JERABECK, J.M. AND FERGUSON, C.J., 2013. The influence of solitary and cooperative violent video game play on aggressive and prosocial behavior.Computers in Human Behavior, 29(6), pp.2573-2578.
In this source the author addresses a very studied topic: the violence on videogames affecting players’ behaviour but combining it with the aspects of cooperational games to asses if two supposedly opposed videogame behavior influential aspects (aggressive-negative versus prosocial-positive) may counteract each other or on the contrary, one stands out from the other. The author emphasize that the majority of previous analysis have been analyzed with an invalid test (TCRTT). As a result of using a more suitable test it was determined that violence content had little impact on players behavior and the aggressive behavior decreased due to the cooperational components but it did not increase significantly the cooperative behaviour. Nevertheless, it was found that a component of relaxation was associated with cooperative play.
As creators of massive media content that may reach and influence a big number of people within a wide range of ages, we need to be aware of the impact that our design and development decisions may have on the society through this type of studies.
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ALEXANDER, J.T., SEAR, J. AND OIKONOMOU, A., 2013. An investigation of the effects of game difficulty on player enjoyment. Entertainment Computing,4(1), pp.53-62.
In this text the author presents a study about the behavior around game difficulty on casual and experienced players to verify if some of the beliefs about this two groups are true or not and to give a deeper understanding about their difficult needs and preferences to the game development community. As a result of the research was found that the chosen difficult depends directly on the game style, a feedback is needed to make acknowledgement for the performance of the player and take in consideration the consumer target to match the learning curve and challenge needs of the consumer. There are several factors that diminish the reliability of this test such a poor number of participants or inconsistency in some data. Also, there are factors that have not been taken in consideration such as game genre, type of control, duration or competitive elements.
Taking in consideration the main customer target of a game, their needs and behaviour may help me in the production of a more suitable and enjoyable product and therefore, it would be more successful.
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APONTE, M.V., LEVIEUX, G. AND NATKIN, S., 2011. Measuring the level of difficulty in single player video games. Entertainment Computing, 2(4), pp.205-213.
In this paper the author make a study of the concept of difficulty in video games and try to give useful definitions for challenges difficulty in the game context as well as a system to measuring the level of difficulty through a virtual player which would give feedback to game developers to adjust and modify different aspects of the videogame difficulty. With this system a series of data can be known, such as the probabilities of success depending on the difficulty and time, the level of ability learnt by the player in one skill, the relationship between this skills and the success of a task, the use of diverse skills in the completion of an objective. All this information would allow the developer to adjust the difficulties without depending on real playtesting and thus, saving time.
Having a well-developed curve of difficulty is very important in the experience of a player; it allows developing its skills in the game at the same pace that the game adapts to give a suitable level of challenge. Knowing which factors affect the difficulty of a game and which in-game skills allow to surpass a challenge would help me in the development of more entertaining game mechanics and to improve the playability.
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HECHT, J., 2016. Optical Dreams, Virtual Reality. Optics and Photonics News, 27(6), pp.24-31.
In this article the author make an in-depth analysis of the actual state of the virtual reality industry highlighting the major problems in the success of this technology (frame rate, vection and vergence) and its relation with nausea induced effects of using this type of devices. Also, he makes thorough breakdown of the actual VR devices types dividing them in three categories: dedicated, smartphone and augmented reality systems. The advantages and flaws of each system are analyzed and questioned about the success of one product or another depending on the quality offered versus the price and accessibility. Finally, the more recent ideas on the improvement of this technology against the sensory mismatches are presented.
Virtual reality has recently appeared in the game sector as a new area of development, opening new possibilities to the game industry and the improvement of the player experience through completely immersive games. As it could become a very important step in the game evolution as standardised platform. Knowledge of this new technology and the new games that are being developed for this platform may expand my ability to produce material to virtual reality environments.
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MARIANO, B. AND KOO, S.G., 2015, July. Is cloud gaming the future of the gaming industry?. In 2015 Seventh International Conference on Ubiquitous and Future Networks (pp. 969-972). IEEE.
In this paper the author does a revision on the actual status of the cloud gaming and the proposed improvements on the creation of a more suitable platform for game streaming. The author make a brief analysis of the current two most important companies in this sector (OnLive and Gaikai) and the problems present in their services and the main obstacles on the development of this technology: latency and game quality. The author states that the current technology nowadays is not viable to fulfill the expectations of the most demanding gamers and it will not be until the Internet infrastructure and on-demand gaming system improve further that this system will be able to compete or surpass the actual consoles or computers.
If cloud gaming surpass this barriers and achieve the quality of the current machines it may revolutionize the sector, been able to recreate bigger and more complex scenarios which would demand more artist graphical input and would expand enormously the limits of realism and quality beyond the actual technology.
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HUDSON, B., 2014, Funny Games: Understanding Videogames as Slapstick and the Experience of Game-Worlds as Shared Cultural References. Engaging with Videogames: Play, theory and practice, pp.109-120. Inter-Disciplinary press.
In this source the author examine the fun factor of videogames, not in the part that it is intrinsically fun because the game is intended to be but, the metagame part of the fun that is produced by players in the way of using in-game mechanics for jokes or to try to transmit actions further beyond the capabilities given to their avatars or its environment. It is analyzed the psychology behind the slapstick (violence and feeling of superiority) and the incongruity feel of realism trying to establish connection with players behavior in videogames. The author also discusses the use of these mechanisms to create a new type of humorous content related to videogames and it’s spreading through internet as machinimas, memes and youtube videos.
The use of game as material for creating products of entertaining beyond the game itself has become more and more common in internet. This trending of the game community is beneficial for the game product used due to the great dissemination it receive and the associated raise in sales. Therefore, knowing which factors can produce this reaction in players must be beneficial in the design of a game and its related success.
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PÉREZ-LATORRE, Ó., 2012. From chess to StarCraft. A comparative analysis of traditional games and videogames. Comunicar, 19(38), pp.121-27.
In this analysis between the traditional games and videogames, the author try to verify the essay of Marshall McLuhan in where he explain that a game (or videogame) must be analyzed as models of representation of essential life and culture’s aspects of the time they were developed. For this inquiry the author compare traditional games with contemporary videogames similar in genre to extract the meaning differences between them an associate this differences with cultural concerns and dilemmas of present times. As result of this dissection the author concludes that the thesis of Marshall McLuan go into effect and highlight the neglected narrative capacity of videogames to tell us facts about our world and our connections with it.
Taking in to account that videogames have to transmit actual world issues and obstacles may be important in the process of developing the background of a videogame. It would give them more depth and meaning, making them more interesting and reflexive. What I miss in the article is that the author doesn’t take more recent videogame examples, giving a sensation of out-dated information.
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KAO, C.H. AND FAN, I., 2015. A Study of Image for Heroic Characters in Video Games. Asian journal of social sciences & humanities, 4(1), pp.118-125.
In this study the figure of hero is taken to analyse the consumer perception of each type of heroic character so the character developers will be able to match the expectations of gamers. In this study is analysed either western heroes as eastern ones classified depending on their scenario: modern age, history and virtual world. The personal-traits of each hero were analysed to give information about the player’s mental association of each type of hero with a specific attribute. The results highlight the player’s preferences for virtual hero among the others, thinking that it is bravest and more moral while, the modern and history heroes are conceived as more visionary.
For the success of a game a very important factor is that the player’s feels identified with the main character background and behaviour. It is going to accompany the player through all the game and is important for the immersion of the player that the characterization of their avatar reaches their expectations. Therefore, knowing what player are expecting is important in the development and design of a character, giving information about how it expected to be and behave can be translated on how the character looks and how it has to be modelled.
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PHILLIPS, C., JOHNSON, D. AND WYETH, P., 2013, October. Videogame reward types. In Proceedings of the First International Conference on Gameful Design, Research, and Applications (pp. 103-106). ACM.
The author makes an analysis of the current systems of video game reward classifications and suggests a new evaluation taking as reference the Hallford and Hallford’s system and developing and adding new categories. In its analysis of the current systems, the author determine establish that either are very limited or are too genre specific been very difficult the classification of some types of reward. The author remarks the necessity of a definition for reward due to the ambiguity the term has giving limits to the term. In the development of its categorization, create new subdivision referring sensory feedback and positive feedback and finding and creating a whole new branch related to duration and time.
It has to take in consideration the limitations of this study due the selection of only five genres of games and the reward’s personal conception and subjectivity for each individual.
The knowledge about rewards is a very important factor in the development of a video game. This makes a game more gripping and enjoyable. Knowing how to classify these rewards will allow me to have more control in the correct application of them in my future work and give more feedback variety to players will widen the player’s sensation of accomplishment.
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SLOAN, R.J. (2015) Videogames as Remediated Memories Commodified Nostalgia and Hyperreality in Far Cry 3: Blood Dragon and Gone Home. Games and Culture, 10(6), pp.525-550.
In this source we find an analysis over the commercialisation of the player’s needs for retrospection and the consequences that this simulation may bring to the historical perception of the periods they try to emulate. Furthermore, a case study research was conducted where Baudrillard’s theories of consumer objects and simulation were used to analyse two highly representative of commodified nostalgia videogames: Far Cry 3: Blood Dragon (BD) and Gone Home (GH).
This analysis allows me to increase my knowledge about nostalgia and the pleasure that gamers found behind revive old memories of old media during their infancy and give me ideas for new video game designs and concepts that could be appealing to consumers of this type of product.
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