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immersion
New entry in Digiplay games research bibliography:
Computer and console games are increasingly using non-computer conventional input/output devices. This work's main goal was to create an interactive 3D application with Virtools, a development tool that appeals to the player dexterity and astuteness through the use of several immersive, non-computer conventional devices like magnetic trackers, data gloves and VR glasses. The present paper describes the integration of interaction and visualization devices into Virtools as well as the development of two games using the VR environment. To finalize the assessment of the performance measurements and user tests is given.
New entry in Digiplay games research bibliography:
Assessing gameplay experience for gaze interaction games is a challenging task. For this study, a gaze interaction Half-Life 2 game modification was created that allowed eye tracking control. The mod was deployed during an experiment at Dreamhack 2007, where participants had to play with gaze navigation and afterwards rate their gameplay experience. The results show low tension and negative affects scores on the gameplay experience questionnaire as well as high positive challenge, immersion and flow ratings. The correlation between spatial presence and immersion for gaze interaction was high and yields further investigation. It is concluded that gameplay experience can be correctly assessed with the methodology presented in this paper.
New entry in Digiplay games research bibliography:
Researching experiential phenomena is a challenging undertaking, given the sheer variety of experiences that are described by gamers and missing a formal taxonomy: flow, immersion, boredom, excitement, challenge, and fun. These informal terms require scientific explanation, which amounts to providing measurable criteria for different experiential states. This paper reports the results of an experimental psychophysiological study investigating different traits of gameplay experience using subjective and objective measures. Participants played three Half-Life 2 game modifications while being measured with electroencephalography, electrocardiography, electromyography, galvanic skin response and eye tracking equipment. In addition, questionnaire responses were collected after each play session. A level designed for combat-oriented flow experience demonstrated measurable high-arousal positive affect emotions. The positive correlation between subjective and objective indicators of gameplay experience shows the great potential of the method presented here for providing real-time emotional profiles of gameplay that may be correlated with self-reported subjective descriptions.
New entry in Digiplay games research bibliography:
Designing and evaluating gameplay experience comes to life after measures for player experience have been found. This paper describes a pilot study measuring game experience with a set of game stimuli especially designed for different player experiences. Gameplay experience is measured using self-report questionnaires after each play session. Results of the questionnaires are then separately compared to design intentions and player evaluations. Our experiment shows that gameplay experience can be assessed with a high reliability for certain gameplay features.
New entry in Digiplay games research bibliography:
One of the aims of modern First-Person Shooter (FPS) design is to provide an immersive experience to the player. This paper examines the role of sound in enabling such immersion and argues that even in ‘realism’ FPS games, it may be achieved sonically through a focus on caricature rather than realism. The paper utilizes and develops previous work in which a conceptual framework for the design and analysis of run and gun FPS sound is developed and the notion of the relationship between player and FPS soundscape as an acoustic ecology is put forward. Some problems of sound practice and sound reproduction in the game are highlighted and a conceptual solution is proposed.
New entry in Digiplay games research bibliography:
We introduce and describe a new conceptual framework for the design and analysis of audio for immersive first-person shooter games, and discuss its potential implications for the development of the audio component of game engines. The framework was created in order to illustrate and acknowledge the direct role of in-game audio in shaping player-player interactions and in creating a sense of immersion in the game world. Furthermore, it is argued that the relationship between player and sound is best conceptualized theoretically as an acoustic ecology. Current game engines are capable of game world spatiality through acoustic shading, but the ideas presented here provide a framework to explore other immersive possibilities for game audio through real-time synthesis.
New entry in Digiplay games research bibliography:
In this paper, we address the issue of presence in the virtual environment. In particular, we discuss the
question of aesthetic realism in computer games, and try to evaluate its importance in regard to different
elements of playability that generate a sensation of immersion or presence. What we demonstrate, mainly
through the analysis of interviews of Quake players and observations of their activity during lan-parties, is that
players are driven by multi-dimensional pleasures in games, and that realism is far from being enough for
enjoyment. The main qualities in a game's universe can be described as "a change of scenery" in different ways:
the senses must be surprised (by sounds as much as images), there must be a cognitive challenge in the discovery
of the laws of the universe (some laws are implicit and require training, like being able to evaluate if one can
jump across a given river), social life must be slightly complex and, if possible, rewarding, emotions can be
unusual, strong, or unusually associated. What the interviews show is that, in the first place, players are usually
attracted to games where the aesthetic aspect is a success. However this aspect is only interesting for a short
time: as soon as performance starts to become a central aspect of gameplay, what turns out to be important is
the game's ability to generate emotions on a regular basis, and to be used as a benchmark to evaluate and
compare progress. Depending on the players implication, his/her interest switches from aesthetic realism to the
search for a game adapted, or adaptable, to the task. During Lan-Parties, experienced players parameterised
Quake, not to get the best possible realism but to obtain the maximum speed, precision and clarity. Then the
surroundings have to display a certain form of coherence in driving feelings related to the challenges that are at
stake
New entry in Digiplay games research bibliography:
Computer-based alternatives to live training have become more common in recent years. These alternatives are simulators, computer-based training systems, and video games. Simulators are systems that emulate visual stimuli and physical controls from the operational environment (Bonk & Dennen, 2005), common examples being flight and driving simulators. Computer-based training systems, sometimes referred to as “lightweight simulations,” are web or PC-based systems designed to provide individual instruction on specific mission skills. These systems represent the physical and behavioral characteristics of military systems with very high fidelity. These differ slightly from video games, which are also web- or PC-based systems. Video games are most often played using a
handheld device or controller, and are designed primarily for entertainment purposes under current usage standards. However, the applications underlying video games may be identical to those used in lightweight simulations.
New entry in Digiplay games research bibliography:
The paper examines the physiological response – as manifest as heart rate changes – and subjective impressions of presence, of a group of players of 1st Person Simulations. Varied experimental factors include two different simulations – VBS1 and Joint Ops: Typhoon Rising, solo and multi-player team play, and different types of scenarios. Across the population heart rate increase from resting to game play was found to be relatively minor – far less than the increase for light exercise (walking). However physiological response to game play was found to be highly individual with two subjects showing an actual drop in heart rate, while one showed a very significant increase. Subjective impressions of presence, obtained via questionnaire, showed that players were significantly engaged with the game. However no correlation existed between subjective measures and heart rate changes. Differences in game setting – game engine, solo versus multi-player - manifested as relatively minor differences in objective (heart rate) and subjective (questionnaire) measures.
New entry in Digiplay games research bibliography:
Instead of the reality in which you can see your own limbs, in virtual reality simulations it is sometimes disturbing not to be able to see your own body. It seems to create an issue in the proprioperception of the user who does not completely feel integrated in the environment. This perspective should be beneficial for the users. We propose to give the possibility to the people to use the first and the third-person perspective like in video games (e.g. GTA). As the gamers prefer to use the third-person perspective for moving actions and the first-person view for the thin operations, we will verify this comportment is extendable to simulations in augmented and virtual reality.
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