Evaluating User Experience in Games: Concepts and Methods - Lirmm

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110 G. McAllister and G.R. White subjective and imprecise definitions, thus making them difficult to design for and measure. Furthermore, flow seems to be applicable only to describing competitive gaming, despite other research pointing to the diversity of emotions a player can experience during play (Lazzaro 2004), and indeed the diversity of players and games (Schuurman et al. 2008). 7.2.5 Game Development Most research in the area measures games towards the end of the development life cycle. Although this may be suitable for fixing small changes on time, it is not sufficient for altering key game mechanics. If new techniques are to be designed, which can evaluate a game during its development cycle as well as the final product, then a better understanding of the development life cycle needs to be obtained. One reason for the lack of tailored techniques which could be applicable to all stages of game development is that the game development process itself is not known in detail to the HCI community. Federoff’s work shadowed a game development team for 5 days and has reported some details of the development process (Federoff 2002). However, the main focus of this research was to construct game heuristics, not report on the development process per se. The next section discusses the general characteristics of game development including the development life cycle and relevant industry terminology. 7.3 Introduction to the Game Development Life Cycle In the video game industry, it is nominally accepted that the development life cycle is constructed from the following phases, though in practice those occurring prior to production are often contracted or skipped entirely. 7.3.1 Concept Game concepts can be initiated either from the publisher, who provides finance, or from the development studio, which is responsible for the day-to-day production of the game. Once a general concept has been agreed between the two parties, a small development team of around five staff may spend 1–2 months producing an initial Game Design Document and visual representations such as still images or a movie to communicate the vision for the game. Additionally, a rough budget and plan is produced, including milestone agreements which define the production commitments of the developer and the corresponding financial commitments of the publisher. This would normally represent a phased or iterative delivery of the product, where only a first-pass of each feature is completed prior to evaluation and feedback from the publisher. Later in the schedule, a second delivery is made, which is a more concrete
7 Video Game Development and User Experience 111 implementation. Agreements made at this stage are still subject to adjustment at any future point. 7.3.2 Prototyping During the early stages of development, many different aspects of the game may be prototyped simultaneously and independently. These provide examples of features such as menus, physics and vehicle handling, or could be technical demos such as grass rendering or other components of the game or graphics engine. In order to define a visual benchmark, the art team may construct virtual dioramas, which are models of events that players will experience during the game. Some of these prototypes could be interactive, others could be non-interactive movies demonstrating an example from which the interface for this part of the game could be developed. This initial phase can take between 3 and 6 months, by the end of which these prototypes and concepts are evaluated, and if the project is given a green light, it moves into pre-production. 7.3.3 Pre-production Following design approval, the game development team enter the important preproduction phase, during which time fundamental game mechanics are proven and problematic areas are identified. The purpose of this phase is to try out ideas quickly without getting bogged down in issues of final presentation quality, to identify risks and prove the important aspects of the game concept. 7.3.4 Production During the main production phase, the team will be scaled up to full size and would tend to spend in the order of 12 months producing all of the characters, levels, frontend menus and other components of the game. Often during this stage, the team will produce a “vertical slice”, which is a high-quality, 10–15-min demonstration of a small sample of the game. In addition to the core team of programmers, artists, designers and audio engineers, game developers also include a Quality Assurance (QA) group who are responsible for testing the game. This is essentially functional testing rather than usability or experiential testing. The QA team are keen gamers with a good understanding of the market and what to expect from a high-quality game. As such, in addition to functional bugs which are entered into a database and addressed in a formal process, testers may also identify “playability” issues which are informally discussed with the rest of the development team. Final issues of usability and playability are the responsibility of the producer and designers. QA teams are
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Human-Computer Interaction Series E
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Regina Bernhaupt Editor Evaluating
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For Philippe
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viii Foreword Chapter 3, Presence I
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x Foreword personality which evolve
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Contents Part I Introduction to Eva
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Contributors Regina Bernhaupt IRIT,
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Contributors xvii Manfred Tscheligi
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xx About the Authors Emily Brown is
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xxii About the Authors a post-docto
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xxiv About the Authors Christina Ko
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xxvi About the Authors MIT Media La
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xxviii About the Authors Theft Auto
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Chapter 1 User Experience Evaluatio
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1 User Experience Evaluation in Ent
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1 User Experience Evaluation in Ent
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Chapter 2 Enabling Social Play: A F
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2 Enabling Social Play 13 It is als
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2 Enabling Social Play 15 observati
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2 Enabling Social Play 17 for playe
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Chapter 3 Presence, Involvement, an
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3 Presence, Involvement, and Flow i
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Chapter 4 Assessing the Core Elemen
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Chapter 10 Evaluating User Experien
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Chapter 11 Evaluating Exertion Game
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Chapter 13 Using Heuristics to Eval
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Index A Advanced interaction games,
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