navigation/controller differences, graphics, sounds, lengthy play, and avatar customization. Effects emerged even though users did not practice these acts by making their character behave charitably. Findings were robust across happy and unfortunate endings and across first-, second-, and third-person narrative perspectives. Findings suggest promise for developing inexpensive ‘‘storygames’’ to encourage supportive behaviors

Endogenous fantasy and learning in digital games.

Many people believe that educational games are effective because they motivate children to actively engage in a learning activity as part of playing the game. However, seminal work by Malone (1981), exploring the motivational aspects of digital games, concluded that the educational effectiveness of a digital game depends on the way in which learning content is integrated into the fantasy context of the game. In particular, he claimed that content which is intrinsically related to the fantasy will produce better learning than that which is merely extrinsically related. However, this distinction between intrinsic and extrinsic (or endogenous and exogenous) fantasy is a concept that has developed a confused standing over the following years. This paper will address this confusion by providing a review and critique of the empirical and theoretical foundations of endogenous fantasy, and its relevance to creating educational digital games. Substantial concerns are raised about the empirical basis of this work and a theoretical critique of endogenous fantasy is offered, concluding that endogenous fantasy is a misnomer, in so far as the "integral and continuing relationship" of fantasy cannot be justified as a critical means of improving the effectiveness of educational digital games. An alternative perspective on the intrinsic integration of learning content is described, incorporating game mechanics, flow and representations

Living-into, living-with: A Schutzian account of the player/character relationship

Games Studies reveals the performative nature of playing a character in a virtual-game-world (Nitsche 2008, p.205; Pearce 2006, p.1; Taylor 2002, p.48). Tbe Player/Character relationship is typically understood in terms of the player’s in-game “presence” (Boellstorff 2008, p.89; Schroeder 2002, p.6). This gives the appearance that living-into a game-world is an all-or- nothing affair: either the player is “present” in the game-world, or they are not. I argue that, in fact, a constitutive phenomenology reveals the Player/Character relationship to be a multi-dimensional matter of empathy. I advance a broadly Schutzian framework, drawing on his 1932 discussions of “face-to-face encounters” and ”historical predecessors,” showing how at- tention to empathy reveals a variety of “presences” that different kinds of Player/Character relationships afford. The central determinants of empathetic affordances which I focus on here are (i) how much players know about a character (especially the character’s past) and (ii) how players learn this information.The purpose of this discussion will be to show that a phenomenological analysis reveals that the relationship between a player and their character is complex, highly variable, and inherently social. Furthermore, it will add to the growing body of scholarship that demonstrates that video games are rich social objects deserving of study

Game Transfer Phenomena in video game playing: a qualitative interview study

Video game playing is a popular activity and its enjoyment among frequent players has been associated with absorption and immersion experiences. This paper examines how immersion in the video game environment can influence the player during the game and afterwards (including fantasies, thoughts, and actions). This is what we describe as Game Transfer Phenomena (GTP). GTP occurs when video game elements are associated with real life elements triggering subsequent thoughts, sensations and/or player actions. To investigate this further, a total of 42 frequent video game players aged between 15 and 21 years old were interviewed. Thematic analysis showed that many players experienced GTP, where players appeared to integrate elements of video game playing into their real lives. These GTP were then classified as either intentional or automatic experiences. Results also showed that players used video games for interacting with others as a form of amusement, modeling or mimicking video game content, and daydreaming about video games. Furthermore, the findings demonstrate how video games sometimes triggered intrusive thoughts, sensations, impulses, reflexes, optical illusions, and dissociations

Dialectical Polyptych: an interactive movie installation

Most of the known video games developed by important software companies usually establish an approach to the cinematic language in an attempt to create a perfect combination of narrative, visual technique and interaction. Unlike most video games, interactive film narratives normally involve an interruption in time whenever the spectator has to make choices. “Dialectical Polyptych” is an interactive movie included in a project called “Characters looking for a spectactor”, which aims to give the spectator on-the-fly control over film editing, thus exploiting the role of the spectator as an active subject in the presented narrative. This paper presents an installation based on a mobile device, which allows seamless real-time interactivity with the movie. Different finger touches in the screen allow the spectator to alternate between two parallel narratives, both producing a complementary narrative, and change the angle or shot within each narrative.info:eu-repo/semantics/publishedVersio

Video games as meaningful entertainment experiences

We conducted an experiment to examine individuals’ perceptions of enjoyable and meaningful video games and the game characteristics and dimensions of need satisfaction associated with enjoyment and appreciation. Participants (N = 512) were randomly assigned to 1 of 2 groups that asked them to recall a game that they found either particularly fun or particularly meaningful, and to then rate their perceptions of the game that they recalled. Enjoyment was high for both groups, though appreciation was higher in the meaningful- than fun-game condition. Further, enjoyment was most strongly associated with gameplay characteristics and satisfaction of needs related to competency and autonomy, whereas appreciation was most strongly associated with story characteristics and satisfaction of needs related to insight and relatedness

How do presence, flow, and character identification affect players’ empathy and interest in learning from a serious computer game?

This study develops and tests an integrated model of how three psychological variables—presence, flow, and character identification—contribute to interest in learning and empathy with people from other cultures through a simulation game. U.S. college students played one of two roles (an American journalist or Haitian survivor) in the game that dealt with the aftermath of the 2010 Haiti earthquake. Presence was a powerful predictor of flow, character identification, and empathy felt during the games. Furthermore, empathy experienced by game play significantly predicted interest in learning more about the game topics. Flow and identification made secondary contributions to learning outcomes, with flow mediating the effect of presence on males’ empathy and identification contributing to females’ interest in learning. While the proposed model was generally successful at predicting outcomes, it did a better job of accounting for the experience of participants who played a role rooted in their own culture (the journalist) than in a different culture (the survivor), and for female than male players. Our results suggest that serious game designers should prioritize inducing empathy and immersive presence in players, giving secondary attention to designing for flow and character identification

Effective Affective User Interface Design in Games

It is proposed that games, which are designed to generate positive affect, are most successful when they facilitate flow (Csikszentmihalyi 1992). Flow is a state of concentration, deep enjoyment, and total absorption in an activity. The study of games, and a resulting understanding of flow in games can inform the design of nonleisure software for positive affect. The paper considers the ways in which computer games contravene Nielsen’s guidelines for heuristic evaluation (Nielsen and Molich 1990) and how these contraventions impact on flow. The paper also explores the implications for research that stem from the differences between games played on a personal computer and games played on a dedicated console. This research takes important initial steps towards defining how flow in computer games can inform affective design