Effect of Gameplay Uncertainty, Display Type, and Age on Virtual Reality Exergames CHI ’21, May 8–13, 2021, Yokohama,Japan
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Pegi Annual Report
PEGI ANNUAL REPORT ANNUAL REPORT INTRODUCTION 2 CHAPTER 1 The PEGI system and how it functions 4 AGE CATEGORIES 5 CONTENT DESCRIPTORS 6 THE PEGI OK LABEL 7 PARENTAL CONTROL SYSTEMS IN GAMING CONSOLES 7 STEPS OF THE RATING PROCESS 9 ARCHIVE LIBRARY 9 CHAPTER 2 The PEGI Organisation 12 THE PEGI STRUCTURE 12 PEGI S.A. 12 BOARDS AND COMMITTEES 12 THE PEGI CONGRESS 12 PEGI MANAGEMENT BOARD 12 PEGI COUNCIL 12 PEGI EXPERTS GROUP 13 COMPLAINTS BOARD 13 COMPLAINTS PROCEDURE 14 THE FOUNDER: ISFE 17 THE PEGI ADMINISTRATOR: NICAM 18 THE PEGI ADMINISTRATOR: VSC 20 PEGI IN THE UK - A CASE STUDY? 21 PEGI CODERS 22 CHAPTER 3 The PEGI Online system 24 CHAPTER 4 PEGI Communication tools and activities 28 Introduction 28 Website 28 Promotional materials 29 Activities per country 29 ANNEX 1 PEGI Code of Conduct 34 ANNEX 2 PEGI Online Safety Code (POSC) 38 ANNEX 3 The PEGI Signatories 44 ANNEX 4 PEGI Assessment Form 50 ANNEX 5 PEGI Complaints 58 1 INTRODUCTION Dear reader, We all know how quickly technology moves on. Yesterday’s marvel is tomorrow’s museum piece. The same applies to games, although it is not just the core game technology that continues to develop at breakneck speed. The human machine interfaces we use to interact with games are becoming more sophisticated and at the same time, easier to use. The Wii Balance Board™ and the MotionPlus™, Microsoft’s Project Natal and Sony’s PlayStation® Eye are all reinventing how we interact with games, and in turn this is playing part in a greater shift. -
Theescapist 042.Pdf
putting an interview with the Garriott Games Lost My Emotion” the “Gaming at Keep up the good work. brothers, an article from newcomer Nick the Margins” series and even “The Play Bousfield about an old adventure game, Is the Thing,” you described the need for A loyal reader, Originally, this week’s issue was The Last Express and an article from games that show the consequences of Nathan Jeles supposed to be “Gaming’s Young Turks Greg Costikyan sharing the roots of our actions, and allow us to make and Slavs,” an issue about the rise of games, all in the same issue. I’ll look decisions that will affect the outcome of To the Editor: First, let’s get the usual gaming in Eastern Europe, both in forward to your comments on The Lounge. the game. In our society there are fewer pleasantries dispensed with. I love the development and in playerbase. I and fewer people willing to take magazine, read it every week, enjoy received several article pitches on the Cheers, responsibility for their actions or believe thinking about the issues it throws up, topic and the issue was nearly full. And that their actions have no consequences. and love that other people think games then flu season hit. And then allergies Many of these people are in the marketing are more than they may first appear. hit. All but one of my writers for this issue demographic for video games. It is great has fallen prey to flu, allergies or a minor to see a group of people who are interested There’s one game, one, that has made bout of forgetfulness. -
Game Changer: Investing in Digital Play to Advance Children’S Learning and Health, New York: the Joan Ganz Cooney Center at Sesame Workshop
Game 2 changer: June 2009 Investing in digital play to advance children's learning and health Ann My Thai David Lowenstein Dixie Ching David Rejeski The Joan Ganz Cooney Center at Sesame Workshop © The Joan Ganz Cooney Center !""#. All rights reserved. The mission of the Joan Ganz Cooney Center at Sesame Workshop is to foster innovation in children’s learning through digital media. The Center supports action research, encourages partnerships to connect child development experts and educators with interactive media and technology leaders, and mobilizes public and private investment in promising and proven new media technologies for children. For more information, visit www.joanganzcooneycenter.org. The Joan Ganz Cooney Center is committed to disseminating useful and timely research. Working closely with our Cooney Fellows, national advisers, media scholars, and practitioners, the Center publishes industry, policy, and research briefs examining key issues in the $eld of digital media and learning. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, or any information storage and retrieval system, without permission from The Joan Ganz Cooney Center at Sesame Workshop. A full-text PDF of this document is available for free download from www.joanganzcooneycenter.org. Individual print copies of this publication are available for %&' via check, money order, or purchase order sent to the address below. Bulk-rate prices are available on request. For permission to reproduce excerpts from this report, please contact: Attn: Publications Department The Joan Ganz Cooney Center Sesame Workshop One Lincoln Plaza New York, NY &""!( p: !&! '#' ()'* f: !&! +,' ,("+ [email protected] Suggested citation: Thai, A., Lowenstein, D., Ching, D., & Rejeski, D. -
The Role of Wargames in the Development of Game Design
The role of wargames in the development of game design Luiz Cláudio S. Duarte∗ Thiago Schaedler Uhlmann2 1PUCPR Figure 1: Playing Second Front: Sicily in 1943. Abstract ical representation of information. During the third quarter of the XX century, board wargames led the way in innovation in game design. Although small 1 Playing at war in comparison with present-day digital games industry, the Games are probably older than civilization [15]; however, as wargames industry was far from inconsequential, and several far as we know, game designers are a much younger breed. leading digital game designers started their careers playing Indeed, it is only from the 17th century onwards that we can or creating board wargames. Even the term “game designer” identify any game authors at all, such as Sir John Suckling was first used about the creators of board wargames. Noneof (Cribbage, 1630) [18] or John Jefferys (A Journey Through Eu- the information in this paper is new or unknown. However, rope, 1759). [6] But they did not think of themselves as game we believe that, as in any other human endeavour, game designers; even George S. Parker, founder and lead game designers can benefit from knowing some of the history from designer of the former Parker Brothers game company, did their field. Accordingly, in this paper we present some in- not identify himself as such during his lifetime (1866–1952). formation on board wargames, with special attention to the [16] influential role played by Redmond A. Simonsen, a graphic This comes as no surprise, since the concept of design as designer. -
Liste De Jeux - 1/26 - Ambition Schmidt France G
N Nom editeur createurs An Num Lg Tr Min Max 1870 Descartes Jean-Pierre Defieux 1978 W 82 fr - 2 1806: Iéna, Campagne de Prusse (Jena!) Tilsit Ed Wimble 1997 W 71 fr - 2 1814: Six jours de gloire Tilsit Kevin Zucker 1998 W 61 fr - 2 1830 Avalon Hill Francis Tresham 1986 S 52 en fr 3 6 1862, The Battles and Leaders Series Simulation Design Incorporated Richard Berg, Thaddeus B. Kubis, 1990 W 99 en - 2 Robert G. Markham 1863: Chickamauga, la rivière de la mort Tilsit Gary Selrik , Stephen Rawling 1997 W 84 fr - 2 221b Baker Street: Master Detective Game Gibsons Games Sg 12 en - 2 6 2e D.B. 1 Normandie Descartes Jean-Jacques Petit 1983 W 32 fr - 2 4 7 Royaumes combattants (les) éditions du stratège Jean-Pierre Pecau, Jël Gourdon W 127 fr - 2 7 8th army: WWII desert campaign Attactix 1982 W 81 en - 2 4 A Game of Throne Fantasy Flight Games Christian T. Petersen 2003 S 305a en fr 3 5 A Game of Throne : A clash of Kings Fantasy Flight Games Christian T. Petersen 2005 S 305b en fr 3 6 A Game of Throne : A storm of Swords Fantasy Flight Games Christian T. Petersen 2006 S 305c en fr 3 6 Abalone Hasbro Michel Lalet, Laurent Lévi 1990 R 8 fr - 2 Accross 5 April Victory Games Eric Lee Smith 1992 W 48 en fr 2 4 Adel Verpflichtet FX Schmid Klaus Tauber 1990 S 92 de fr 2 5 Africa 1880 Tilsit Francis Pacherie 1997 S 28 fr - 3 6 Afrika: La guerre du Désert Oriflam Dean Essig 1994 W 134 fr - 2 Âge des dieux (L') Asmodée Edition Croc 2004 S 236 fr - 3 6 Age of Battles : the Battle of Marathon Zvezda W 122 en - 2 Age of Chivalry 3W Rob Markham 1992 W 65 en - 1 4 Age of Renaissance Avalon Hill 1996 S 142 en fr 3 6 Age of Steam Warfrog Martin Wallace 2001 S 259 en fr 2 6 Ages of Mythology Eagle Games Glenn Drover 2003 S 223 en fr 4 6 Aigles (les) Descartes J.m. -
A Sense of Presence: Mediating an American Apocalypse
religions Article A Sense of Presence: Mediating an American Apocalypse Rachel Wagner Department of Philosophy and Religion, Ithaca College, Ithaca, NY 14850, USA; [email protected] Abstract: Here I build upon Robert Orsi’s work by arguing that we can see presence—and the longing for it—at work beyond the obvious spaces of religious practice. Presence, I propose, is alive and well in mediated apocalypticism, in the intense imagination of the future that preoccupies those who consume its narratives in film, games, and role plays. Presence is a way of bringing worlds beyond into tangible form, of touching them and letting them touch you. It is, in this sense, that Michael Hoelzl and Graham Ward observe the “re-emergence” of religion with a “new visibility” that is much more than “simple re-emergence of something that has been in decline in the past but is now manifesting itself once more.” I propose that the “new awareness of religion” they posit includes the mediated worlds that enchant and empower us via deeply immersive fandoms. Whereas religious institutions today may be suspicious of presence, it lives on in the thick of media fandoms and their material manifestations, especially those forms that make ultimate promises about the world to come. Keywords: apocalypticism; Orsi; enchantment; fandom; video games; pervasive games; cowboy; larp; West 1. Introduction Michael Hoelzl and Graham Ward observe the “re-emergence” of religion today with a “new visibility” that is “far more complex and nuanced than simple re-emergence of something that has been in decline in the past but is now manifesting itself once more” (Hoelzl and Ward 2008, p. -
Rules of Play - Game Design Fundamentals
Table of Contents Table of Contents Table of Contents Rules of Play - Game Design Fundamentals.....................................................................................................1 Foreword..............................................................................................................................................................1 Preface..................................................................................................................................................................1 Chapter 1: What Is This Book About?............................................................................................................1 Overview.................................................................................................................................................1 Establishing a Critical Discourse............................................................................................................2 Ways of Looking.....................................................................................................................................3 Game Design Schemas...........................................................................................................................4 Game Design Fundamentals...................................................................................................................5 Further Readings.....................................................................................................................................6 -
The Ludic Garden
THE LUDIC GARDEN: THE WORK OF PLAY IN COMPOSITION AND RHETORIC By JACOB EUTENEUER Bachelor of Arts in English University of Nebraska Lincoln, Nebraska 2009 Master of Arts in English Kansas State University Manhattan, Kansas 2012 Master of Fine Arts in Creative Writing University of Akron Akron, OH 2015 Submitted to the Faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY May, 2019 THE LUDIC GARDEN: THE WORK OF PLAY IN COMPOSITION AND RHETORIC Dissertation Approved: Joshua Daniel-Wariya Dissertation Adviser Lynn Lewis Anna Sicari Tutaleni Asino ii ACKNOWLEDGEMENTS This dissertation would not have been possible without the unending support of my wife, Jamie. Her guidance, encouragement, love, and support are the unseen threads that hold this work together. In addition to Jamie, I would like to thank our two sons, Oliver and Peter. Their curiosity and joy are what have driven me throughout this long process. Many of the video games mentioned throughout this dissertation were played with them at my side, stomping Koopa Troopas or vanquishing evil from the land of Hyrule. I would also like to thank the members of my dissertation committee, Joshua Daniel- Wariya, Lynn Lewis, Anna Sicari, and Tutaleni Asino. Their knowledge, wisdom, mentorship, energy, and labor have made this all possible. As a long time English major, it is common to see acknowledgement sections with nods to the authors and writers who have blazed the trail before them and inspired them to take up the study of language and literature. -
Social and Spatial Ecosystems in Location-Based Mobile Gameplay
Casual Play, Hardcore Community: Social and Spatial Ecosystems in Location-Based Mobile Gameplay Jessie Marchessault A Thesis In The Department Of Communication Studies Presented in Partial Fulfillment of the Requirements For the Degree of Master of Arts (Media Studies) at Concordia University Montreal, Quebec, Canada September 2020 © Jessie Marchessault, 2020 CONCORDIA UNIVERSITY School of Graduate Studies This is to certify that the thesis prepared By: Jessie Marchessault Entitled: Casual Play, Hardcore Community: Social and Spatial Ecosystems in Location-Based Mobile Gameplay and submitted in partial fulfillment of the requirements for the degree of Master of Arts (Media Studies) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final Examining Committee: _______________________________ Chair _______________________________ Examiner Dr. Bart Simon _______________________________ Examiner Dr. Owen Chapman _______________________________ Supervisor Dr. Mia Consalvo Approved by _________________________________________________ Dr. Monika Gagnon ____________2020 ________________________________________ Dean of Faculty iii Abstract Casual Play, Hardcore Community: Social and Spatial Ecosystems in Location-Based Mobile Gameplay Jessie Marchessault, M.A. Concordia University, 2020 This thesis explores the social and spatial dynamics of two major Location-Based Mobile Games communities in Montréal. By conducting interviews and play sessions with fifteen active -
Copyright by Kaitlin Elizabeth Hilburn 2017
Copyright by Kaitlin Elizabeth Hilburn 2017 The Report Committee for Kaitlin Elizabeth Hilburn Certifies that this is the approved version of the following report: Transformative Gameplay Practices: Speedrunning through Hyrule APPROVED BY SUPERVISING COMMITTEE: Supervisor: Suzanne Scott Kathy Fuller-Seeley Transformative Gameplay Practices: Speedrunning through Hyrule by Kaitlin Elizabeth Hilburn, B.S. Comm Report Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin May 2017 Dedication Dedicated to my father, Ben Hilburn, the first gamer I ever watched. Abstract Transformative Gameplay Practices: Speedrunning Through Hyrule Kaitlin Elizabeth Hilburn, M.A. The University of Texas at Austin, 2017 Supervisor: Suzanne Scott The term “transformative” gets used in both fan studies and video game studies and gestures toward a creative productivity that goes beyond simply consuming a text. However, despite this shared term, game studies and fan studies remain fairly separate in their respective examination of fans and gamers, in part due to media differences between video games and more traditional media, like television. Bridging the gap between these two fields not only helps to better explain transformative gameplay, but also offers additional insights in how fans consume texts, often looking for new ways to experience the source text. This report examines the transformative gameplay practices found within video game fan communities and provides an overview of their development and spread. It looks at three facets of transformative gameplay, performance, mastery, and education, using the transformative gameplay practices around The Legend of Zelda: Ocarina of Time (1998) as a primary case study. -
On a Brisk March Morning, I Visited Noted Game Designer Mark Herman in His Office in Crystal City, a High-Tech Corporate Distric
there on Wednesday nights and listen On a brisk March morning, I while Dunnigan lectured on what games visited noted game designer were all about and how you designed them. Quite frankly, that was really Mark Herman in his office in where I got started. Ultimately, when I got out of college, I was working as a Crystal City, a high-tech tree expert in the summer of 1976 and I called Howie Barasch, who told me the corporate district in Northern receptionist job at SPI had just become available. Which, by the way, was a Virginia. From his llth floor $5200 a year salary. The reason I took the job was because if you sold games office, he commands a view of over the counter, you had to be knowl- edgeable about games. And the way the Potomac River, as well as they (SPI) were organized, the reception- ist in reality was the lowest job on the many of the monuments R&D staff. The agreement was that I could go to R&D meetings on Tuesday, which make up the and I took the job. These were the days Washington, D.C. skyline. We of the monster games, and Highway to the Reich (SPI, 1977) was going belly up. spent the next hour discussing playtesting sessions. 'After we get to It was late, it wasn't happening, and Jay know you, maybe you'll write some Nelson - the other guy who was laugh- Mark's background in game articles for Moves magazine, and that's ing back at the SPI booth at Origins - also how you start the process.' I started had all these S&T games to design on design and his thoughts on the showing up on Friday nights, and the schedule. -
P. Harrigan, M. G. Kirschenbaum (Eds)
Issue 05 – 2016 Critical Notes Book Review by GIAIME ALONGE P. Harrigan, M. G. Università di Torino [email protected] Kirschenbaum (eds) Zones of Control. Perspectives on Wargaming [The Mitt Press, 2016]. A wargame is a game that “realistically” simulates a military confict of any size and length, from a one afernoon skirmish between infantry platoons in an area of a few square miles to a global war lasting several years such as the First or Second World War. The majority of wargames simulate real conficts, from Alexander the Great’s campaigns to the present war in Afghanistan, but some of them depict “future” wars, such as the games imagining a clash between NATO and the Warsaw Pact that were quite popular in the seven- ties and eighties (afer the fall of the Berlin Wall these games became largely outmoded). A wargame can even simulate a confict with no specifc time and space context, like Tactics II (1958), one of the very frst recreational wargames ever released, which depicts the struggle between two non-historical twenty century-style armies called Red and Blue. As I said, in order to label a game as a wargame, what counts is realism, the fact that the game portrays war in a detailed and plausible way – diferent kinds of units (infantry, artillery, tanks, paratroopers, partisans, etc.) with diferent capabilities, moving on a map with a specifc geography (mountains, woods, swamps, rivers) that has an impact both on movement and fghting. Games such as Risk (1959), Diplomacy (1959), or Stratego (1961), albeit they played a role in the birth of the wargame industry, are not considered wargames because their simulation of war is too abstract, too chess-like.