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Game Play Schemas: From Player Analysis to Adaptive Game Mechanics

acagamic - Sun, 23/11/2008 - 12:13
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New entry in Digiplay games research bibliography:

Schema theory provides a foundation for the analysis of game play patterns created by players during their interaction with a game. Schema models derived from the analysis of play provide a rich explanatory framework for the cognitive processes underlying game play, as well as detailed hypotheses for the hierarchical structure of pleasures and rewards motivating players. Game engagement is accounted for as a process of schema selection or development, while immersion is explained in terms of levels of attentional demand in schema execution. However, schemas may not only be used to describe play, but might be used actively as cognitive models within a game engine. Predesigned schema models are knowledge representations constituting anticipated or desired learned cognitive outcomes of play. Automated analysis of player schemas and comparison with predesigned target schemas can provide a foundation for a game engine adapting or tuning game mechanics to achieve specific effects of engagement, immersion, and cognitive skill acquisition by players. Hence, schema models may enhance the play experience as well as provide a foundation for achieving explicitly represented pedagogical or therapeutic functions of games.

Understanding movement for interaction design: Frameworks and approaches

Jason Rutter - Thu, 29/11/2007 - 13:20
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New entry in Digiplay games research bibliography:

The results of a study of two computer games, that use human movement as direct input, were analysed using four existing frameworks and approaches, drawn from different disciplines that relate to interaction and movement. This enabled the exploration of the relationships between bodily actions and the corresponding responses from technology. Interaction analysis, two design frameworks and Laban movement analysis were chosen for their ability to provide different perspectives on human movement in interaction design. Each framework and approach provided a different, yet still useful, perspective to inform the design of movement-based interaction. Each allowed us to examine the interaction between the player and the game technology in quite distinctive ways. Each contributed insights that the others did not.

Transmedial interactions and digital games

Jason Rutter - Mon, 03/09/2007 - 08:51
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New entry in Digiplay games research bibliography:

As virtual worlds and games grow in both personal and cultural importance, present limitations in access to them is increasingly limiting their ability to achieve their potential. Transmedial access, in which a given player's access to a game is made possible across different devices, offers a promising solution to this problem. It also inaugurates a new category of interaction design: transmedial interaction. This workshop explores the state of the art of transmedial interaction in games, which today unfortunately is often at most mere afterthought. It provides a participatory environment in which attendees can chart new paths forward, from developing viable business models and understanding the technical infrastructure to developing critical vocabularies and evaluative frameworks.

Playing Audio-only Games: A compendium of interacting with virtual, auditory Worlds

Jason Rutter - Wed, 21/03/2007 - 17:35
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New entry in Digiplay games research bibliography:

Talking about games refers in today’s world often to the play of audio-visual computer games. Since their first introduction in the 1960s, computer games have evolved in many ways and are today one of the fastest growing industries. Besides the classic visual games, another niche has emerged over the last decade: audio-only computer games. The main difference to conventional games is that these games can only be played and perceived through sound and acoustics. Although, initially developed by and for the visually impaired community, these games posses huge potentials for mobile (transportable) gaming and can be enjoyed by all hearing. In this work we present an overview of audio-only games, and discuss the methods and techniques to play and design such auditory worlds. We further explore the evolved genres and address the advantages, as well as the limitations of audio based gaming. Our work is motivated by our own research in this area and the development of a framework, which allows an easy design and setup of audio-only computer games.

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