Well Played 2.0: Video Games, Value and Meaning - OpenLibra

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oach sees, can take in the vastness of a public bathroom or a disheveled den as if you were standing on the edge of the Grand Canyon. You can marvel at the vastness of the landscape, its emptiness, and the contours of its terrain. A brief glimpse of the world as seen through the eyes of a roach, is worth the reflection upon perspective. It may give the player more of a sense of identity than at any other point during the game. Overview of recent research: Perspective and game play “We have to try and get rid of it”, said Gregor’s sister, now speaking only to her father, as her mother was too occupied with coughing to listen, “it’ll be the death of both of you, I can see it coming. We can’t all work as hard as we have to and then come home to be tortured like this, we can’t endure it. I can’t endure it any more.” And she broke out so heavily in tears that they flowed down the face of her mother, and she wiped them away with mechanical hand movements. She happened to be holding the long broom in her hand, so she tried to tickle Gregor with it from the doorway. When she had no success with that she tried to make a nuisance of herself and poked at him a little, and only when she found she could shove him across the floor with no resistance at all did she start to pay attention. She soon realised what had really happened, opened her eyes wide, whistled to herself, but did not waste time to yank open the bedroom doors and shout loudly into the darkness of the bedrooms: “Come and ‘ave a look at this, it’s dead, just lying there, stone dead!” So, what does this viewing perspective offer the player in terms of character identity, narrative, and engagement within the game itself? Reviewing the results of some recent research may offer some insight (Scoresby and Shelton 2010). In this research, player viewing perspective is first parsed into three categories. First-person perspective is the player’s vision and actions are as the main character in the game. Third-person perspective is when the player views and controls the main character in the game much like a puppet. The third category is “without” viewing perspective, meaning the player sees nothing but text. University students were recruited, both experienced and novice gameplayers, to play games from the three categories of viewing perspective. Some of the games they played were of the commercial off-the-shelf variety, while others were educational in nature. Students were videotaped and interviewed after their experiences of playing each of these perspectives to probe for feelings of presence, flow, and in the case of the educational games, their learning. The outcomes of the research were interesting in that the viewing perspective was thought to have significant influence 82
on presence, flow, and learning. However, the qualitative analysis of this research suggests that four emergent categories (content, emotion, motivation, engagement) had more influence than perspective. Bad Mojo was not one of the games used in the research, so within a discussion of research findings, a comparison to the game play of Bad Mojo reveals both consistencies and inconsistencies for points of presence, flow and perspective. The research was couched using the following definitions: immersion—the extent to which the computer system delivers a surrounding environment; and presence—the feelings or sense of “being there.” The findings were based upon an immersive level provided by desktop computers. Categorized data showed that for both inexperienced and avid gamers, personal preference was highly influential in the progression towards presence and flow. The graphical games had a higher rate of interaction, which required higher levels of focus and use of cognitive faculties. By in large, the graphical games engaged more players than the text-based games. Summary of First- and Third-Person perspectives as it relates to player presence and flow (Scoresby and Shelton, 2010). Emotion Content to Emotion to Motivation to Engagement Motivation Personal Preference Dependent on experi- Possible gender ence and personal Third-Per- Genre/ difference preference son content Ownership of character Character possible Perspective important and activity, could or distracter for could not relate to progression character More dependent on personal preference First-Per- Genre/ Personal preference Genre/Content/ son content Possible gender Actions possible dis- Perspective important difference tracter for progression The analysis of presence included the sense of “being there,” responses to events that occurred in the computer environment, and the learner’s memory or knowledge of objects in the virtual environment. Touching the keyboard or mouse was not a significant influence in adding to or detracting from the feeling of presence. However, learning how to control 83
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Well Played 2.0: Video Games, Value
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Table of Contents Thank You. Well P
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Introduction Well Played 2.0 More P
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Cloudmaker Days: A Memoir of the A.
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abbreviations from the Periodic Tab
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that curtain was. This decision was
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experience. The ambivalence I felt
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special treat: in very faint text w
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storytelling where the topic is act
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16 It’s striking that an experien
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57 http://www.argn.com 58 http://ww
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the level of interactive engagement
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he wants the honor and glory for hi
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cinematics are units that go beyond
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differs from the first checkpoint).
Page 31 and 32: oom that you just saw in the vision
Page 33 and 34: Figure 10. Screenshot of the Castle
Page 35 and 36: fight, the space is large enough th
Page 37 and 38: scenes have more of a pounding elem
Page 39 and 40: going to have a successful ending (
Page 41 and 42: Interestingly, it doesn’t rewind
Page 43 and 44: note, I actually let myself get kil
Page 45 and 46: an attempt to inject it into gamepl
Page 47 and 48: Team XBox. Prince of Persia: Sands
Page 49 and 50: Gray discs require two adjacent bre
Page 51 and 52: my own music,[72] or more often, I
Page 53 and 54: allows five discs before a new row
Page 55 and 56: Chain Factor functioned as the “t
Page 57 and 58: I think, what well-designed virtual
Page 59 and 60: The genius of this system is that t
Page 61 and 62: haunting (and haunted) games I’ve
Page 63 and 64: Compared to “Sabre Wulf” and
Page 65 and 66: altitude) depending on the moment o
Page 67 and 68: Aside from that thread that explora
Page 69 and 70: would make anyone feel eager to pla
Page 71 and 72: learn on how to jump and take the o
Page 73 and 74: DREW DAVIDSON et al. (2008). Beyond
Page 75 and 76: her picture. When opening the locke
Page 77 and 78: The story advances with the explora
Page 79 and 80: Favorite moments Nothing would stop
Page 81: than yourself. Your character is re
Page 85 and 86: oach did not serve as a distraction
Page 87 and 88: game. However, some players felt pr
Page 89 and 90: sugary sweets from the picnic blank
Page 91 and 92: Csikszentmihalyi, M. (1997). Findin
Page 93 and 94: 30 square kilometers around the Che
Page 95 and 96: Deus Ex and System Shock to set the
Page 97 and 98: the dreams,” muses this nameless
Page 99 and 100: fails to realize that the Zone is n
Page 101 and 102: leak, empty land-scape highlights t
Page 103 and 104: The storyline, characters, and even
Page 105 and 106: enough. Call of Duty 4: Modern Warf
Page 107 and 108: developers utilize environmental es
Page 109 and 110: The title of the novel is a referen
Page 111 and 112: And yet the same sun, the same moon
Page 113 and 114: (www.perimeterpartners.com), Bill H
Page 115 and 116: Actraiser Andy Jih While many other
Page 117 and 118: simple to dive into: run left and r
Page 119 and 120: the only task left is to go to the
Page 121 and 122: have ended the game simply with an
Page 123 and 124: For an adventure game to succeed, i
Page 125 and 126: cinematic, Manny despairs of his lo
Page 127 and 128: normal day-to-day life to reach new
Page 129 and 130: weren’t completed due to budget a
Page 131 and 132: mechanic Elementals that look like
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gameplay mechanics in Fallout 3. Th
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with moral dilemmas is done with th
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contained vignette will also make m
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One of the most discussed Quests in
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the grove to help the Wasteland whi
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weapons lost will change playing st
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nonexistent, and few gamers I talk
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Cyan is notorious for baffling play
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Figure 2: The Cleft in the desert,
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“writing” Ages, housed in “li
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ook, that book appears in your Relt
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visits to solve, each player needs
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them prideful and greedy. The impli
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midst and walking down the path. If
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Figure 17: Decoding the door in Ede
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As mentioned earlier, central to Ur
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Immersive Game Design: Indigo Proph
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compartmentalizes all of the conten
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immediate connection between player
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initiating a similar game-ending ev
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interactions have even greater sign
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was trying to concentrate on inputt
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Lions & Jackals: The Politics of Fa
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Banga, meaning “the all-powerful
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ealization of what he turned into.
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Maybe 80% of our players are just l
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Jeffries, L.B. “Far Cry 2: The He
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Looking beyond the moments, it is i
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prowess. There is some level of apt
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solid short-term goal, much like fi
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time or exploring the same game lev
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and seamless; the player is whisked
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Rasmus: I have an absolute love for
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feeling that there is something int
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sessions make it easy to get into t
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the game sometimes. Isn’t this a
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Jesper: I would argue that the disc
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incredibly exciting and rewarding,
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playing games — ironic, I suppose
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Sutton-Smith, Brian. 2008. Play The
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dilemma itself. Should I, the playe
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Pool of Radiance Sam Roberts Pool o
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play experience of Pool of Radiance
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probably at what might be called th
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containing a moment of choice, is a
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interpreted, without remaining hide
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Making and Unmaking Place in The Da
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technical accomplishments, the play
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understanding.”[160] Time of day
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ears).[167] Videogames take advanta
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the orphanage, church, warehouses,
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Golden Arm and His Girl Friday, tel
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directions except toward the goal.
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This dynamic is played out in a sho
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169 Celia Pearce, “Narrative Envi
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ilovebees: Playing and Designing in
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Curious parties falling through the
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Columns of paired numbers appear, l
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may be, they may still need to be n
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strength of its developers and its
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Resident Evil 4: The Mercenaries Mi
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skills at RE4 have earned you the p
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Another important factor that adds
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The strongest pressure on the playe
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• Do I have enough health left to
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New Section Francisco Souki It was
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the game stayed true throughout the
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a reflective Mamma mia! You only ne
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point it all took shape in my head.
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neutral planet, the attacking ships
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want to attempt to play at an exper
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abusive language. Most importantly,
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Stephen Jacobs is an Associate Prof
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granted by the EPSON Ibérica’s
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and Second Person. He is cited in m
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of Gaming and Computer-Mediated Sim
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designing and developing cross-medi
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