Procedural Content Generation in the Beginning, There Was Rogue

Total Page:16

File Type:pdf, Size:1020Kb

Procedural Content Generation in the Beginning, There Was Rogue the gamedesigninitiative at cornell university Lecture 15 Procedural Content Generation In the Beginning, There Was Rogue the gamedesigninitiative 2 Procedural Content at cornell university In the Beginning, There Was Rogue Roguelike Genre Classic RPG style Procedural dungeons Permadeath the gamedesigninitiative 3 Procedural Content at cornell university A Brief History of Roguelikes Precursors (1978) Beneath Apple Manor Like Rogue, but less famous Dungeon (unfamous one) Limited content generation Rogue (1980) Multiplatform launch Immediate Copycats All very close in playstyle Hack (‘82), NetHack (‘87) Open source development Moria (‘83), Angband (‘90) Middle Earth themed Island of Kesmai (1985) Massively (~80) multiplayer Legends of Kesmai (1996) But content less procedural The Modern Revival Relaxing RPG requirement the gamedesigninitiative 4 Procedural Content at cornell university Changing Perspectives on Permadeath Advantages Disadvantages Greater challenge Greater discouragement Used as a badge of honor Seen as a personal failure Higher emotional stakes Missed game content Easy to instill fear & horror Cannot progress in story the gamedesigninitiative 5 Procedural Content at cornell university Changing Perspectives on Permadeath Advantages Disadvantages Make dying Greater challengeexpected & Greater discouragement Used as a badgeinevitable of honor Seen as a personal failure Higher emotional stakes Missed game content Make each Easy to instill fear & horror Cannot progress in story session a complete experience the gamedesigninitiative 6 Procedural Content at cornell university Changing Perspectives on Permadeath Advantages Disadvantages Make dying Greater challengeexpected & Greater discouragement Used as a badgeinevitable of honor Seen as a personal failure Higher emotional stakes Missed game content Make each Easy to instill fear & horror Cannot progress in story sessionContent a complete experienceGeneration the gamedesigninitiative 7 Procedural Content at cornell university Issues with Roguelikes Design is often horizontal Many verbs, game elements Little coupled behavior Each play is a slice Access to limited elements Work with what you get “Expensive” to create Requires a lot of content But historically just text Difficult to balance the gamedesigninitiative 8 Procedural Content at cornell university Issues with Roguelikes Design is often horizontal Many verbs, game elements Little coupled behavior Each play is a slice Access to limited elements WorkProcedural with what you Content get for Modern Games? “Expensive” to create Requires a lot of content But historically just text Difficult to balance the gamedesigninitiative 9 Procedural Content at cornell university Main Types of Procedural Content Simulation World Generation Puzzle Generation Procedural Content Wiki: Story Generation http://pcg.wikidot.com Dynamic Challenges Adaptive Difficulty the gamedesigninitiative 10 Procedural Content at cornell university Simulation Complexity appears random Often a physical process Fires, Fluids, Weather Terrain generation Artificial life Teleological Run the full simulation Accurate; hard to control Ontological Create reasonable output Inaccurate; easy to control the gamedesigninitiative 11 Procedural Content at cornell university Simulation Complexity appears random Often a physical process Fires, Fluids, Weather Terrain generation Artificial life Teleological Run the full simulation ScientificAccurate; Computing hard to control Ontological Create reasonable output AdInaccurate; Hoc Algorithms easy to control the gamedesigninitiative 12 Procedural Content at cornell university Simulation Complexity appears random Often a physical process Fires, Fluids, Weather Terrain generation Artificial life Teleological Run the full simulation ScientificAccurate; Computing hard to control Minimal effect on gameplay Often largely aesthetic Ontological Hard to control difficulty Create reasonable output AdInaccurate; Hoc Algorithms easy to control Lot of work for little payoff the gamedesigninitiative 13 Procedural Content at cornell university World Generation Often thought of as map generation But really generation of game geography Particularly broad category of PCG Basic Format Start with basic geography building blocks Include combination rules for blocks Build until reach a stopping point Algorithms vary widely the gamedesigninitiative 14 Procedural Content at cornell university Example: NetHack the gamedesigninitiative 15 Procedural Content at cornell university Example: NetHack Room Room the gamedesigninitiative 16 Procedural Content at cornell university Example: NetHack Room Hallway Room the gamedesigninitiative 17 Procedural Content at cornell university Example: NetHack Room Exit Hallway Room Entrance the gamedesigninitiative 18 Procedural Content at cornell university Example: Vertical Drop Heroes Movement Can move left-right Down arrow to stomp/fall Cannot jump at all! Combat Space to fire weapon Weapon depends on class Free cage to switch class Goal Collect treasure Reach (a possible) exit the gamedesigninitiative 19 Procedural Content at cornell university Example: Vertical Drop Heroes the gamedesigninitiative 20 Procedural Content at cornell university Example: Vertical Drop Heroes What if a platform were here? the gamedesigninitiative 21 Procedural Content at cornell university The Reachability Problem Levels are effectively graphs Edges are player choices Choices are discretized Fully connected (why?) PCG might make a graph with a lot of dead ends Reachability is not just a with a lot of backtracking spatial issue. that is unconnected Need to remember goal Should always be reachable Else, reset must be painless the gamedesigninitiative 22 Procedural Content at cornell university Example: Spelunky the gamedesigninitiative 23 Procedural Content at cornell university Ensuring Reachability Two Options: Limit generation Verify goal is to reachable reachable or game states regenerate the gamedesigninitiative 24 Procedural Content at cornell university Ensuring Reachability Two Options: Limit generation Verify goal is to possibly reachable or reachable states regenerate the gamedesigninitiative 25 Procedural Content at cornell university Grammars: A Formal Approach Notation Example Set N of nonterminals Set S of terminal symbols N = { S, B} Set P of production rules S = {a, b, c} Have the form A => B P is the list of rules A, B are words of symbols S => aBSc To generate a value S => abc Start with word XAY Ba => aB Pick any rule A => B Bb => bb Replace with XBY Possible outputs Repeat until only terminals abc, aabbcc, aaabbbccc, … the gamedesigninitiative 26 Procedural Content at cornell university Grammars on Graphs Symbols are colored nodes Either terminal or not Edges replace word order Words are now graphs Productions on subgraphs LHS is node+boundary RHS alters the node Output built as before But rule matching harder Graph equivalency the gamedesigninitiative 27 Procedural Content at cornell university Grammars on Graphs Symbols are colored nodes Either terminal or not Boundary Edges replace word order Node Words are now graphs Productions on subgraphs LHS is node+boundary RHS alters the node Output built as before But rule matching harder Graph equivalency the gamedesigninitiative 28 Procedural Content at cornell university Grammars on Graphs Symbols are colored nodes Either terminal or not Boundary Edges replace word order Node Words are now graphs Productions on subgraphs LHS is node+boundary Game Geography is a graph RHS alters the node Output built as before But rule matching harder Graph equivalency the gamedesigninitiative 29 Procedural Content at cornell university Puzzle Generation Basic puzzle structure Discrete actions/moves Moves applied in sequence Goal: get correct sequence Identify move sequences Could be a loose category Represent specific strategies Build up from sequences Start from solved state Invert moves (scrambling) Will require verification the gamedesigninitiative 30 Procedural Content at cornell university Example: Lyne the gamedesigninitiative 31 Procedural Content at cornell university Example: Lyne Backtrack Pattern the gamedesigninitiative 32 Procedural Content at cornell university Story Generation Narrative is tightly crafted Must have emotional arc Very hard to generate But backstory is looser Collection of tales/subplots Combine to form a story Often displayed in a codex Much easier to generate Idea: Create list of subplots Pick some subset at a time Mix with NLG techniques the gamedesigninitiative 33 Procedural Content at cornell university Example: Dwarf Fortress the gamedesigninitiative 34 Procedural Content at cornell university Natural Language Generation Function that outputs language Given: complex set of data Outcome: comment on data Major area of CS research Comment requirements Must be simpler than data Should also be natural Examples Sports commentary Party combat chatter Intelligent townsfolk the gamedesigninitiative 35 Procedural Content at cornell university NLG and Story Dialogue Often a set of “canned” text React to specific events NPC picks text as appropriate Text is parameterized “What do we do, <name>?” “Someone killed <monster>!” “That was <numb> days ago.” Choosing text to say Favor important events? Favor recent events? Random
Recommended publications
  • The Resurrection of Permadeath: an Analysis of the Sustainability of Permadeath Use in Video Games
    The Resurrection of Permadeath: An analysis of the sustainability of Permadeath use in Video Games. Hugh Ruddy A research paper submitted to the University of Dublin, in partial fulfilment of the requirements for the degree of Master of Science Interactive Digital Media 2014 Declaration I declare that the work described in this research paper is, except where otherwise stated, entirely my own work and has not been submitted as an exercise for a degree at this or any other university. Signed: ___________________ Hugh Ruddy 28th February 2014 Permission to lend and/or copy I agree that Trinity College Library may lend or copy this research Paper upon request. Signed: ___________________ Hugh Ruddy 28th February 2014 Abstract The purpose of this research paper is to study the the past, present and future use of Permadeath in video games. The emergence of Permadeath games in recent months has exposed the mainstream gaming population to the concept of the permanent death of the game avatar, a notion that has been vehemently avoided by game developers in the past. The paper discusses the many incarnations of Permadeath that have been implemented since the dawn of video games, and uses examples to illustrate how gamers are crying out for games to challenge them in a unique way. The aims of this are to highlight the potential that Permadeath has in the gaming world to become a genre by itself, as well as to give insights into the ways in which gamers play Permadeath games at the present. To carry out this research, the paper examines the motivation players have to play games from a theoretical standpoint, and investigates how the possibilty of failure in video games should not be something gamers stay away from.
    [Show full text]
  • Nordic Game Is a Great Way to Do This
    2 Igloos inc. / Carcajou Games / Triple Boris 2 Igloos is the result of a joint venture between Carcajou Games and Triple Boris. We decided to use the complementary strengths of both studios to create the best team needed to create this project. Once a Tale reimagines the classic tale Hansel & Gretel, with a twist. As you explore the magical forest you will discover that it is inhabited by many characters from other tales as well. Using real handmade puppets and real miniature terrains which are then 3D scanned to create a palpable, fantastic world, we are making an experience that blurs the line between video game and stop motion animated film. With a great story and stunning visuals, we want to create something truly special. Having just finished our prototype this spring, we have already been finalists for the Ubisoft Indie Serie and the Eidos Innovation Program. We want to validate our concept with the European market and Nordic Game is a great way to do this. We are looking for Publishers that yearn for great stories and games that have a deeper meaning. 2Dogs Games Ltd. Destiny’s Sword is a broad-appeal Living-Narrative Graphic Adventure where every choice matters. Players lead a squad of intergalactic peacekeepers, navigating the fallout of war and life under extreme circumstances, while exploring a breath-taking and immersive world of living, breathing, hand-painted artwork. Destiny’s Sword is filled with endless choices and unlimited possibilities—we’re taking interactive storytelling to new heights with our proprietary Insight Engine AI technology. This intricate psychology simulation provides every character with a diverse personality, backstory and desires, allowing them to respond and develop in an incredibly human fashion—generating remarkable player engagement and emotional investment, while ensuring that every playthrough is unique.
    [Show full text]
  • Role Playing Games Role Playing Computer Games Are a Version Of
    Role Playing Games Role Playing computer games are a version of early non-computer games that used the same mechanics as many computer role playing games. The history of Role Playing Games (RPG) comes out of table-top games such as Dungeons and Dragons. These games used basic Role Playing Mechanics to create playable games for multiple players. When computers and computer games became doable one of the first games (along with Adventure games) to be implemented were Role Playing games. The core features of Role Playing games include the following features: • The game character has a set of features/skills/traits that can be changed through Experience Points (xp). • XP values are typically increased by playing the game. As the player does things in the game (killing monsters, completing quests, etc) the player earns XP. • Player progression is defined by Levels in which the player acquires or refines skills/traits. • Game structure is typically open-world or has open-world features. • Narrative and progress is normally done by completing Quests. • Game Narrative is typically presented in a non-linear quests or exploration. Narrative can also be presented as environmental narrative (found tapes, etc), or through other non-linear methods. • In some cases, the initial game character can be defined by the player and the initial mix of skills/traits/classes chosen by the player. • Many RPGs require a number of hours to complete. • Progression in the game is typically done through player quests, which can be done in different order. • In Action RPGs combat is real-time and in turn-based RPGs the combat is turn-based.
    [Show full text]
  • Juho Kahilaa, Satu Piispa-Hakalaa, Sanni Kahilaa, Teemu Valtonena, Henriikka Vartiainena and Matti Tedrea
    Juho Kahilaa, Satu Piispa-Hakalaa, Sanni Kahilaa, Teemu Valtonena, Henriikka Vartiainena and Matti Tedrea a University of Eastern Finland / IT Services, P.O. Box 111, 80101 Joensuu, Finland manifestations of their content analysis. The results show that children explain their own in-game failures, incompetence of teammates, and technical problems as the main reasons for their gamer rage, and they express their rage verbally, physically, and by quitting. This article is the first attempt general. digital games, gamer rage, rage quitting, self-regulation, emotions concern, as some studies have found children playing digital games to behave more aggressively than their peers [10]. Aggressive Digital games, as an affective media, can behavior has often been associated with violent make players feel and generate various game content [11], although, according to emotional responses [1]. Games have been Ferguson [12], those results remain debatable. extensively studied from the perspective of Conversely, playing digital games has also emotions [2], and they have been shown to been suggested to support the development of provide positive emotions such as enjoyment self-regulating skills [13], and digital games and pleasure [3, 1], tools for mood management have been used as a tool for learning emotion [4], and meaningful experiences for their regulation skills [14]. Also, children themselves players [5]. Meaningful gaming experiences are have reported improved self-regulation skills, sought, for example, in games evoking strong such as frustration tolerance, by playing digital and intensive emotions, such as horror games games [15]. Rage induced by digital games, [6] and permadeath games, in which in-game gamer rage, has also become entertainment in death of a playable character is permanent [7, itself.
    [Show full text]
  • Permadeath in Dayz
    Fear, Loss and Meaningful Play: Permadeath in DayZ Marcus Carter, Digital Cultures Research Group, The University of Sydney; Fraser Allison, Microsoft Research Centre for Social NUI, The University of Melbourne Abstract This article interrogates player experiences with permadeath in the massively multiplayer online first-person shooter DayZ. Through analysing the differences between ‘good’ and ‘bad’ instances of permadeath, we argue that meaningfulness – in accordance with Salen & Zimmerman’s (2003) concept of meaningful play – is a critical requirement for positive experiences with permadeath. In doing so, this article suggests new ontologies for meaningfulness in play, and demonstrates how meaningfulness can be a useful lens through which to understand player experiences with negatively valanced play. We conclude by relating the appeal of permadeath to the excitation transfer effect (Zillmann 1971), drawing parallels between the appeal of DayZ and fear-inducing horror games such as Silent Hill and gratuitously violent and gory games such as Mortal Kombat. Keywords DayZ, virtual worlds, meaningful play, player experience, excitation transfer, risk play Introduction It's truly frightening, like not game-frightening, but oh my god I'm gonna die-frightening. Your hands starts shaking, your hands gets sweaty, your heart pounds, your mind is racing and you're a wreck when it's all over. There are very few games that – by default – feature permadeath as significantly and totally as DayZ (Bohemia Interactive 2013). A new character in this massively multiplayer online first- person shooter (MMOFPS) begins with almost nothing, and must constantly scavenge from the harsh zombie-infested virtual world to survive. A persistent emotional tension accompanies the requirement to constantly find food and water, and a player will celebrate the discovery of simple items like backpacks, guns and medical supplies.
    [Show full text]
  • On Videogames: Representing Narrative in an Interactive Medium
    September, 2015 On Videogames: Representing Narrative in an Interactive Medium. 'This thesis is submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy' Dawn Catherine Hazel Stobbart, Ba (Hons) MA Dawn Stobbart 1 Plagiarism Statement This project was written by me and in my own words, except for quotations from published and unpublished sources which are clearly indicated and acknowledged as such. I am conscious that the incorporation of material from other works or a paraphrase of such material without acknowledgement will be treated as plagiarism, subject to the custom and usage of the subject, according to the University Regulations on Conduct of Examinations. (Name) Dawn Catherine Stobbart (Signature) Dawn Stobbart 2 This thesis is formatted using the Chicago referencing system. Where possible I have collected screenshots from videogames as part of my primary playing experience, and all images should be attributed to the game designers and publishers. Dawn Stobbart 3 Acknowledgements There are a number of people who have been instrumental in the production of this thesis, and without whom I would not have made it to the end. Firstly, I would like to thank my supervisor, Professor Kamilla Elliott, for her continuous and unwavering support of my Ph.D study and related research, for her patience, motivation, and commitment. Her guidance helped me throughout all the time I have been researching and writing of this thesis. When I have faltered, she has been steadfast in my ability. I could not have imagined a better advisor and mentor. I would not be working in English if it were not for the support of my Secondary school teacher Mrs Lishman, who gave me a love of the written word.
    [Show full text]
  • 8 Guilt in Dayz Marcus Carter and Fraser Allison Guilt in Dayz
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Sydney eScholarship FOR REPOSITORY USE ONLY DO NOT DISTRIBUTE 8 Guilt in DayZ Marcus Carter and Fraser Allison Guilt in DayZ Marcus Carter and Fraser Allison © Massachusetts Institute of Technology All Rights Reserved I get a sick feeling in my stomach when I kill someone. —Player #1431’s response to the question “Do you ever feel bad killing another player in DayZ ?” Death in most games is simply a metaphor for failure (Bartle 2010). Killing another player in a first-person shooter (FPS) game such as Call of Duty (Infinity Ward 2003) is generally considered to be as transgressive as taking an opponent’s pawn in chess. In an early exploratory study of players’ experiences and processing of violence in digital videogames, Christoph Klimmt and his colleagues concluded that “moral man- agement does not apply to multiplayer combat games” (2006, 325). In other words, player killing is not a violation of moral codes or a source of moral concern for players. Subsequent studies of player experiences of guilt and moral concern in violent video- games (Hartmann, Toz, and Brandon 2010; Hartmann and Vorderer 2010; Gollwitzer and Melzer 2012) have consequently focused on the moral experiences associated with single-player games and the engagement with transgressive fictional, virtual narrative content. This is not the case, however, for DayZ (Bohemia Interactive 2017), a zombie- themed FPS survival game in which players experience levels of moral concern and anguish that might be considered extreme for a multiplayer digital game.
    [Show full text]
  • Walking, Talking and Playing with Masculinities in Firewatch Kagen
    Walking, Talking and Playing with Masculinities in Firewatch ANGOR UNIVERSITY Kagen, Melissa Game Studies PRIFYSGOL BANGOR / B Published: 01/09/2018 Peer reviewed version Cyswllt i'r cyhoeddiad / Link to publication Dyfyniad o'r fersiwn a gyhoeddwyd / Citation for published version (APA): Kagen, M. (2018). Walking, Talking and Playing with Masculinities in Firewatch. Game Studies, 18(2). http://gamestudies.org/1802/articles/kagen Hawliau Cyffredinol / General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. 27. Sep. 2021 Walking, Talking and Playing with Masculinities in Firewatch The final scene of Campo Santo's Firewatch (2016) leaves a lot of players frustrated [1]. The Wyoming wilderness that Henry was tasked with protecting is on fire. The mysterious circumstances that have obsessed him (and you) with suspicions of murder and secret government cover-ups have been revealed for what they truly were: a tragic accident and a wild story spun by Henry's overactive imagination.
    [Show full text]
  • Artificial General Intelligence in Games: Where Play Meets Design and User Experience
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by The IT University of Copenhagen's Repository ISSN 2186-7437 NII Shonan Meeting Report No.130 Artificial General Intelligence in Games: Where Play Meets Design and User Experience Ruck Thawonmas Julian Togelius Georgios N. Yannakakis March 18{21, 2019 National Institute of Informatics 2-1-2 Hitotsubashi, Chiyoda-Ku, Tokyo, Japan Artificial General Intelligence in Games: Where Play Meets Design and User Experience Organizers: Ruck Thawonmas (Ritsumeikan University, Japan) Julian Togelius (New York University, USA) Georgios N. Yannakakis (University of Malta, Malta) March 18{21, 2019 Plain English summary (lay summary): Arguably the grand goal of artificial intelligence (AI) research is to pro- duce machines that can solve multiple problems, not just one. Until recently, almost all research projects in the game AI field, however, have been very specific in that they focus on one particular way in which intelligence can be applied to video games. Most published work describes a particu- lar method|or a comparison of two or more methods|for performing a single task in a single game. If an AI approach is only tested on a single task for a single game, how can we argue that such a practice advances the scientific study of AI? And how can we argue that it is a useful method for a game designer or developer, who is likely working on a completely different game than the method was tested on? This Shonan meeting aims to discuss three aspects on how to generalize AI in games: how to play any games, how to model any game players, and how to generate any games, plus their potential applications.
    [Show full text]
  • On the Evolution of Narrative Mechanics in Open-World Games
    On the Evolution of Narrative Mechanics in Open-World Games Ulrich Götz SAME MESSAGE, DIFFERENT BOTTLE Experiencing and propagating narratives is an essential component of cultural history. Although this process has changed over the course of centuries, its basic principles persist. Regardless of eras or means of transmission, it is a primordial human instinct to want to communicate real or imagined experiences, and expe- rience them oneself. How deeply rooted this can be is reflected in a wide variety of social endeavors, demands and circumstances, which underscore the central importance of storytelling to our social fabric. The value of narrative and per- formative acts manifests itself in the layout of human settlements, which are ori- ented towards meaningful landmarks. New narrative styles intertwine them- selves closely with the most advanced technologies, which they either advance as a driving force, or rapidly incorporate. The communication of narrative content may have altered its external ap- pearance, but its essence has been preserved. Printing made it possible to repli- cate texts, replacing the oral transmission of poems, songs or performances. Contemporary technological innovations further expanded narrative possibili- ties: today, these range from audiovisual compositions and three-dimensional projections to hybrid performances that fuse real and virtual space. This change of narrative modes distills existing methods down to their core and creates new genres, until they, too, are subject to this process of reduction. At the heart of these continuing cyclical mechanisms lies the moment of narrative transfer. What was once conveyed through interpersonal contact is now amplified by highly diverse forms of media and performative practices.
    [Show full text]
  • Video Games As Free Speech
    The University of Maine DigitalCommons@UMaine Honors College 5-2014 Video Games as Free Speech Benjamin Cirrinone University of Maine - Main Follow this and additional works at: https://digitalcommons.library.umaine.edu/honors Part of the Political Theory Commons Recommended Citation Cirrinone, Benjamin, "Video Games as Free Speech" (2014). Honors College. 162. https://digitalcommons.library.umaine.edu/honors/162 This Honors Thesis is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Honors College by an authorized administrator of DigitalCommons@UMaine. For more information, please contact [email protected]. VIDEO GAMES AS FREE SPEECH by Benjamin S. Cirrinone A Thesis Submitted in Partial Fulfillment of the Requirements for a Degree with Honors (Political Science) The Honors College University of Maine May 2014 Advisory Committee: James E.Gallagher, Associate Professor of Sociology Emeritus & Honors Faculty Mark D. Brewer, Associate Professor of Political Science Richard J. Powell, Associate Professor, Department of Political Science/Leadership Studies Sol Goldman, Adjunct Assistant Professor of Political Science Mark Haggerty, Rezendes Professor for Civic Engagement, Honors College Copyright © 2014 Benjamin Cirrinone All rights reserved. This work shall not be reproduced in any form, except for the inclusion of brief quotations in review, without permission in written form from the author. Abstract The prevalence of video game violence remains a concern for members of the mass media as well as political actors, especially in light of recent shootings. However, many individuals who criticize the industry for influencing real-world violence have not played games extensively nor are they aware of the gaming community as a whole.
    [Show full text]
  • The Effects of Portal 2 and Lumosity on Cognitive and Noncognitive Skills
    Computers & Education 80 (2015) 58e67 Contents lists available at ScienceDirect Computers & Education journal homepage: www.elsevier.com/locate/compedu The power of play: The effects of Portal 2 and Lumosity on cognitive and noncognitive skills * Valerie J. Shute , Matthew Ventura, Fengfeng Ke Florida State University, College of Education, 1114 West Call Street, Tallahassee, FL 32306-4453, USA article info abstract Article history: In this study, we tested 77 undergraduates who were randomly assigned to play either a popular video Received 11 May 2014 game (Portal 2) or a popular brain training game (Lumosity) for 8 h. Before and after gameplay, par- Received in revised form ticipants completed a set of online tests related to problem solving, spatial skill, and persistence. Results 19 July 2014 revealed that participants who were assigned to play Portal 2 showed a statistically significant advantage Accepted 23 August 2014 over Lumosity on each of the three composite measuresdproblem solving, spatial skill, and persistence. Available online 30 August 2014 Portal 2 players also showed significant increases from pretest to posttest on specific small- and large- scale spatial tests while those in the Lumosity condition did not show any pretest to posttest differ- Keywords: Assessment ences on any measure. Results are discussed in terms of the positive impact video games can have on Persistence cognitive and noncognitive skills. Problem solving © 2014 Elsevier Ltd. All rights reserved. Spatial skills Videogames 1. Introduction Most children and young adults gravitate toward digital games. The Pew Internet and American Life Project surveyed 1102 youth be- tween the ages of 12 and 17 and found that 97%dboth males (99%) and females (94%)dplay some type of digital game (Lenhart et al., 2008).
    [Show full text]