The Contextual Game Experience: On the Socio-Cultural Contexts for Meaning in Digital Play (original) (raw)
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Digital game experience is not a one-dimensional concept. Great variety exists in game genres and players, and game experiences will differ accordingly. To date, game experience is studied in a differentiated way, meaning that most studies focus on one specifi c game experience dimension. The objective of our study was twofold. First, we wanted to obtain a comprehensive picture of fi rst-hand experiences of playing digital games. We conducted six focus group interviews including different types of gamers with the aim of eliciting a wide array of lay-conceptualizations of game experience. Second, we aimed to develop a categorization of game experience dimensions. This was established by discussing and integrating theoretical and empirical fi ndings. Our categorization revealed nine dimensions: enjoyment, fl ow, imaginative immersion, sensory immersion, suspense, competence, tension, control and social presence. This categorization has relevance for both game scholars and game developers wanting to get to the heart of digital game experience.
From content to context: Videogames as designed experience
Educational Researcher, 2006
Interactive immersive entertainment, or videogame playing, has emerged as a major entertainment and educational medium. As research and development initiatives proliferate, educational researchers might benefit by developing more grounded theories about them. This article argues for framing game play as a designed experience. Players' understandings are developed through cycles of performance within the gameworlds, which instantiate particular theories of the world (ideological worlds). Players develop new identities both through game play and through the gaming communities in which these identities are enacted. Thus research that examines game-based learning needs to account for both kinds of interactions within the gameworld and in broader social contexts. Examples from curriculum developed for Civilization III and Supercharged! show how games can communicate powerful ideas and open new identity trajectories for learners.
In Gameplay : the invariant structures and varieties of the video game gameplay experience
2018
This dissertation is a multidisciplinary study on video game gameplay as an autonomous form of vernacular experience. Plays and games are traditional research subjects in folkloristics, but commercial video games have not been studied yet. For this reason, methods and concepts of the folkloristic research tradition have remained unknown in contemporary games studies. This thesis combines folkloristics, game studies and phenomenological enactive cognitive science in its investigations into playergame interaction and the video game gameplay experience at large. In this dissertation, three representative survey samples (N=2,594, N=845, N=1,053) on "Rewarding gameplay experience" are analyzed using statistical analysis methods. The samples were collected in 2014-2017 from Finnish and Danish adult populations. This dissertation also analyzes data from 32 interviews, through which the survey respondents' gameplay preferences, gaming memories, and motivations to play were further investigated. By combining statistical and qualitative data analyses, this work puts forward a mixed-methods research strategy and discusses how the findings relate to prior game research from several disciplines and schools of thought. Based on theoretical discussions, this dissertation argues that the video game gameplay experience as a cultural phenomenon consists of eight invariants in relation to which each individual gameplay experience can be interpreted: The player must demonstrate a lusory attitude (i), and a motivation to play (ii). The gameplay experience consists of explorative and coordinative practices (iii), which engender a change in the player's self-experience (iv). This change renders the gameplay experience inherently emotional (v) and performative (vi) in relation to the gameworld (vii). The gameplay experience has the dramatic structure of a prototypical narrative (viii) although a game as an object cannot be regarded a narrative in itself. As a key result of factor analytical studies and qualitative interview analyses, a novel approach to understanding player-game interaction is put forward. An original gameplay preference research tool and a player typology are introduced. This work argues, that, although video games as commercial products would not be intuitive research subjects for folkloristics, video game gameplay, player-game interaction, and the traditions in experiencing and narrating gameplay do not differ drastically from those of traditional social games. In contrast to this, all forms of gameplay are argued to be manifestations of the same vernacular phenomenon. Indeed, folkloristic research could pay more attention to how culture is experienced, modified, varied and expressed, regardless of whether the research subject is a commercial product or not.
Presence, Involvement, and Flow in Digital Games
Human-Computer Interaction Series, 2009
Digital games elicit rich and meaningful experiences for the gamers. This makes games hard to study solely with usability methods that are used in the field of human-computer interaction. Here is presented a candidate framework to analyze multidimensional user experience (UX) in games. Theoretically, the framework is grounded both on previous game studies and on relevant psychological theories. Methodologically, it relies on multivariate data analysis of approximately 320 games (n = 2182), with the aim of revealing the subcomponents of UX in games. The framework captures the essential psychological determinants of UX, namely, its quality, intensity, meaning, value, and extensity. Mapping these determinants to the game mechanics, the narrative and the interface offers a rich view to UX in games and provides added value to those who want to understand why games are experienced in certain ways.
Identification and categorization of digital game experiences: a qualitative study integrating
Westminster Papers in Communication and Culture, 2012
Digital game experience is not a one-dimensional concept. Great variety exists in game genres and players, and game experiences will differ accordingly. To date, game experience is studied in a differentiated way, meaning that most studies focus on one specifi c game experience dimension. The objective of our study was twofold. First, we wanted to obtain a comprehensive picture of fi rst-hand experiences of playing digital games. We conducted six focus group interviews including different types of gamers with the aim of ...
Involvement and presence in digital gaming
2006
This study introduces a psychological measurement model for analyzing involvement and presence in digital game context. These two constructs are both theoretically and methodologically well developed in their own fields. The components forming these two constructs are psychologically relevant to our understanding of the evolvement of a user experience in digital gaming. The measurement model is tested with a large data (n=2182) collected from a webbased questionnaire and laboratory experiments among PC and console players. The results show that these two psychological constructs can be extracted from interactive game environments. It is also shown that involvement and presence are different dimensions of a larger psychological entity that describes the way the players adapt themselves psychologically into a game-world.
The Video Game and Player in a Gameplay Experience Model Proposal
The video game medium, embedded within one of the most lucrative industries today, is developed to entertain and create satisfying experiences for the game player. Extensive work has been developed on these experiences, exploring concepts such as immersion or flow, or centering on specific experiencerelated models. However, we consider that these do not fully portray the nature of the gameplay experience -a dynamic interplay between a video game and the player. This work summarizes a Gameplay Experience Model proposal centered on the dynamic interaction that exists during video game play. We describe the development of the proposed model, centered on a literature review process and complemented with two focus group sessions where the gameplay experience and its characteristics were discussed. Posteriorly, the conceptual model is explored in terms of its various elements and dimensions, in addition to its applicability in game contexts.