Categorisation of New Classes of Digital Interaction

Leonardo ◽  
2011 ◽  
Vol 44 (1) ◽  
pp. 90-91 ◽  
Author(s):  
Tack Woo ◽  
Kwangyun Wohn ◽  
Nigel Johnson
Keyword(s):  
Video Games ◽  
Video Game ◽  
Real World ◽  
Digital Culture ◽  
Physical Interaction ◽  
Interactive Installation

This article introduces a new concept, digital interactivity, through examining local digital culture; and video game culture is employed as a metaphor to interpret local digital culture. As a result, ‘control-’ and ‘communication’-based interaction are initiated, based on ‘user to media’ relationships. Based on the degree of physical interaction, ‘liminal’ and ‘transitive’ interactions are initiated. Less physical digital interaction is described as ‘liminal’ interaction and more physical digital interaction is described as ‘transitive’ interaction. These new classes of digital interaction can be applied to real-world examples, such as digital interactive installation artworks and video games.

Only problem gamblers spend less money when loot boxes are removed from a game: A before and after study of Heroes of the Storm

2019 ◽  
Author(s):  
David Zendle
Keyword(s):  
Video Games ◽  
Problem Gambling ◽  
Video Game ◽  
Real World ◽  
Complex Pattern ◽  
Problem Gamblers ◽  
Before And After ◽  
Gambling Severity ◽  
Reliable Correlation ◽  
Before And After Study

Loot boxes are items in video games that may be paid for with real-world money, but which contain randomised contents. There is a reliable correlation between loot box spending and problem gambling severity: The more money gamers spend on loot boxes, the more severe their problem gambling tends to be. However, it is unclear whether this link represents a case in which loot box spending causes problem gambling; a case in which the gambling-like nature of loot boxes cause problem gamblers to spend more money; or whether it simply represents a case in which there is a general dysregulation in in-game spending amongst problem gamblers, nonspecific to loot boxes.The multiplayer video game Heroes of the Storm recently removed loot boxes. In order to better understand links between loot boxes and problem gambling, we conducted an analysis of players of Heroes of the Storm (n=112) both before and after the removal of loot boxes.There were a complex pattern of results. In general, when loot boxes were removed from Heroes of the Storm, problem gamblers appeared to spend significantly less money in-game in contrast to other groups. These results suggest that the presence of loot boxes in a game may lead to problem gamblers spending more money in-game. It therefore seems possible that links between loot box spending and problem gambling are not due to a general dysregulation in in-game spending amongst problem gamblers, but rather are to do with specific features of loot boxes themselves.

Waltzing on Rooftops and Cobblestones

2021 ◽  
Vol 2 (3) ◽  
pp. 34-55
Author(s):  
Ailbhe Warde-Brown
Keyword(s):  
Video Games ◽  
Video Game ◽  
Real World ◽  
World History ◽  
Interaction Model ◽  
Virtual Space ◽  
Open World ◽  
Integrated Approaches ◽  
The Relationship

The relationship between music, sound, space, and time plays a crucial role in attempts to define the concept of “immersion” in video games. Isabella van Elferen’s ALI (affect-literacy-interaction) model for video game musical immersion offers one of the most integrated approaches to reading connections between sonic cues and the “magic circle” of gameplay. There are challenges, however, in systematically applying this primarily event-focused model to particular aspects of the “open-world” genre. Most notable is the dampening of narrative and ludic restrictions afforded by more intricately layered textual elements, alongside open-ended in-game environments that allow for instances of more nonlinear, exploratory gameplay. This article addresses these challenges through synthesizing the ALI model with more spatially focused elements of Gordon Calleja’s player involvement model, exploring sonic immersion in greater depth via the notion of spatiotemporal involvement. This presents a theoretical framework that broadens analysis beyond a simple focus on the immediate narrative or ludic sequence. Ubisoft’s open-world action-adventure franchise Assassin’s Creed is a particularly useful case study for the application of this concept. This is primarily because of its characteristic focus on blending elements of the historical game and the open-world game through its use of real-world history and geography. Together, the series’s various diegetic and nondiegetic sonic elements invite variable degrees of participation in “historical experiences of virtual space.” The outcome of this research intends to put such intermingled expressions of space, place, and time at the forefront of a ludomusicological approach to immersion in the open-world genre.

scholarly journals Gamecloud - A Platform for Connecting Video Games

2016 ◽  
Vol 9 (1) ◽  
Author(s):  
Janne Parkkila ◽  
Kati Järvi ◽  
Timo Hynninen ◽  
Jouni Ikonen ◽  
Jari Porras
Keyword(s):  
Video Games ◽  
Video Game ◽  
Real World ◽  
The Real ◽  
Platform Architecture ◽  
Mobile Market ◽  
Digital Nature ◽  
Interactive Medium

The growing video game markets, especially the mobile market, have caused problems in terms of new game products being found by players. Cross-promotion and in-game advertising have been used to promote video games inside each other. However, the digital nature of video games as an interactive medium enables deeper collaboration between video games, and could be used in a more profound manner. We interviewed Finnish video game companies to understand if they were interested in creating deeper collaboration between their game products, and how such collaboration could take place. Based on the results, we built a platform called Gamecloud for connecting games together. We present the platform architecture and demonstrate it in use, with examples of connecting games with other games and connecting games with the real world, alongside an example of physical exercising.

scholarly journals Volcanoes in video games: The portrayal of volcanoes in Commercial-Off-The-Shelf (COTS) video games and their learning potential

2020 ◽  
Author(s):  
Edward George McGowan ◽  
Jazmin Paris Scarlett
Keyword(s):  
Video Games ◽  
Video Game ◽  
Real World ◽  
General Public ◽  
Active Volcano ◽  
Educational Systems ◽  
Ash Fall ◽  
Severe Burns ◽  
Commercial Off The Shelf ◽  
Negative Impacts

Abstract. Volcanoes are a very common staple in mainstream video games. Particularly within the action/adventure genres, entire missions (e.g. Monster Hunter: Generation Ultimate) or even full storylines (e.g. Spyro: The Reignited Trilogy) can require players to traverse an active volcano. With modern advancements in video game capabilities and graphics, many of these volcanic regions contain a lot of detail. Most video games nowadays have gameplay times in excess of 50 hours. The Legend of Zelda: Breath of the Wild for example brags a minimum of 60 hours to complete. Therefore, players can spend a substantial amount of time immersed within the detailed graphics, and unknowingly learn about volcanic traits while playing. If these details are factually accurate to what is observed in real world volcanic systems, then video games can prove to be a powerful learning tool. However, inaccurate representations could instil a false understanding in thousands of players worldwide. Therefore, it is important to assess the accuracies of volcanology portrayed in mainstream video games and consider whether they can have an educational impact on the general public playing such games. Or, whether these volcanic details are overlooked by players as they focus solely on the entertainment factor provided. We have therefore reviewed several popular commercial video games that contain volcanic aspects and evaluated how realistic said aspects are when compared to real-world examples. It was found that all the games reviewed had a combination of accurate and inaccurate volcanic features and each would vary from game to game. The visual aesthetics of these features are usually very realistic, including lava, ash-fall and lahars. However, the inaccuracies or lack of representation of hazards that come with such features, such as ash-related breathing problems or severe burns from contact with molten lava, could have great negative impacts on a player's understanding of these deadly events. With further investigations assessing the direct impact on the general public, there is the opportunity to correctly assess how to incorporate the use of mainstream video games in educational systems and outreach.

scholarly journals Fictional Characters’ Heroism in Assassin’s Creed III Video Game in the Perception of Indonesian Video Gamers

2017 ◽  
Vol 8 (1) ◽  
pp. 35-48
Author(s):  
Rahmawan Jatmiko
Keyword(s):  
Social Media ◽  
Video Games ◽  
Video Game ◽  
Real World ◽  
Historical Fiction ◽  
Young Generation ◽  
The Third ◽  
History Of ◽  
Video Gamers ◽  
Negative Impacts

Assassin’s Creed is a historical fiction video game developed and published by Ubisoft. This video game has been so far considered as one of the most violent video games. Assassin’s Creed III is the third sequel of which plot is set in a fictional history of real world events and follows the centuries-old conflict between the Assassins and the Templars. Based on this study, the plot, characters, characterization, and scenes in Assassin’s Creed III are deemed to be able to give positive teachings to the young generation, despite the fact that there are violent and sadistic scenes in the story. Haytham Kenway, who is “evil” protagonist in Assassin’s Creed Forsaken, is portrayed as an expert in using weapons, since he was kid. Separated from his family, Kenway was taken by mysterious mentor, who trained him to be the most deadly killer. Comparisons with classic characters such as Oedipus, Hamlet, or Indonesian legendary character Sangkuriang are intentionally made to sharpen the analysis. The finding of this study is that heroic value might be found in either protagonist or antagonistic characters, whose roles involved numerous violent actions. Comments from the official website and social media which claim that Assassin’s Creed has brought negative impacts on the consumers might not be totally true.

Employing Co-Design in the Video Game Design Process

2012 ◽  
pp. 1048-1063 ◽  
Author(s):  
Greg Walsh
Keyword(s):  
Social Behavior ◽  
Video Games ◽  
Design Process ◽  
Video Game ◽  
Real World ◽  
Game Design ◽  
New Technologies ◽  
Intended Audience ◽  
Video Game Design ◽  
Design Techniques

Innovative and engaging video games can be created if the target audience is included in the design process. Co-design is the process of working with your intended audience as colleagues in the design of technology. Co-design requires techniques that bring together designers in a way to create new technologies. New design techniques are developed to be used in real-world situations, but they require refinement through their own use. Video games offer technique designers an abundant source of material to design and refine techniques in real-world scenarios. This chapter discusses co-design, and the use of co-design techniques in the design of a serious video game to explore history, to help children be more environmentally minded, and a virtual world that reinforces positive social behavior.

scholarly journals An Analysis of Video Games Using the Dimensions of Human-Agent Interaction

2018 ◽  
Vol 62 (1) ◽  
pp. 716-720 ◽  
Author(s):  
Güliz Tokadlı ◽  
Kaitlyn Ouverson ◽  
Chase Meusel ◽  
Austin Garcia ◽  
Stephen B. Gilbert ◽  
...  
Keyword(s):  
Video Games ◽  
Video Game ◽  
Real World ◽  
Interaction Design ◽  
Mass Effect ◽  
Control Mode ◽  
Human Agent ◽  
Real World Applications ◽  
Agent Interaction ◽  
Levels Of Automation

Designers of human-agent interaction techniques may benefit from an analysis of existing video games that include aspects of human-agent teaming. Many popular multi-player video games have been designed to integrate multiple human and computer agents in pursuit of a common objective and can serve as a testbed to explore novel interaction methods in human-agent teams. A guiding framework of human-agent interaction was created to bridge best practices between video game and real-world domains. The framework was used to analyze games on five main dimensions: 1) Levels of Automation, 2) Levels of Interaction, 3) Control Mode, 4) Teaming, and 5) Interaction Timing. Two video games, Final Fantasy XIV and Mass Effect, were assessed to identify human-agent interaction paradigms, and ramifications for real-world applications for human-agent teaming. This research draws on interaction design principles, human-agent interaction theory, and existing video games to offer human-agent team designers potential examples of successful interaction paradigms.

scholarly journals Video Games as Dating Platforms: Exploring Digital Intimacies through a Chinese Online Dancing Video Game

2017 ◽  
Vol 20 (1) ◽  
pp. 36-55 ◽  
Author(s):  
Tingting Liu
Keyword(s):  
Video Games ◽  
New Media ◽  
Empirical Evidence ◽  
Media Studies ◽  
Video Game ◽  
Online Dating ◽  
Leisure Activities ◽  
Digital Culture ◽  
Media Industry ◽  
Digital Products

In the relatively young field of new media studies, both video games and online dating platforms are identified as being important and popular genres of digital products, which are often discussed separately. This article argues that these two genres of digital products are not so much separate but entangled elements of the same processes of technological shifts in media industry, development of people’s online leisure activities, and the convergence of digital genres. To provide empirical evidence, this article examines a Chinese dancing video game, QQ Dazzling Dance (QQ Xuan Wu), which creatively juxtaposes these two genres of participatory digital culture and recognizes the analytical and critical values in doing so.

scholarly journals Problem gamblers spend less money when loot boxes are removed from a game: a before and after study of Heroes of the Storm

PeerJ ◽  
2019 ◽  
Vol 7 ◽  
pp. e7700 ◽  
Author(s):  
David Zendle
Keyword(s):  
Video Games ◽  
Problem Gambling ◽  
Video Game ◽  
Real World ◽  
Complex Pattern ◽  
Problem Gamblers ◽  
Before And After ◽  
Gambling Severity ◽  
Reliable Correlation ◽  
Before And After Study

Loot boxes are items in video games that may be paid for with real-world money, but which contain randomised contents. There is a reliable correlation between loot box spending and problem gambling severity: the more money gamers spend on loot boxes, the more severe their problem gambling tends to be. However, it is unclear whether this link represents a case in which loot box spending causes problem gambling; a case in which the gambling-like nature of loot boxes cause problem gamblers to spend more money; or whether it simply represents a case in which there is a general dysregulation in in-game spending amongst problem gamblers, nonspecific to loot boxes. The multiplayer video game Heroes of the Storm recently removed loot boxes. In order to better understand links between loot boxes and problem gambling, we conducted an analysis of players of Heroes of the Storm (n = 112) both before and after the removal of loot boxes. There were a complex pattern of results. In general, when loot boxes were removed from Heroes of the Storm, problem gamblers appeared to spend significantly less money in-game in contrast to other groups. These results suggest that the presence of loot boxes in a game may lead to problem gamblers spending more money in-game. It therefore seems possible that links between loot box spending and problem gambling are not due to a general dysregulation in in-game spending amongst problem gamblers, but rather are to do with specific features of loot boxes themselves.

scholarly journals The Experience Created by the Social and Cultural Context Constructed by Video Games: A Digitization of Life and Death

2021 ◽  
Vol 3 (1) ◽  
pp. 19-31
Author(s):  
Tulia Maria Cășvean ◽  
◽  
Vasile Hodorogea ◽  
Ioan Emanuel Cășvean ◽  
◽  
...  
Keyword(s):  
Video Games ◽  
Video Game ◽  
Real World ◽  
Cultural Context ◽  
Life Experience ◽  
Real Life ◽  
Cultural Issues ◽  
Life And Death ◽  
The Social ◽  
Game Industry

Appling the Gadamer’s filter on video games, reveals that they support an intimate connection with real life, built on basic mimesis of simple and, at the same time, coherent and meticulous realities. Video games are not intrinsically real-world escapism but generate a concrete, contextualized life experience that is ultimately connected to social and material realities (Spiridon, 2013, pp. 64-65). Moreover, experiences gained through video games can contribute, same as television, cinema or novels do, to the creation of perceptions that influence the way people relate to various aspects of life. The pivot of this study focuses on the experience created by the social, cultural context, captured by video games, which allow players to make choices of "life and death". Such choices are even more important in the current pandemic context when some people seem not to clearly understand the potential consequences on their own protection or even own survival. The aim of the research is to open a path for a better understanding of how a video game appreciated by critics and very popular among players, especially during the pandemic (DayZ, produced by Bohemia Interactive in 2013) explores social, cultural issues that can create a favorable context for players to be better equipped for the reality of everyday life. The study will include, besides the analysis of the video game itself, wikis, and walkthroughs, the views of other researchers and professionals working in the video game industry.

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