Evaluating User Experience in Games: Concepts and Methods - Lirmm

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62 E.H. Calvillo-Gámez et al. Or it may be because they see something about the game that is just amusing to observe. (PCZ, p. 59): There are also Indian naked female archers that’ll have your men furiously polishing their spears. The previous experiences of the player motivate the player to play longer and to assume the consequences, or benefits, of his actions while playing: (PCZ, p. 2): I don’t know about everyone else out there, but I’m really pining for a Max Payne. Fans are still churning out mods for the stylish fall of our hero. I’d love nothing more than to see a beautiful new incarnation to empty my clips at. Payne didn’t look like he was going anywhere fun after the last game. Well, I say whatever it takes, we want him back. For all I care he can wake up from a cheesy Dallas-like dream and start all over again. Previous experiences may not only be about similar video-games, but just relate to a similar goal: (PCG, p. 86): I’ve never lost the heady sense of excitement when I first read about Alexander, and I’ve been waiting for a game to bring his story to life ever since. Rome: Total war let me live out my fantasies of conquest. The time facilitator is about the time the user is willing to dedicate to play. The time can be intrinsic to the type of game: (PCG, p. 87): 30 cities in 100 turns is an alarming tight schedule, and it radically changes the way you play. You can’t sit back, develop your economy, and gradually build up your mega-army: there isn’t time. Or just to the experience in that moment: (Interview, d1): [It] is that little intangibility of the more turn, or next door, or five more minutes. The lack of those extra 5 min could make the player not want to play again, as there is an acknowledgement that without it the game would not be enjoyed fully. 4.4.3 About the Theory Both elements, video-game and puppetry, are part of the process of the experience. The theory states that if elements are missing, then the experience would be negative. But if they are present, then the experience could be positive. Users first identify the game and then their relationship with it. Ownership is eventually the link that leads to enjoyment. Ownership is achieved when the player has control over the game; if the control is low, then the facilitators have to be high to allow the player to have a sense of ownership. The game is then used by the player to create his own story. The way the player starts making the game his own is by first applying his own actions towards playing the game. Those actions can be used to win the game, or accomplish the player’s own goals. As the game progresses, the player starts to receive different types of rewards, which can be helpful towards winning the game, or just something that the player enjoys doing. It is also an opportunity so that the player can do something alien to his reality. The facilitators that influence puppetry
4 Assessing the Core Elements of the Gaming Experience 63 Table 4.2 The core elements of the gaming experience: The two guiding elements are Puppetry and Video-game, followed by Control, Ownership and Facilitators Puppetry Video-game Control Ownership Facilitators Game-play Environment Small actions Big actions Time Rules Graphics Controllers Personal goals Aesthetic value Scenario Sound Memory You-but-not-you Previous experiences – – Point-of-view Rewards – – – Goal – – – – Something-to-do – – – – are part of the subjective relationship of the player with the game: a previous experience with a similar game, the amount of time willing to play or the aesthetic value that the player can perceive from the game. See Table 4.2 for a listing of all the core elements of the gaming experience in their corresponding categories. 4.5 Operationalising the Theory Once we have formulated the theory, we proceed to operationalise it. We do this in two ways: First, we create a model for the theory and then a questionnaire. The model provides an abstraction of the theory, which shows the relationship among the different elements of the theory. It identifies the elements in two categories, those that can be directly measured versus those that are theoretical constructs. The former are known as observable variables and the latter as latent variables. The questionnaire is created using the observable variables, which allow us to understand the changes for the latent variables. 4.5.1 The CEGE Model The theory can be summarised in the following three points: 1. A positive experience (enjoyment) while playing games is achieved by the player’s perception of the video-game and the interaction with it. These are the Core Elements of the Gaming Experience: Video-game and Puppetry. 2. Puppetry, the player’s interaction with the game is formed by the player’s sense of control and ownership. Control produces ownership, which in turn produces enjoyment. Ownership is also produced by Facilitators to compensate the sense of control. 3. The player’s perception of the video-game is formed by the environment and the game-play, which also produces enjoyment. All the elements just mentioned are latent variables. In order to observe the change in the Facilitators, for example, we have to be able to observe the forming
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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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Index A Advanced interaction games,
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