Scaffolding Novices to Leverage Auditory Awareness Cues in First-Person Shooters

Today's digital games require the mastery of many different skills. This is accomplished through play itself -- sometimes experientially and other times by using explicit guidance provided by the game designer. Multiplayer games, due to their competitive nature, provide fewer opportunities for designers to guide players into mastering particular skills, and so players must learn and master skills experientially. However, when novices compete against better players -- as they would if they were new to the game -- they can feel overwhelmed by the skill differential. This may hinder the ability of novices to learn experientially, and more importantly, may lead to extended periods of unsatisfying play and missed social play opportunities as they struggle to improve in a competitive context. A game genre that suffers from this problem is the multiplayer first-person shooter (FPS), in which the skill difference between new players and experts who have reached a high level of expertise can be quite large. To succeed in a FPS, players must master a number of skills, the most obvious of which are navigating a complex 3D environment and targeting opponents. To target opponents in a 3D environment, you must also be able to locate them -- a skill known as "opponent location awareness". With the goal of helping novices learn the skill of opponent location awareness, we first conducted an experiment to determine how experts accomplish this important task in multiplayer FPS games. After determining that an understanding of audio cues -- and how to leverage them -- was critical, we designed and evaluated two systems for introducing this skill of locating opponents through audio cues -- an explicit stand-alone training system, and a modified game interface for embedded training. We found that both systems improved accuracy and confidence, but that the explicit training system led to more audio cues being recognized. Our work may help people of disparate skill be able to play together, by scaffolding novices to learn and use a strategy commonly employed by experts

Immunitary Gaming: Mapping the First-Person Shooter

Videogames have been theorised as an action-based medium. The original contribution to knowledge this thesis makes is to reconfigure this claim by considering popular multiplayer FPS games as reaction-based – particularly, immune reactions. I take up Roberto Esposito’s claim that the individual in contemporary biopolitics is defined negatively against the other, controlled and ultimately negated via their reactions to power’s capacity to incessantly generate threats. By inciting insecurity and self-protective gestures, FPS games like Activision’s Call of Duty franchise and EA’s Battlefield series vividly dramatise Esposito’s thought, producing an immunitary gaming. Immunitary Gaming locates the FPS within key moments of change as well as evolution in Western image systems including the emergence of linear perspective, cartography and the early years of the cinema. The FPS appropriates these image systems, but also alters their politics. Giorgio Agamben has argued that the apparatuses of late modernity no longer subjectify like their forebears, but desubjectify the individual, producing an impotent neoliberal body politic. I trace a similar development here. My work also seeks to capture the player’s movements via autoethnographic writing that communicates the viscerally and intensity of the experience. The FPS is framed as capable of giving insight into both the present and the future of our technological and political milieu and ‘sensorium,’ in Walter Benjamin’s terms. In its valorisation of the individual and production of insecurity to incite action, this project argues that the FPS is a symbolic form of immunitary neoliberal governmentality

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

Just war? War games, war crimes, and game design

Military shooters have explored both historical and modern settings and remain one of the most popular game genres. While the violence of these games has been explored in multiple studies, the study of how war and the rules of war are represented is underexplored. The Red Cross has argued that as virtual war games are becoming closer to reality, the rules of war should be included. This article explores the argument put forward by the Red Cross and its reception by games media organizations, in order to consider how the concept of “just war” is represented within games. This article will focus on concerns over games adherence to the criteria of jus in bello (the right conduct in war) and will also consider the challenges that developers face in the creation of entertainment products in the face of publisher and press concerns

Towards the 3D Web with Open Simulator

Continuing advances and reduced costs in computational power, graphics processors and network bandwidth have led to 3D immersive multi-user virtual worlds becoming increasingly accessible while offering an improved and engaging Quality of Experience. At the same time the functionality of the World Wide Web continues to expand alongside the computing infrastructure it runs on and pages can now routinely accommodate many forms of interactive multimedia components as standard features - streaming video for example. Inevitably there is an emerging expectation that the Web will expand further to incorporate immersive 3D environments. This is exciting because humans are well adapted to operating in 3D environments and it is challenging because existing software and skill sets are focused around competencies in 2D Web applications. Open Simulator (OpenSim) is a freely available open source tool-kit that empowers users to create and deploy their own 3D environments in the same way that anyone can create and deploy a Web site. Its characteristics can be seen as a set of references as to how the 3D Web could be instantiated. This paper describes experiments carried out with OpenSim to better understand network and system issues, and presents experience in using OpenSim to develop and deliver applications for education and cultural heritage. Evaluation is based upon observations of these applications in use and measurements of systems both in the lab and in the wild.Postprin

Playing in the End Times: Wargames, Resilience and the Art of Failure

This chapter argues that the political significance and cultural resonance of contemporary video wargames lies not simply in the forms of militarism that such games engender. Rather video wargames are a signature late modern medium through which forms of resilience are entrained through permanent arousal and continuous exposure to contingency and failure. The video wargamer is a subject who ultimately understands and experiences themselves as a resilient subject, a survivor. While inevitable failure may make the player deeply frustrated, such anger is predominantly directed towards a delimited form of self-improvement rather than towards structural critique of the gameworld, which is ruled out of court because the rules of the game cannot be changed. Wargaming thus serves as an activity in which specific models and practices of resilience training are increasingly made manifest. Wargames may be best understood and critiqued not simply in terms of cultural militarisation or pre-training for war, but as a space for playing through continual emergency, as an increasingly prominent cultural form where the player learns emotionally and imaginatively to bear the disaster of living in the end times

Through Her Eyes: The Gendering of Female First-Person Shooters

While the video game industry has attempted to address their years of mistreatment towards women, within games and how they are produced, by hiring more women and including more female characters as playable options, these fixes have been superficial at best. Not only are there still few females as main characters in video games, but that there are so few female video games. By this I refer to the fact that video games told through the eyes of female characters often do not feature a gendered narrative, unlike multiple games with male POVs in which the storyline directly reflects their gender. This issue, however, is not just about inclusion of more female stories, but also execution. Female FPSs may lack a narrative reflecting their gender, but they often feature gameplay that represents a stereotype of females as weaker and less aggressive than men. The purpose of this analysis is to explore how first-person shooter video games gender (or not) their female texts, through both narrative and gameplay

Guilt in DayZ

Death in most games is simply a metaphor for failure (Bartle 2010). Killing another player in a first-person shooter (FPS) game such as Call of Duty (Infinity Ward 2003) is generally considered to be as transgressive as taking an opponent’s pawn in chess. In an early exploratory study of players’ experiences and processing of violence in digital videogames, Christoph Klimmt and his colleagues concluded that “moral management does not apply to multiplayer combat games”(2006, 325). In other words, player killing is not a violation of moral codes or a source of moral concern for players. Subsequent studies of player experiences of guilt and moral concern in violent videogames (Hartmann, Toz, and Brandon 2010; Hartmann and Vorderer 2010; Gollwitzer and Melzer 2012) have consequently focused on the moral experiences associated with single-player games and the engagement with transgressive fictional, virtual narrative content