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New Game Physics Added Value for Transdisciplinary Teams Andreas Schiffler

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New Game Physics Added Value for Transdisciplinary Teams Andreas Schiffler . New Game Physics Added Value for Transdisciplinary Teams Andreas Schiffler A dissertation in partial satisfaction of the requirements for the degree of Doctor of Philosophy (Ph.D.) University of Plymouth Supplemented by: Proof of Practice: 1 DVD video documentation, 1 DVD appendices, source code, game executable, and supporting files Wordcount: 76,970 Committee in Charge: Supervisor: 2nd Supervisor: Prof. Jill Scott Dr. Daniel Bisig Zurich University of the Arts (ICS) Zurich University of the Arts (ICST) University of Plymouth University of Zurich (AIL) March 11, 2012 Abstract Andreas Schiffler (2011), `New Game Physics: Added Value for Transdisciplinary Teams', Ph.D. University of Plymouth, UK. This study focused on game physics, an area of computer game design where physics is applied in interactive computer software. The purpose of the re- search was a fresh analysis of game physics in order to prove that its current usage is limited and requires advancement. The investigations presented in this dissertation establish constructive principles to advance game physics design. The main premise was that transdisciplinary approaches provide sig- nificant value. The resulting designs reflected combined goals of game devel- opers, artists and physicists and provide novel ways to incorporate physics into games. The applicability and user impact of such new game physics across several target audiences was thoroughly examined. In order to explore the transdisciplinary nature of the premise, valid evidence was gathered using a broad range of theoretical and practical methodologies. The research established a clear definition of game physics within the context of historical, technological, practical, scientific, and artistic considerations. Game analysis, literature reviews and seminal surveys of game players, game developers and scientists were conducted. A heuristic categorization of game types was defined to create an extensive database of computer games and carry out a statistical analysis of game physics usage. Results were then combined to define core principles for the design of unconventional new game physics elements. Software implementations of several elements were devel- oped to examine the practical feasibility of the proposed principles. This research prototype was exposed to practitioners (artists, game developers and scientists) in field studies, documented on video and subsequently ana- lyzed to evaluate the effectiveness of the elements on the audiences. ii The findings from this research demonstrated that standard game physics is a common but limited design element in computer games. It was discovered that the entertainment driven design goals of game developers interfere with the needs of educators and scientists. Game reviews exemplified the exag- gerated and incorrect physics present in many commercial computer games. This \pseudo physics" was shown to have potentially undesired effects on game players. Art reviews also indicated that game physics technology re- mains largely inaccessible to artists. The principal conclusion drawn from this study was that the proposed new game physics advances game design and creates value by expanding the choices available to game developers and designers, enabling artists to create more scientifically robust artworks, and encouraging scientists to consider games as a viable tool for education and research. The practical portion generated tangible evidence that the isolated \silos" of engineering, art and science can be bridged when game physics is designed in a transdisciplinary way. This dissertation recommends that scientific and artistic perspectives should always be considered when game physics is used in computer-based media, because significant value for a broad range of practitioners in succinctly dif- ferent fields can be achieved. The study has thereby established a state of the art research into game physics, which not only offers other researchers con- structive principles for future investigations, but also provides much-needed new material to address the observed discrepancies in game theory and digital media design. Keywords: game physics, computer game design, transdisciplinary studies, digital art iii Acknowledgements Special thanks go to the supervisors of this thesis and the following persons who participated in or contributed directly or indirectly to this research: Leslie Alfin, Dr. Roy Ascott, Brandon Ballengee, Dr. Franz Barthelmes, Max Behensky, Dr. Daniel Bisig, Valerie Bugmann, Teresa Chen, Monika Codourey, Joel Collins, Louis-Philippe Demers, Dr. J¨urgenFaust, Steve Fawkner, Megan Fox, Karmen Franinovic, Dr. Andrea Gleiniger, Marille Hahne, Honor Harger, Penny Harris, Prof. Dr. Angelica Hillbeck, Sandra Hoffmann, Dr. Tiffany Holmes, Troy Innocent, Kirsten Johannsen, Hung Keung, Danny Kodicek, Dr. Alex Konopliv, Raph Koster, Alen Ladavac, Ellen Levy, Jon McCormack, Juergen Moritz, Dr. Rene Overney, Andrea Polli, Traute Rech-Schiffler, Ed Rotberg, Kevin Ryan, Prof. Dr. Sigrid Schade, Prof. Horst Schiffler, Jennifer Schiffler, Juanita Schlaepfer- Miller, Dr. Trebor Scholz, Prof. Dr. Jilll Scott, Matthew Wegner Copyright Statement I hereby declare that the research in this dissertation is the direct result of work by Andreas Schiffler, and therefore no reproduction or extraction is permissible without a written agreement. Signature: Date: March 11, 2012 iv Contents Executive Summary xi List of Figures xiii List of Tables xv 1 Introduction 1 2 Game Physics 9 2.1 Introduction . 9 2.2 Physics and Context for Research . 10 2.3 Standard Game Physics . 11 2.3.1 Game Physics as Design Element . 11 2.3.2 Types of Game Physics . 14 2.3.3 Numerical Models and Simplifications . 24 2.3.4 Trends in Game Physics . 26 2.4 Pseudo Game Physics . 35 2.4.1 Limited Field-Coverage . 36 2.4.2 Lack of Precision . 39 2.4.3 Physical Hyperreality . 42 vi CONTENTS 2.4.4 Movie Physics . 44 2.5 Perspectives on Game Physics . 47 2.5.1 Interviews with Game Developers . 49 2.5.2 Game Player Survey . 60 2.5.3 Physicists Survey . 69 2.6 Chapter Conclusion . 74 3 Quantitative Analysis 78 3.1 Introduction . 78 3.1.1 Validation of Methodology . 79 3.1.2 Influences of Technological Advances . 79 3.2 Categorizations of Computer Games . 81 3.2.1 Existing Taxonomies . 83 3.2.2 Proposed Categories for Research . 90 3.3 Game Physics Index . 91 3.3.1 Object Dynamics and Spatiality . 93 3.3.2 Definition and Accuracy . 97 3.3.3 Assignment of Index Values . 99 3.3.4 Generation of Database . 99 3.4 Analysis of Game Database . 104 3.5 Chapter Conclusion . 115 4 Theories of Play 118 4.1 Introduction . 118 4.2 Literature Reviews: Historical . 119 4.2.1 Huizinga { Homo Ludens . 119 4.2.2 Scheuerl { The Phenomenon of Games . 124 4.2.3 Caillois { Les Jeux et les Hommes . 127 4.2.4 Heckhausen { The Psychology of Play . 132 4.3 Literature Reviews: Current . 137 vii CONTENTS 4.3.1 Juul { On Rules and Worlds . 137 4.3.2 Koster { Fun in Game Design . 143 4.3.3 Gee { Games and Learning . 149 4.3.4 Galloway { Algorithmic Cultures . 157 4.4 Chapter Conclusion . 162 5 Physics Elements 164 5.1 Introduction . 164 5.2 Designing New Game Physics Elements . 165 5.2.1 Principles from Science . 165 5.2.2 Principles from Game Physics . 166 5.2.3 Principles from Practitioners . 167 5.2.4 Principles from Quantitative Analysis . 168 5.2.5 Principles from Theories of Play . 169 5.3 Videogames and Art . 170 5.3.1 Can Computer Games be Art? . 170 5.3.2 Characteristics of Art Games . 171 5.3.3 Artistic Strategies in Videogame Art . 172 5.3.4 Summary . 176 5.4 Art of Science . 177 5.4.1 Analyzing Physics Art . 178 5.4.2 Selected Physics Art Examples . 179 5.4.3 Principles from Physics Art . 186 5.4.4 Summary . 188 5.5 Value for Artists . 189 5.5.1 Examples . 190 5.5.2 Summary . 197 5.6 Elements: Physics in Game Mechanics . 198 5.6.1 Relativity Theory and Game Time . 199 5.6.2 Pendulum \Flip a coin" Generator . 204 viii CONTENTS 5.7 Elements: Physics as Game Story . 207 5.7.1 The Birth Cry of Atoms . 208 5.8 Elements: Game Aesthetics from Physics . 212 5.8.1 My Avatar is Chaos . 213 5.8.2 Fields of Charged Space . 218 5.9 Elements: Physics in Game Technology . 221 5.9.1 Physical Entropy in Computer Games . 222 5.9.2 Reality Blending . 229 5.10 Design Framework for GPEs . 233 5.11 Chapter Conclusion . 237 6 Prototypical Implementations 239 6.1 Introduction . 239 6.2 playtrulyrandom.com . 240 6.2.1 Concept and Goals . 240 6.2.2 HRNG Implementation . 241 6.2.3 Software Architecture . 242 6.2.4 Demonstration Game . 242 6.2.5 Summary and Results . 245 6.3 Pendulum Game . 246 6.3.1 Concept and Architecture . 246 6.3.2 Accuracy in the Game . 248 6.3.3 Physical Rules . 256 6.3.4 Game Technology . 260 6.3.5 Scientific Narratives . 264 6.3.6 Summary and Results . 267 6.4 Field Study . 267 6.4.1 Focus Groups and Physical Setup . 267 6.4.2 Summary of Video Documentation . 269 6.4.3 Observations and Results . 269 ix CONTENTS 6.5 Chapter Conclusion . 276 7 Conclusion 278 Bibliography 289 Glossary 315 x Executive Summary Current game physics is limited and requires advancement. A fresh analysis of game physics by transdisciplinary approaches is needed to advance the state of the art in the field of computer game design. Specifically, teams made up of game developers, artists and physicists can contribute to a tra- jectory that I call new game physics. The added value would develop from a multifaceted set of goals such as: • expanding the choices available for game developers and designers • enabling artists to create more scientifically robust artworks • encouraging scientists to consider that games can be a viable tool for education and research This research is guided by a clear definition of game physics within the broad context of historical, technological, practical, scientific, and artistic considerations.
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