FICTION AND EMBODIMENT: AUGMENTED REALITY AS MEANINGFUL GAMEPLAY (original) (raw)
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2008
In this text, we intend to explore augmented reality as a means to visualise interactive communication projects. With ARToolkit, Virtools and 3ds Max applications, we aim to show how to create a portable interactive platform that resorts to the environment and markers for constructing the game's scenario.
Augmented Reality Inside Videogames
Arte Y Politicas De Identidad, 2013
The new media environment brings digital data to real life through augmented reality technologies giving users a new vision, where the binary world interacts directly with the real one. A new age is upon us with challenges, doubts and mainly new ideas that start to take shape. One of these is whether or not McLuhan's theory of a medium integrating another is still a working paradigm should we testify that augmented reality elements appear inside videogames. This article is composed by an analysis of the third stage of the web and how it expands with augmented reality, the origins and concepts of interface design and how entertainment can be a sandbox of new ideas ending with a chapter on the electric environment of hybrid media, augmentation categories and Rancière's theories over the emancipated spectator. This issue culminates in an object analysis regarding augmented reality inside VR-games, where a videogame analysis is carried out, being followed by a review on the top four best devices. The whole data gathered provides us the framework to analyse McLuhan's theory regarding how virtual technologies' future might be when it comes to virtual outputs inside other virtual media.
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Despite the popularity of Augmented and Virtual Reality within gaming, the full potential of such technologies is yet to be fully taken advantage of. Thus, we introduce WAR Bots, a cyber-physical game which intends to investigate the use of both Augmented and Virtual Reality within a coherent gaming experience. We present the underlying architecture to realize our approach, and accordingly, implemented our proposed method in a multiplayer game. Finally, we present the future direction of our approach.
Realism in gameplay: digital fiction and embodiment
2008
In this article we argue that digital simulations promote and explore complex relations between the player and the machine's cybernetic system with which it relates through gameplay, that is, the real application of tactics and strategies used by participants as they play the game. The magic space created by the board is considered to be more than a space of confusion between the real and artificial. It first presents itself as a curtain or interface between the participant's body and the digital simulation inherent to the computational system.
An Exploration From Virtual to Augmented Reality Gaming
Simulation & Gaming, 2006
Computer games are continuously improving graphics capabilities and game-play but the market demands show that more compelling gaming applications are required. In this paper, the requirements of modern gaming applications are investigated and a classification of the most significant game design issues is presented. To understand the issues related to video and virtual reality gaming, an interactive game engine is designed and as a case study a traditional two-dimensional arcade game, called Breakout, is ported. Collision detection is supported between the graphics components of the application based on Newton laws of physics. To test the effectiveness of our approach, a tangible platform for playing interactive three-dimensional games using video see-through augmented reality techniques is proposed. To evaluate the effectiveness of each application a pilot study was performed and the initial results of this study are presented.
Augmented Play, Art, and Space
Architekturen, 2019
In einer Reihe von künstlerischen Spielen wird das Konzept des immersiven Flusses, Game-Flow, durch Bewegung im Realen und Fiktiven, oft in so genannten Walking Simulatoren induziert. Gegenwärtig erwacht das Genre der Spielkunst im spezifischem Zusammenhang der Flow-Erfahrung in hybriden und Augmented Reality Games und Game Installationen, versetzt mit neurowissenschaftlichen Elementen der Psychophysik. Der virtuelle Raum wird zunehmend mit dem physisch erfahrenen realen Raum verstrickt. Dies bietet die Möglichkeit, aus den Bereichen Performancekunst, Inszenierung und Motivationsdesign zu lernen. Das zeigt die Kunst-Avantgarde im künstlerisch forschenden Game Design. Bei der Gestaltung und Verbindung von digitalem und realem Raum - bekannt als hybride Realitätsspiele - werden die Themen Körperlichkeit, Kognition überlagert. So kann ein neuer Spiel-Aktivismus identifiziert werden: ein Aktivismus, der sich auf Körpererfahrung, Kognition und Raumerfahrung konzentriert.
Going through digital versus physical augmented gaming
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What is it like to be an Avatar? The Phenomenology of Immersion in Computer Games
Immersion is a type of experience characterizing the gameplay of computer games. I propose a phenomenological model that defines the essential features of such experience. I start from the notion of immersion as a graded experience composed by three phases: engagement, engrossment, and total immersion or presence. Then, I put in relation these three grades with a phenomenological framework in which I explain how the immersion is experienced by the player. In the first phase of gameplay (engagement), players discover and learn how the game works, as well as its commands. When she has assimilated sensorimotor skills demanded by game mechanics in her body schema, the computer game as interactive medium becomes experientially transparent. The player is not longer aware of the computer game as an interactive medium, but she is experiencing a virtual environment that appears rich of affordances and obstacles for goal-directed actions. In the second phase (engrossment), the avatar turns into a prosthetic extension whose function is to extend the physical body of the player in the virtual world so to realize her intentions and plans. The experience of computer games is rooted in the prosthetic extension: through the magic of real-time control, it is like if the player is reaching directly the world of the game by means of a prosthesis, an extended arm. In the third phase (total immersion), the player feels like an embodied presence who is “there”, in the game world. I suggest that presence arises only when the player can interact with 3-D game space, and when the avatar is a navigable point of view provided by camera device. Also, the presence occurs when the player represents the game environment as an egocentric space whose point of origin is her own body, and this is possible because of body schema's plasticity. I conclude arguing the our embodied experience can be modified, reshaped, by interacting with interactive media. More specifically, the body is a nest of potentialities that can be discovered and actualized by media, whereas the physical body is only one of its shapes.
Virtuality and Depiction in Video Game Representation
This paper seeks to clarify the role of the image in video game representation. I argue that virtuality is incompatible with depictive representation, and that the distinction between virtual environments and interactive depiction is important in game theory and analysis. In the first part I combine a critical modification of Kendall Walton’s concept of reflexive representation with Edmund Husserl’s concept of image consciousness, in order to clarify the ontological difference between physical models and depictive images. In the second part, I discuss the relationship between physical models and virtual things, and the difference between photographic depiction and screen-mediated prosthetic vision. Finally, I show how this theoretical framework can help clarify the nature of interactive depiction in games. Keywords: representation, depiction, simulation, virtuality, Husserl, Walton
Exploring Real, Virtual and Augmented Worlds Through " Putney " , an Extended Reality
Our research is inspired by the sound and component design of the classic analogue synthesizer the EMS VCS3. In this project, a convergence is made between analogue and digital technologies. By introducing virtual and augmented realities into the performance space through the interconnection of real-time audio and visual synthesis. Our interconnected music network reveals new approaches to audio-visual composition: through audience interaction, allows non-musicians and musicians to perform together; integration of touchscreen technologies with analogue synthesis; Game-engine navigation. The piece aims to expand existing augmented reality theorems. For example, the reality-virtuality (RV) continuum (Milgram, Kishino, Utsumi and Takemura, 1995). We introduce the term “Extended Reality”, 'a transitional state between the real and the virtual, which focuses on mixing equally augmented, virtual and real contents, allowing form a reciprocal feedback loop'. In this case, our intention is to mix analog synthesis technologies with current digital technologies, Augmented Reality and Virtual Reality theories Combining to create an interesting point of convergence between analog/digital and the audio-visual. The network uses various applications that operate together to emphasize the sense of hyper-connection in which we live today, where the "Internet of things"begins to glimpse, a concept that would not be possible without the use of wireless technologies.