Evaluating User Experience in Games: Concepts and Methods - Lirmm

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56 E.H. Calvillo-Gámez et al. 4.4.2.1 About the Video-game The video-game is intrinsic to the experience, without it there would not be a gaming experience. The forming theory does not try to describe what makes a good videogame, rather it focuses on how it is perceived in terms of the forming experience. (PCZ, p.20): The premise, if you’re not familiar with the multiplayer modes of Pandora Tomorrow and Chaos Theory, is one of spies versus mercenaries. Three spies must hack three security terminals, controlling from a standard Splinter Cell third-person viewpoint and using many of the main game’s acrobatic tricks. Three mercs [sic] must prevent the spies from doing this, from a first-person viewpoint, using a gun and a flashlight. Sound familiar? Well it should, because it’s based on the much-played ancient Egyptian sport of hide-and-seek, albeit on a far more deadly and technological level. The preceding quote is the typical way in which a review refers to a video-game. The game being discussed, “Splinter Cell: Double Agent”, is related to others with similar story lines or rules. The story of the game is about “spies versus mercenaries”, the reader of the review could have a better perception of that story in case of familiarity with the two games mentioned. The rules of the game are bounded by the classic play of hide-and-seek, two teams are playing each with three members. Each team has a different goal in the game, and, presumably, the player can select the team of his choice. This excerpt of the review also describes the basic environment of the game, “security terminals”, and a third-person view point (the character is fully visible), or first person (the player can only see what the player sees). The video-game is perceived by two elements: game-play and environment. The former can be thought of as the soul of the game while the latter as the body. Game-play defines what the game is about, its rules and scenario. Environment is the way the game is presented to player, the physical implementation into graphics and sounds. The rules are somehow implicit within a game. This can be due to the fact that the number of rules in a video-game is many to be listed: (Interview, p. 2): I like games that challenge your intellect: strategy, politics, and so on. Those types of comment refer to the rules, to the “do’s and don’ts” that the player can do in the game. The story is the dressing of the rules, taking the abstraction of the rules into characters and scenarios. Sometimes, the story of the game can be inferred with the title of the game: (Edge, p. 46): Miami Vice opens with an option screen that says as much about gaming’s potential as you wish fulfilment in four words as you could in 40,000. The story is also presented. (Edge,p.42): B-Boy. A dance-combat game that’s not so much turn-based as headstand, toprock [sic] and spin based. Those rules and scenarios are considered within the game-play of the videogame. The video-game is also experienced in terms of the environment it creates. This is done by providing the game with graphics and sound. In the printed data,
4 Assessing the Core Elements of the Gaming Experience 57 they use pictures as aids to describe the graphics, with usually one or two lines to help in the description: (Edge,p.89): There is a huge amount of destructible scenery [...] rocks, however, seem to be made of polystyrene. But not only are the graphics responsible for creating the environment, there are also sounds: (PCZ, p. 12): Sound is hugely important for creating atmosphere and character in games – can you imagine being as tense in Counter Strike without hearing ‘the bomb has been planted’? Both sound and graphics make the environment of the game. The environment describes then what the game looks and sounds like: (GameSpy, “Flatout2”): Car impacts are loud and violent, and never fail to be utterly satisfying. Once the video-game has been defined in terms of the game-play and the environment, it is the turn of the player to take those elements to his disposal. 4.4.2.2 About Puppetry The interaction of the player with the video-game is the puppetry. Puppetry describes how the player starts approaching the video-game until eventually the game being played is the outcome of the actions of the player. This process of interaction is affected by three conditions: control, ownership and facilitators. Control is formed by the actions and events that the game has available to the player. Once the player takes control of the game, by using the game’s resources the player makes the game respond to his actions, he makes the game his own. Ownership is when the player takes responsibility for the actions of the game, he feels them as his because they are the result of his conscious actions and the game has acknowledged this by rewarding him. Also, there are external factors that have an impact on the interaction process. These external factors relate to the player’s subjectivities, such as previous experiences with similar games or aesthetic value. Even if the player fails to rapidly grasp control, these factors can facilitate the ownership of the game by the player. Control is the player learning to manipulate the game. It is about the player learning how the objects in the game move, understanding the goals of the game and keeping the player occupied. It is also learning about the controllers, getting used to the objects and angles in which the objects are displayed, and the ability of the player to memorise the relationship between controllers and the actions of the game. The first two elements of control, controllers and small actions, relate the basic actions that the characters in the game can do and the manipulation of the controller to make them do something. Without losing generality and to facilitate the discussion, the manipulable objects of the game would be called characters. The process of gaining control is formed by six members: goal, small actions, controllers, memory, something to do (S2D) and point of view (POV). Goal is the objective, the player has to understand what is the overall objective of the game, even if still not clear on the
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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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Index A Advanced interaction games,
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