The Use of Nudges in Exergames to Moderate Player Exertion

Exergames are digital games with a physical exertion component. Exergames can help motivate fitness in people not inclined toward exercise. However, players of exergames sometimes over-exert, risking adverse health effects. These players must be told to slow down, but doing so may distract them from gameplay and diminish their desire to keep exercising. In this thesis we apply the concept of nudges—indirect suggestions that gently push people toward a desired behaviour—to keeping exergame players from over-exerting. We describe the effective use of nudges through a set of four design principles: natural integration, comprehension, progression, and multiple channels. We describe two exergames modified to use nudges to persuade players to slow down, and describe the studies evaluating the use of nudges in these games. PlaneGame shows that nudges can be as effective as an explicit textual display to control player over-exertion. Gekku Race demonstrates that nudges are not necessarily effective when players have a strong incentive to over-exert. However, Gekku Race also shows that, even in high-energy games, the power of nudges can be maintained by adding negative consequences to the nudges. We use the term "shove" to describe a nudge using negative consequences to increase its pressure. We were concerned that making players slow down would damage their immersion—the feeling of being engaged with a game. However, testing showed no loss of immersion through the use of nudges to reduce exertion. Players reported that the nudges and shoves motivated them to slow down when they were over-exerting, and fit naturally into the games.

Repenser l’histoire de la jouabilité : l’émergence du jeu de stratégie en temps réel

L’objectif de cette thèse est de réfléchir aux enjeux d’une histoire du jeu de stratégie en temps réel (STR). Il s’agit de mieux comprendre les contextes dans lesquels le genre prend sens pour historiciser son émergence et sa période classique. Cette thèse cherche à documenter, d’une part, la cristallisation du STR en tant qu’objet ayant une forme relativement stable et en tant que corpus précis et identifié et, d’autre part, l’émergence des formes de jouabilité classiques des STR. La première partie est consacrée à décrire l’objet de cette recherche, pour mieux comprendre la complexité du terme « stratégie » et de la catégorisation « jeu de stratégie ». La seconde partie met en place la réflexion épistémologique en montrant comment on peut tenir compte de la jouabilité dans un travail historien. Elle définit le concept de paradigme de jouabilité en tant que formation discursive pour regrouper différents énoncés actionnels en une unité logique qui n’est pas nécessairement l’équivalent du genre. La troisième partie cartographie l’émergence du genre entre les wargames des années 1970 et les jeux en multijoueur de la décennie suivante. Deux paradigmes de jouabilité se distinguent pour former le STR classique : le paradigme de décryptage et le paradigme de prévision. La quatrième partie explique et contextualise le STR classique en montrant qu’il comporte ces deux paradigmes de jouabilité dans deux modes de jeu qui offrent des expériences fondamentalement différentes l’une de l’autre.

Repenser l’histoire de la jouabilité : l’émergence du jeu de stratégie en temps réel

L’objectif de cette thèse est de réfléchir aux enjeux d’une histoire du jeu de stratégie en temps réel (STR). Il s’agit de mieux comprendre les contextes dans lesquels le genre prend sens pour historiciser son émergence et sa période classique. Cette thèse cherche à documenter, d’une part, la cristallisation du STR en tant qu’objet ayant une forme relativement stable et en tant que corpus précis et identifié et, d’autre part, l’émergence des formes de jouabilité classiques des STR. La première partie est consacrée à décrire l’objet de cette recherche, pour mieux comprendre la complexité du terme « stratégie » et de la catégorisation « jeu de stratégie ». La seconde partie met en place la réflexion épistémologique en montrant comment on peut tenir compte de la jouabilité dans un travail historien. Elle définit le concept de paradigme de jouabilité en tant que formation discursive pour regrouper différents énoncés actionnels en une unité logique qui n’est pas nécessairement l’équivalent du genre. La troisième partie cartographie l’émergence du genre entre les wargames des années 1970 et les jeux en multijoueur de la décennie suivante. Deux paradigmes de jouabilité se distinguent pour former le STR classique : le paradigme de décryptage et le paradigme de prévision. La quatrième partie explique et contextualise le STR classique en montrant qu’il comporte ces deux paradigmes de jouabilité dans deux modes de jeu qui offrent des expériences fondamentalement différentes l’une de l’autre.

The Use of Nudges in Exergames to Moderate Player Exertion

Exergames are digital games with a physical exertion component. Exergames can help motivate fitness in people not inclined toward exercise. However, players of exergames sometimes over-exert, risking adverse health effects. These players must be told to slow down, but doing so may distract them from gameplay and diminish their desire to keep exercising. In this thesis we apply the concept of nudges—indirect suggestions that gently push people toward a desired behaviour—to keeping exergame players from over-exerting. We describe the effective use of nudges through a set of four design principles: natural integration, comprehension, progression, and multiple channels. We describe two exergames modified to use nudges to persuade players to slow down, and describe the studies evaluating the use of nudges in these games. PlaneGame shows that nudges can be as effective as an explicit textual display to control player over-exertion. Gekku Race demonstrates that nudges are not necessarily effective when players have a strong incentive to over-exert. However, Gekku Race also shows that, even in high-energy games, the power of nudges can be maintained by adding negative consequences to the nudges. We use the term "shove" to describe a nudge using negative consequences to increase its pressure. We were concerned that making players slow down would damage their immersion—the feeling of being engaged with a game. However, testing showed no loss of immersion through the use of nudges to reduce exertion. Players reported that the nudges and shoves motivated them to slow down when they were over-exerting, and fit naturally into the games.

The Role of ‘Edutainment’ in Education for Sustainable Development

The Sustainable Strategies Game (SSG) is being developed as ‘edutainment’ in response to the need to understand sustainable futures and advocate sustainability within workplaces in Higher Education. SSG seeks to both deliver experiential teaching and learning for business sustainability and enhance students’ learning experiences within Worcester Business School. This paper presents findings from action research undertaken to formally investigate two aspects of SSG within edutainment for ESD: firstly, it explores the value students obtain from game playing as an approach to sustainability learning. Secondly, it establishes students’ suggestions for evolutions to SSG, e.g. game design and additional features such as social media interventions or legal challenges, to increase its value as a tool for teaching and learning. Informal feedback following sessions playing SSG suggests games generally generate positive effects on students’ learning. Students highlighted SSG offered an enjoyable alternative approach to learning and could drive changes to sustainability thinking. Introducing such gameplay offers the potential to engage participants in collaborative behaviours and encourage consideration of profitability through strategies which carry less impact on the environment; vital to create a sustainable future. This paper presents qualitative evidence from game players that can enhance SSG as a tool to further improve students’ learning experience and its value as edutainment rather than entertainment within ESD.

Deconstruction-reconstruction of Computer Game and Immersive Environment Semiotics

Computer game technology produces compelling ‘immersive environments’ where our digitally-native youth play and explore. Players absorb visual, auditory and other signs and process these in real time, making rapid choices on how to move through the game-space to experience ‘meaningful play’. How can immersive environments be designed to elicit perception and understanding of signs? In this paper we explore game design and gameplay from a semiotic perspective, focusing on the creation of meaning for players as they play the game. We propose a theory of game design based on semiotics.

The Role of Art in Computer Game Design

Computer games are significant since they embody our youngsters’ engagement with contemporary culture, including both play and education. These games rely heavily on visuals, systems of sign and expression based on concepts and principles of Art and Architecture. We are researching a new genre of computer games, ‘Educational Immersive Environments’ (EIEs) to provide educational materials suitable for the school classroom. Close collaboration with subject teachers is necessary, but we feel a specific need to engage with the practicing artist, the art theoretician and historian. Our EIEs are loaded with multimedia (but especially visual) signs which act to direct the learner and provide the ‘game-play’ experience forming semiotic systems. We suggest the hypothesis that computer games are a space of deconstruction and reconstruction (DeRe): When players enter the game their physical world and their culture is torn apart; they move in a semiotic system which serves to reconstruct an alternate reality where disbelief is suspended. The semiotic system draws heavily on visuals which direct the players’ interactions and produce motivating gameplay. These can establish a reconstructed culture and emerging game narrative. We have recently tested our hypothesis and have used this in developing design principles for computer game designers. Yet there are outstanding issues concerning the nature of the visuals used in computer games, and so questions for contemporary artists. Currently, the computer game industry employs artists in a ‘classical’ role in production of concept sketches, storyboards and 3D content. But this is based on a specification from the client which restricts the artist in intellectual freedom. Our DeRe hypothesis places the artist at the generative centre, to inform the game designer how art may inform our DeRe semiotic spaces. This must of course begin with the artists’ understanding of DeRe in this time when our ‘identities are becoming increasingly fractured, networked, virtualized and distributed’ We hope to persuade artists to engage with the medium of computer game technology to explore these issues. In particular, we pose several questions to the artist: (i) How can particular ‘periods’ in art history be used to inform the design of computer games? (ii) How can specific artistic elements or devices be used to design ‘signs’ to guide the player through the game? (iii) How can visual material be integrated with other semiotic strata such as text and audio?

Od Pacmana do Lary Croft. Jak badać postać w grach wideo?

This article offers an overview of various approaches, which have been used to examine video game characters. In its first part I am introducing several methodological directions, focusing on: characters as functions, characters as drivers of agency, representational gendered icons, and as players’ re-embodied realisations. In the second part I am focusing on the first holistic research method for player character in offline computer role-playing games (cRPGs). The proposed Pivot Player Character Model provides a method replicable across the cRPG genre and illustrates the experience of gameplay as perceived through the PC’s eyes. It has been largely inspired by Anne Ubersfeld’s semiological dramatic character research.

Pivoting the player: a framework for player character research in offline computer role-playing games

This article introduces a theoretical framework for the analysis of the player character (PC) in offline computer role-playing games (cRPGs). It derives from the assumption that the character constitutes the focal point of the game, around which all the other elements revolve. This underlying observation became the foundation of the Player Character Grid and its constituent Pivot Player Character Model, a conceptual framework illustrating the experience of gameplay as perceived through the PC’s eyes. Although video game characters have been scrutinised from many different perspectives, a systematic framework has not been introduced yet. This study aims to fill that void by proposing a model replicable across the cRPG genre. It has been largely inspired by Anne Ubersfeld’s semiological dramatic character research implemented in Reading Theatre I (1999) and is demonstrated with reference to The Witcher (CD Projekt RED 2007).

Tutankamón

O presente trabalho pretende apresentar e descrever a metodologia processual e respectivas relexões que sustentam a criação de um artefato digital interativo construído de forma a que alguns dos elementos bidimensionais que o constituem sejam manipuladas de forma a que criem ao jogador a ilusão de tridimensionalidade. Em 1992 a Id Software com o jogo Wolfenstein 3D, introduziu uma referência visual à tridimensionalidade, utilizando para o efeito tecnologia 2D, a qual, através de um sistema de redimensionamento e posicionamento de imagens, consegui transmitir a noção de tridimensionalidade, utilizando na altura um tipo de jogo em primeira pessoa, ou seja, o jogador experiência uma campo visual que visa reproduzir a própria experiência do mundo táctil na relação que dispõe entre os espaços e objetos. Através do Processing, uma linguagem de programação que assenta no Java, estes objetivos conceptuais serão reproduzidos, que procuram, por um lado, transmitir esta aparente ilusão de tridimensionalidade e por outro não utilizar um tipo de artefacto digital que proporciona uma jogabilidade em primeira pessoa mas sim possibilitam ao jogador uma experiência visual que aborda todo o espaço em que é lhe permitido circular, no qual é lhe exposto as adversidades que precisa de superar para progredir. Para que isto seja possível o jogador assume o papel de um personagem e através da sua interação com o artefato, vai ediicando uma narrativa visual que visa o seu envolvimento com a temática representada. Como tema é utilizada uma representação da busca pelo Sarcófago do faraó da 18ª Dinastia Tutankamón (1332 - 1323 AC) pelo explorador britânico Howard Carter (1874 - 1939) cuja expedição no Vales do Reis em 1922 constitui ainda hoje a mais célebre descoberta arqueológica relacionada com Antigo Egipto. Ao longo desta Dissertação são abordados temas que visam resoluções tanto no campo técnico e tecnológico, através da programação e sua linguagem, como no campo visual e estético que visa uma conexão consciente com a temática a representar e a ser experienciada

A análise de performance e o seu impacto no desempenho de uma equipa de futebol profissional

Atualmente, a preparação e desenvolvimento de uma equipa de futebol deve considerar não só aspetos relacionados com a metodologia do treino, como também da análise de performance, quer da própria equipa quer de equipas adversárias. O estágio desenvolveu-se integrado nas equipas técnicas que orientaram o plantel profissional do Estoril Praia SAD, durante a época 2014/2015. Na área 1, foi exposto o objetivo principal do trabalho apresentado neste relatório, que se prendeu com a necessidade de compreender de que forma é importante a análise da própria equipa e da equipa adversária, e ainda como essas análises são enquadradas e utilizadas no treino e na competição. Após a recolha de informação na literatura, relativa à análise de performance, e relacionada essa informação com a prática do dia-a-dia e ainda com as opiniões recolhidas através de entrevistas realizadas a dois elementos de uma das equipas técnicas, foi possível perceber a importância da análise na preparação e operacionalização das ideias de jogo da equipa técnica, não só durante os momentos competitivos, como em situações de treino. Na área 2 (Projeto de investigação/inovação) foi realizado um estudo que teve como finalidade perceber o impacto que tem a alteração de um treinador no decorrer da época desportiva, tentando relacionar essas decisões com diferentes contextos, percebendo se a alteração tem uma influência positiva ou negativa no rendimento das equipas contempladas no estudo. Posteriormente à sua realização, o estudo foi apresentado nas Jornadas Portuguesas de Psicologia do Desporto. Relativamente à área 3 (Relação com a comunidade), foi realizado um torneio que teve como principal foco, alertar os pais dos atletas para os valores positivos que podem ser promovidos e desenvolvidos através do desporto.

'Redstone is like electricity': children's performative representations in and around Minecraft

This article investigates 8- and 9-year-old girls’ use of the popular game Minecraft at home and school, particularly the ways in which they performatively ‘bring themselves into being’ through talk and digital production in the social spaces of the classroom and within the game’s multiplayer online world. We explore how the girls undertake practices of curatorship to display their Minecraft knowledge through discussion of the game, both ‘in world’ and in face-to-face interactions, and as they assemble resources within and around the game to design, build and display their creations and share stories about their gameplay.

Diabetic Mario: designing and evaluating mobile games for diabetes education

Traditionally, diabetes education has relied on written materials, with limited resources available for children with diabetes. Mobile games can be effective and motivating tools for the promotion of children's health. In our earlier work, we proposed a novel approach for designing computer games aimed at educating children with diabetes. In this article, we apply our game design to a mobile Android game (Mario Brothers). We also introduce four heuristics that are specifically designed for evaluating the mobile game, by adapting traditional usability heuristics. Results of a pilot study (n = 12) to evaluate gameplay over 1-week showed that the children found the game engaging and improved their knowledge of healthy diet and lifestyle.

Literacy into action: digital games as action and text in the English and literacy classroom

Using data gathered from a three-year research project exploring digital literacy and pedagogy with respect to video games, including classroom games-based pedagogy and curriculum and ethnographic research on students' digital game playing, this article locates and explores a key conceptual problem facing the incorporation of digital games into English and literacy classroom activities. This challenge is defined as "action" and refers to the non-visual and non-textual elements of gameplay. This challenge is explored both theoretically and through a practical discussion of various strategies developed by teachers in the project to approach this issue. The article draws on contemporary game studies in order to map out and highlight several key areas where action-based projects lead to critical reflection.

Pathfinder. Performance at the Sonorities Festival of Contemporary Music 2016

Pathfinder (2016) is an audiovisual performance-game for a solo drummer,exploring the synergies between multiple contemporary creative practices.The work navigates between music composition, improvisation, projection/ light art and game art. At its heart lies a bespoke electro-acoustic instrument,the augmented drum-kit, used not only to provide the sonic content of the work in real-time, but also as a highly expressive game controller that interacts with an instrument-specific game. The musical instrument offers a much wider range of expressive possibilities, control and tactile feedback in comparison to a traditional general-purpose game controller, and as a result it affords a very diverse and nuanced gameplay performance. Live electronics, lights, projections and the drum-kit all make up the performance-game’s universe, within which the performer has to explore, adjust, navigate and complete a journey.