...

What is the Meaning of this? Understanding the contentious(?) relationship between videogame play and videogame narrative

by west-virginia-university-department-of-communication-studies

on

Report

Category:

Education

Download: 0

Comment: 0

532

views

Comments

Description

Video games have enjoyed sustained economic and cultural success for nearly four decades, with their success often attributed to their interactive nature: passive audiences become active users with a vested stake in the on-screen experience. However, as games continue their evolution from singular challenge/skill puzzles to narrative-rich virtual worlds, the manner in which we play and are affected by this play has been called into question. Specifically, given that users do not have an unlimited ability to process stimuli, one might challenge the implicit assumption that gamers interact with and are influenced by all on-screen content in a similar fashion. The following presentation outlines emerging theory and research into the ways in which gamers attend to different on-screen content, and how this implicit and explicit attention can impact the overall entertainment experience.

(An audio recording of the talk will be made available at: http://iutelecomgrad.wordpress.com/)
Download What is the Meaning of this? Understanding the contentious(?) relationship between videogame play and videogame narrative

Transcript

  • 1.WHAT IS THE MEANING OF THIS? UNDERSTANDING THE CONTENTIOUS(?) RELATIONSHIP BETWEEN VIDEOGAME PLAY AND VIDEOGAME NARRATIVEND Bowman Indiana University 24 Jan 2014 Media and Interaction Lab
  • 2. ABSTRACT Video games have enjoyed sustained economic and cultural success for nearly four decades, with their success often attributed to their interactive nature: passive audiences become active users with a vested stake in the on-screen experience. However, as games continue their evolution from singular challenge/skill puzzles to narrative-rich virtual worlds, the manner in which we play and are affected by this play has been called into question. Specifically, given that users do not have an unlimited ability to process stimuli, one might challenge the implicit assumption that gamers interact with and are influenced by all on-screen content in a similar fashion. The following presentation outlines emerging theory and research into the ways in which gamers attend to different on-screen content, and how this implicit and explicit attention can impact the overall entertainment experience.
  • 3. Research RantPREAMBLE: S  O  R
  • 4. SOR Organism Meaning is created here! StimulusResponse
  • 5. SOR VIDEO games • Narrative worldsVideo GAMES • Ludic systems
  • 6. SOR • So, do we get to BE Batman, or do we get to PLAY Batman? Can’t we do BOTH? [NO]
  • 7. IU Guest LectureVIDEO GAMES
  • 8. VIDEO GAMES • Games = challenge + skill
  • 9. VIDEO GAMES • In video game, skill is based on our ability to control the interactivity (form + content) • One such control is our cognitive abilities(a few) cognitive skills found to correlate w/ game performance: 2D mental rotation 3D mental rotation Moving targeting Fixed targeting Eye-hand coordination Fine motor skill Word completion
  • 10. VIDEO GAMES • Challenge/skill balances are key to understanding how we engage activities
  • 11. VIDEO GAMES@JenovaChen• We tap our skills when we want to attain or sustain a state of flow… • …but other “things” can also impact skill
  • 12. VIDEO GAMES • Arousal can impact skill via drive: E = f (HxD)• As drive increases, we respond with our dominant (cognitive) skill
  • 13. VIDEO GAMES • Arousal fromAudience Presence!**At high levels of difficulty, audience presence had no effect on performance because drive was maximized by task challenge!
  • 14. VIDEO GAMES • Arousal fromTask Demand!
  • 15. VIDEO GAMES • Interactivity is Demanding – Cognitively demanding – Behaviorally demanding – Affectively demanding – Socially demanding?LC4MP
  • 16. IU Guest LectureVIDEO GAMES
  • 17. VIDEO GAMES “…games have said goodbye to the tired alien invasions and over-the-top fantasy stories so often found in video games. Instead, they peer into the dark reaches of the very real human heart to deliver stories that are thrilling, chilling and utterly absorbing” ~ Winda Benedetti@WindaBenedetti
  • 18. VIDEO GAMES@jesseschell“Are we going to have a Shakespeare of games? A game that was told so perfectly, and so well, that 200 years later people will insist we play it exactly as it was?“ ~ Jesse Schell (2013)@waltdwilliams“When you‟re using action as a tool, it’s easy to disassociate from what that action is…with a shooter, that action is killing another person.” ~ Walt Williams (2013)
  • 19. VIDEO GAMES“Indeed, to say that one „„enjoyed‟‟ or was „„entertained by‟‟ a film such as Hotel Rwanda would seem decidedly odd, at best” (Oliver & Raney, 2011).
  • 20. VIDEO GAMES You make a game meaningful by drawing us into the emotion …“72 percent of players who started Heavy Rain finished it … if you compare it to the industry average completion rate, which is 20-25 percent, it's downright astounding.” ~ Kristine Steimer…but you have to dial back to the gameplay to do this?@steimer
  • 21. VIDEO GAMES • So, if we don’t enjoy these media products, then what do we do with them? • Selection is driven by a different set of motivations
  • 22. VIDEO GAMESHey, this is really: • Reflective • Inspiring • Expressive • MeaningfulHey, this is really: • Arousing • Exciting • Pleasurable • Diversionary
  • 23. VIDEO GAMES • 97.6% fun vs. 71.9% meaningful • “insight” as separate need • “Pleasure of Control” • “Pleasure of Cognition”
  • 24. VIDEO GAMES Enjoyment Step 1: Controls Gender Age ∆R2 Step 2: Intrinsic Needs Competence Autonomy Relatedness Insight ∆R2 Step 3: CA Identification Suspension of Disbelief Control Responsibility ∆R2Appreciation-.05 -.09 .01-.22*** -.10+ .06***.47*** .13* .01 -.05 .28***-.02 .02 .36*** .58*** .69***-.08 .00 .12* -.08 .02+-.01 .03 -.06+ .10** .01+
  • 25. VIDEO GAMES • Implications
  • 26. IU Guest LectureMOVING FORWARD
  • 27. MOVING FORWARD • Perspective Demand? – Assumption is that “forced perspective” drives presence, driving up enjoyment – Lots of (anecdotal) evidence suggesting forced perspective to be detrimental to fun (task demanding?)
  • 28. MOVING FORWARD Performance? User Perspective 0 = 2D; 1 = 3D++R2 ~ 1.00User Agency 0 = Yes, 1 = NoTask Demand-+-+-+ PresenceUser experience drives down task demand.Enjoyment
  • 29. MOVING FORWARD • Recall Demand? – Entertainment = Enjoyment + Appreciation – If you can’t process the narrative, then you don’t have anything to appreciate.
  • 30. VIDEO GAMES (REMEMBER?) Enjoyment Step 1: Controls Gender Age ∆R2 Step 2: Intrinsic Needs Competence Autonomy Relatedness Insight ∆R2 Step 3: CA Identification Suspension of Disbelief Control Responsibility ∆R2Appreciation-.05 -.09 .01-.22*** -.10+ .06***.47*** .13* .01 -.05 .28***-.02 .02 .36*** .58*** .69***-.08 .00 .12* -.08 .02+-.01 .03 -.06+ .10** .01+
  • 31. MOVING FORWARD Enjoyment- (?) Task Demand-+ - (?)R2 ~ 1.00Narrative Recall-Evaluation++ Appreciation
  • 32. IU Guest LectureEPILOGUE
  • 33. WHAT IS THE MEANING OF THIS? • As we try to understand the psychology of the video game experience, we have to understand our capacity to play as well as our capacity to reflect … • …and our capacity period.
  • 34. WHAT IS THE MEANING OF THIS? • Not… UnenjoyableVery EnjoyableNon-meaningfulVery Meaningful• …but? Very EnjoyableVery Meaningful
  • 35. FOR MORE INFORMATION • Nick Bowman, Ph.D. [CV] Twitter (@bowmanspartan) Skype (nicholasdbowman) nicholas.bowman@mail.wvu.eduMedia and Interaction LabNeed references for cited materials? Contact me!
  • 36. COLLABORATORS AND INSPIRATIONS • • • • • • •Andrew Billings Frank Biocca Jennings Bryant Mun-Yun Chung Mary Beth Oliver Art Raney Ryan Rogers• • • • • •John Sherry Brett Sherrick Ron Tamborini Rene Weber Julia Woolley [everyone mentioned via Twitter!]
  • Fly UP