Personality, motivation and video games

This study explored relationships between personality, video game preference and gaming experiences. Two hundred and thirty-five participants completed an online survey in which they recalled a recent gaming experience, and provided measures of personality and their gaming experience via the Player Experience of Need Satisfaction (PENS) measure. Relationships between game genre, personality and gaming experience were found. Results are interpreted with reference to the validity of the PENS, current models of video gaming motivations and enjoyment, and sub-groups of people that may be more vulnerable to possible negative effects of games.

It’s Not Just a Game: Contemporary Challenges for Games Research and the Internet

In this final chapter we will raise a number of issues that we have encountered as we have put this collection of papers together. In doing this, we also reflect upon the seven challenges for video game theory that Bernard Perron and Mark Wolf(2009)put forward in the introduction to the second video game theory reader given it is probably one of the most recent assessments in the area at the time of writing. These challenges are concerned with Terminology and Accuracy, History, Methodology, Technology, Interactivity, Play and the Integration of Interdisciplinary Approaches. These issues will be brought up throughout this chapter, but not necessarily in mutually exclusive fashion...

Creative expression as the objective in video games

This study explores the idea of video games where the players are not just allowed to express themselves creatively, but are challenged to do so and are judged based on the quality of their creative expression. The outcome of the research is a series of six games which comment on this idea. The study also raises further questions regarding how current video games are constructed and designed in comparison with non-computer games, and invites a further evolution of the craft of video game design in a direction that focuses more on interpreting and reacting to what the player is doing.

Operationalising and measuring flow in video games

This paper explores the obstacles associated with designing video game levels for the purpose of objectively measuring flow. We sought to create three video game levels capable of inducing a flow state, an overload state (low-flow), and a boredom state (low-flow). A pilot study, in which participants self-reported levels of flow after playing all three game levels, was undertaken. Unexpected results point to the challenges of operationalising flow in video game research, obstacles in experimental design for invoking flow and low-flow, concerns about flow as a construct for measuring video game enjoyment, the applicability of self-report flow scales, and the experience of flow in video game play despite substantial challenge-skill differences.

Agency and animation: the performance of interactive game characters

As an animator and practice-based researcher with a background in games development, I am interested in technological change in the video game medium, with a focus on the tools and technologies that drive game character animation and interactive story. In particular, I am concerned with the issue of ‘user agency’, or the ability of the end user to affect story development—a key quality of the gaming experience and essential to the aesthetics of gaming, which is defined in large measure by its interactive elements. In this paper I consider the unique qualities of the video game1 as an artistic medium and the impact that these qualities have on the production of animated virtual character performances. I discuss the somewhat oppositional nature of animated character performances found in games from recent years, which range from inactive to active—in other words, low to high agency. Where procedural techniques (based on coded rules of movement) are used to model dynamic character performances, the user has the ability to interactively affect characters in real-time within the larger sphere of the game. This game play creates a high degree of user agency. However, it lacks the aesthetic nuances of the more crafted sections of games: the short cut-scenes, or narrative interludes where entire acted performances are mapped onto game characters (often via performance capture)2 and constructed into relatively cinematic representations. While visually spectacular, cut-scenes involve minimal interactivity, so user agency is low. Contemporary games typically float between these two distinct methods of animation, from a focus on user agency and dynamically responsive animation to a focus on animated character performance in sections where the user is a passive participant. We tend to think of the majority of action in games as taking place via playable figures: an avatar or central character that represents a player. However, there is another realm of characters that also partake in actions ranging from significant to incidental: non-playable characters, or NPCs, which populate action sequences where game play takes place as well as cut scenes that unfold without much or any interaction on the part of the player. NPCs are the equivalent to supporting roles, bit characters, or extras in the world of cinema. Minor NPCs may simply be background characters or enemies to defeat, but many NPCs are crucial to the overall game story. It is my argument that, thus far, no game has successfully utilized the full potential of these characters to contribute toward development of interactive, high performance action. In particular, a type of NPC that I have identified as ‘pivotal’3—those constituting the supporting cast of a video game—are essential to the telling of a game story, particularly in genres that focus on story and characters: adventure games, action games, and role-playing games. A game story can be defined as the entirety of the narrative, told through non-interactive cut-scenes as well a interactive sections of play, and development of more complex stories in games clearly impacts the animation of NPCs. I argue that NPCs in games must be capable of acting with emotion throughout a game—in the cutscenes, which are tightly controlled, but also in sections of game play, where player agency can potentially alter the story in real-time. When the animated performance of NPCs and user agency are not continuous throughout the game, the implication is that game stories may be primarily told through short movies within games, making it more difficult to define video games animation as a distinct artistic medium.

BitBox!: A case study interface for teaching real-time adaptive music composition for video games

Real-time adaptive music is now well-established as a popular medium, largely through its use in video game soundtracks. Commercial packages, such as fmod, make freely available the underlying technical methods for use in educational contexts, making adaptive music technologies accessible to students. Writing adaptive music, however, presents a significant learning challenge, not least because it requires a different mode of thought, and tutor and learner may have few mutual points of connection in discovering and understanding the musical drivers, relationships and structures in these works. This article discusses the creation of ‘BitBox!’, a gestural music interface designed to deconstruct and explain the component elements of adaptive composition through interactive play. The interface was displayed at the Dare Protoplay games exposition in Dundee in August 2014. The initial proof-of- concept study proved successful, suggesting possible refinements in design and a broader range of applications.

An impression of home: player nostalgia and the impulse to explore game worlds

This is the accepted version of the paper following peer review.

The influence of video games with apocalyptic content in adolescents

The aim of this study is the dissertation and analysis of the influence (sociological, psychological and cultural) exerted on adolescents by the concept of Apocalypse. Become a key thought of visual culture, the called doomsday theory achieves one of its highest expressions in video games, possibly the favorite entertainment for young people in their leisure time. The results obtained in this research represent a first approach to the subject through the selected samples, two secondary schools from the city of Seville with disparate locations and divergent socioeconomic backgrounds. To reinforce the comparative study, we have included issues related to parental control, principal gaming platforms used by respondents or the number of hours dedicated to this type of entertainment. The conclusions demonstrate an irremediable attraction from our youth towards apocalyptic universes, plotter consciously with leisure and entertainment as escape from their routine of everyday life.

A Wii Bit of Fun: A Novel Platform to Deliver Effective Balance Training to Older Adults

BACKGROUND: Falls and fall-related injuries are symptomatic of an aging population. This study aimed to design, develop, and deliver a novel method of balance training, using an interactive game-based system to promote engagement, with the inclusion of older adults at both high and low risk of experiencing a fall.

STUDY DESIGN: Eighty-two older adults (65 years of age and older) were recruited from sheltered accommodation and local activity groups. Forty volunteers were randomly selected and received 5 weeks of balance game training (5 males, 35 females; mean, 77.18 ± 6.59 years), whereas the remaining control participants recorded levels of physical activity (20 males, 22 females; mean, 76.62 ± 7.28 years). The effect of balance game training was measured on levels of functional balance and balance confidence in individuals with and without quantifiable balance impairments.

RESULTS: Balance game training had a significant effect on levels of functional balance and balance confidence (P < 0.05). This was further demonstrated in participants who were deemed at high risk of falls. The overall pattern of results suggests the training program is effective and suitable for individuals at all levels of ability and may therefore play a role in reducing the risk of falls.

CONCLUSIONS: Commercial hardware can be modified to deliver engaging methods of effective balance assessment and training for the older population.

Players and Avatars: The Connections between Player Personality, Avatar Personality, and Behavior in Video Games

The increasing variety and complexity of video games allows players to choose how to behave and represent themselves within these virtual environments. The focus of this dissertation was to examine the connections between the personality traits (specifically, HEXACO traits and psychopathic traits) of video game players and player-created and controlled game-characters (i.e., avatars), and the link between traits and behavior in video games. In Study 1 (n = 198), the connections between player personality traits and behavior in a Massively Multiplayer Online Roleplaying Game (World of Warcraft) were examined. Six behavior components were found (i.e., Player-versus-Player, Social Player-versus-Environment, Working, Helping, Immersion, and Core Content), and each was related to relevant personality traits. For example, Player-versus-Player behaviors were negatively related to Honesty-Humility and positively related to psychopathic traits, and Immersion behaviors (i.e., exploring, role-playing) were positively related to Openness to Experience. In Study 2 (n = 219), the connections between player personality traits and in-game behavior in video games were examined in university students. Four behavior components were found (i.e., Aggressing, Winning, Creating, and Helping), and each was related to at least one personality trait. For example, Aggressing was negatively related to Honesty-Humility and positively related to psychopathic traits. In Study 3 (n = 90), the connections between player personality traits and avatar personality traits were examined in World of Warcraft. Positive player-avatar correlations were observed for all personality traits except Extraversion. Significant mean differences between players and avatars were observed for all traits except Conscientiousness; avatars had higher mean scores on Extraversion and psychopathic traits, but lower mean scores on the remaining traits. In Study 4, the connections between player personality traits, avatar traits, and observed behaviors in a life-simulation video game (The Sims 3) were examined in university students (n = 93). Participants created two avatars and used these avatars to play The Sims 3. Results showed that the selection of certain avatar traits was related to relevant player personality traits (e.g., participants who chose the Friendly avatar trait were higher in Honesty-Humility, Emotionality, and Agreeableness, and lower in psychopathic traits). Selection of certain character-interaction behaviors was related to relevant player personality traits (e.g., participants with higher levels of psychopathic traits used more Mean and fewer Friendly interactions). Together, the results of the four studies suggest that individuals generally behave and represent themselves in video games in ways that are consistent with their real-world tendencies.

Design pédagogique et jeux vidéo : recherche exploratoire pour le développement d’un modèle soutenant le design pédagogique dans les jeux vidéo non éducatifs

Le design pédagogique dans les jeux vidéo non éducatifs est une discipline en mal de définitions et de méthodes. Contrairement à celui que l’on trouve dans les écoles ou autres institutions de formation, le design pédagogique pour les jeux vidéo non éducatifs est fait par des designers de jeux qui n’ont souvent aucune formation en enseignement. Un modèle de design pédagogique pour les jeux vidéo non éducatifs est donc développé dans ce mémoire, à partir d’une recherche exploratoire utilisant l’analyse de contenu de jeux vidéo et les théories de la science de l’éducation. Étant donné les ressources limitées disponibles pour le développement du modèle, la présente recherche pourra servir de base à la construction d’un modèle plus élaboré sur un sujet semblable, offrira des pistes intéressantes de recherche sur l’enseignement par le jeu et pourra soutenir les designers de jeu lors de la planification du design pédagogique dans leurs jeux.

Thumb-bangers : exploring the cultural bond between video games and heavy metal

« Heavy Metal Generations » is the fourth volume in the series of papers drawn from the 2012 Music, Metal and Politics international conference (http://www.inter-disciplinary.net/publishing/product/heavy-metal-generations/).

The effects of playing violent video games on adolescents : should parents be quaking in their boots?

Debate regarding the psychological and behavioural effects of playing violent video games has recently led to claims that violent video games increase aggression effects in adolescents, and that this issue has now been settled. However, other researchers have found either no detrimental effects from game playing or even positive (cathartic) effects. In this research we demonstrate that these different conclusions are not mutually exclusive and can be explained by the method of assessment and analytic techniques utilised. We had adolescents play a violent video game (Quake II) and took measurements of anger both before, during and after game play. The results demonstrated that some people increase, some decrease and the majority show no change in anger ratings. Unlike past research, we also demonstrate that these changes are mediated by the player's feelings immediately prior to game play and a labile temperament - one predisposed to aggression - and that these variables predict people's reactions with an average 73% concordance rate.

Playing Active Video Games may not develop movement skills: an intervention trial

Background: To investigate the impact of playing sports Active Video Games on children's actual and perceived object control skills. Methods: Intervention children played Active Video Games for 6. weeks (1. h/week) in 2012. The Test of Gross Motor Development-2 assessed object control skill. The Pictorial Scale of Perceived Movement Skill Competence assessed perceived object control skill. Repeated measurements of object control and perceived object control were analysed for the whole sample, using linear mixed models, which included fixed effects for group (intervention or control) and time (pre and post) and their interaction. The first model adjusted for sex only and the second model also adjusted for age, and prior ball sports experience (yes/no). Seven mixed-gender focus discussions were conducted with intervention children after programme completion. Results: Ninety-five Australian children (55% girls; 43% intervention group) aged 4 to 8. years (M 6.2, SD 0.95) participated. Object control skill improved over time (p=0.006) but there was no significant difference (p=0.913) between groups in improvement (predicted means: control 31.80 to 33.53, SED=0.748; intervention 30.33 to 31.83, SED=0.835). A similar result held for the second model. Similarly the intervention did not change perceived object control in Model 1 (predicted means: control: 19.08 to 18.68, SED=0.362; intervention 18.67 to 18.88, SED=0.406) or Model 2. Children found the intervention enjoyable, but most did not perceive direct equivalence between Active Video Games and 'real life' activities. Conclusions: Whilst Active Video Game play may help introduce children to sport, this amount of time playing is unlikely to build skill.

Proposta de Intervenção para Auxiliar a Reabilitação Motora e Cognitiva de Pacientes com Acidente Vascular Cerebral

Stroke is the leading cause of combined motor and cognitive disability worldwide. The rehabilitation of stroke patients is mostly directed towards motor recovery through the training of the affected member under supervision of a Physical Therapist. In the present study we introduce a new approach for both cognitive and motor therapy, which relies on motor imagery of the upper limbs and working memory training. This therapy should be utilized as an adjuvant to physical therapy. Ten individuals (5 men and 5 women) were selected for the pilot study, all of them in the acute phase of the first ischemic stroke episode. The control group had 5 individuals who were submitted to physical therapy only, whilst the other 5 patients in the experimental group also performed the cognitive and motor training with a video game specially built for this study. Two patients left the experimental group before the end. Total training lasted for 9 weeks, 2 times a week, for half an hour. Patients reported they enjoyed playing the game, even though it required a lot of mental effort, according to them. Plus, they considered it had a beneficial influence in their activities of daily living. No side effects were reported. Preliminary results suggest there is a difference between groups in cognitive and upper limb motor evaluation following the intervention. It is important to notice that our conclusions are limited due the small sample number. Overall, this work is supported by other studies in literature focused in rehabilitation with motor imagery and working memory and indicate a continuity of the research, increasing total training hours