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Complicated Shadows: Game World

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Complicated Shadows: Game World C OMPLI ABSTRACT A common feature of many digital games is that red is presented through the results of the two- they are played in a simulated 3D environment, a year Shadowplay project, with specific reference cat COMPLIcatED SHADOWS: game world. Simulated illumination is the lighting to the effects of warm (reddish) and cool (bluish) designed into a game world. This thesis explores simulated illumination upon the experience of ga- ED THE AESTHETIC SIGNIFICANCE OF SIMULatED the influence of simulated illumination in digital ga- meplay. We learned that exposure to warm light in mes upon the emotion and behavior of the player. a game prototype created more positive affect and ILLUMINatION IN DIGItaL GAMES S It does so within the context of game aesthetics, led to better performance, and uncovered an in- H building upon an understanding of games as having teresting correspondence in the lighting attitudes A the potential to evoke an aesthetic experience of creative practitioners, regarding the relatively DOW that is deeply absorbing, is experienced as whole attractive versus repulsive qualities of warm and and coherent, evokes intense feelings or emotions, cool illumination in game environments. and engages a sense of “make believe.” A full ac- S count of how simulated illumination affects people The (sometimes inconsistent) results of the Sha- is gained by tracing the contributions from media dowplay project are discussed with reference to Simon Niedenthal practice and real-space lighting, as well as taking the conception of “pleasure” as it is developed into account the unique possibilities of interactive within phenomenological philosophy and hedonic media. Based upon the rich set of lighting refe- psychology. Considered this way, simulated illumi- rences and possibilities that are present in digital nation can create “eliciting conditions” for more games, this thesis offers a taxonomy of influence complex sequences of emotions that constitute of simulated illumination, which is organized such game pleasures. Within a game, we respond emo- that it moves from progressively simple patterns tionally to exposure to qualities of simulated il- and mechanisms that work without much player lumination, based upon what we bring with us into awareness, towards progressively greater com- the game (whether based upon tastes, attitudes plexity and consciousness of light qualities. related to genre, memories or more “hard-wired” responses to light). At the same time, we impli- The study of simulated illumination is complex, citly learn the significance of the illumination that and best conducted within a transdisciplinary we encounter through our activity in the game. framework that includes three perspectives: empi- This means that there is no simple mapping of il- rical emotion research, investigation of the lighting lumination quality to emotional outcome. Rather, attitudes of creative practitioners, and formal ana- designers need to learn to manipulate the unique lysis of games with the aim of articulating their use potentials of simulated illumination in relation to qualities related to simulated illumination. The way the other elements of the gameplay experience. Simon Niedenthal in which a “triangulation” study could be structu- Blekinge Institute of Technology Doctoral Dissertation Series No. 2008:10 2008:10 ISSN 1653-2090 School of Engineering 2008:10 ISBN 978-91-7295-142-6 Complicated Shadows: the Aesthetic Significance of Simulated Illumination in Digital Games Simon Niedenthal Blekinge Institute of Technology Doctoral Dissertation Series No 2008:10 ISSN 1653-2090 ISBN 978-91-7295-142-6 Complicated Shadows: the Aesthetic Significance of Simulated Illumination in Digital Games Simon Niedenthal School of Arts and Communication, Malmö University in collaboration with Department of Interaction and System Design Blekinge Institute of Technology © 2008 Simon Niedenthal Department of Interaction and System Design School of Engineering Publisher: Blekinge Institute of Technology Printed by Printfabriken, Karlskrona, Sweden 2008 ISBN 978-91-7295-142-6 Contents Acknowledgements 5 1. Introduction 9 1.1 Research problem domain and contribution 11 1.2 Reader’s guide 12 1.2.1 The Compendium Texts 12 1.2.2 The argument of the extended introduction 15 2. What we talk about when we talk about game aesthetics 21 2.1 Play and aesthetics 28 2.2 Embodiment and the aesthetic experience 29 2.3 Aesthetics and game worlds 31 2.4 Game aesthetics and creative practice 32 2.5 Moving forward with game aesthetics 33 3. What is simulated illumination? 37 3.1 Simulated illumination is produced algorithmically 37 3.2 Simulated illumination is manipulated as a digital design material 40 3.3 How we engage simulated illumination 43 3.3.1 Our experience of light in other media 43 3.3.2 Our experience of light in real space 43 3.3.3 Designing simulated illumination in games 44 3.4 A taxonomy of simulated illumination in game worlds 46 4. Triangulation as a transdisciplinary research methodology 51 4.1 Evolutionary adaptation or cultural convention? 52 4.2 Delimitations 53 4.2.1 Beyond immersion 53 4.2.2 Middle-level research 54 4.3 Why transdisciplinary research? 56 4.4 Empirically-based emotion research 57 4.5 Investigations into the lighting attitudes of creative practitioners 58 4.6 Critical analysis and articulation of use qualities 60 4.7 Interesting correspondences 62 4.8 Shadowplay: Simulated Illumination in Digital Game Worlds 63 5. Warm and cool light in digital game worlds 67 5.1 Critical analysis: vulnerability and awe in survival-horror games 69 5.2 Luminous contrasts in Resident Evil 4 74 5.3 Empirically-based emotion research 77 5.4 The attitudes of creative practitioners 81 5.4.1 Novem Corda 82 5.4.2 The Amsterdam Assassination workshop 85 5.4.3 Talk aloud sessions 89 5.5 Conclusions 89 6. Discussion: games, simulated illumination and pleasure 93 6.1 Top-down and bottom-up processing 94 6.2 Accounting for contradictory results in our triangulation study 95 6.3 The pleasures of games 96 6.4 The pleasures of simulated illumination in games 99 6.5 Transcendence 100 1 6.6 Shadow of the Colossus: Fifth Colossus 101 6.7 Conclusion 103 References 107 The Compendium Texts 117 Compendium Text 1: Six St. Jeromes 119 Compendium Text 2: Learning from the Cornell Box 132 Compendium Text 3: Documents of Light 149 Compendium Text 4: Shadowplay 163 Compendium Text 5: Patterns of Obscurity 177 Compendium Text 6: Lighting in Digital Game Worlds 191 Compendium Text 7: Dynamic Lighting for Tension in Games 208 2 3 4 Acknowledgements For the past six years I have been very fortunate to live and work in Sweden, and have received the financial support of Malmö University and the Knowledge Foun- dation (a research funding source that has given me the opportunity to do much of the writing that is presented here). I am deeply thankful for the opportunity I have been granted to seek clarity in the writings I have produced over the past 10 years. I owe a debt of thanks to a great many people: Andy Davidson supported my research from the very beginning, through the Digital Media Design Research proj- ect at Art Center College of Design in 1998. I am very lucky that he recognized my potential. I remember with fondness my “dream team” of advisors at Art Center in 1999-2001, which included Brenda Laurel and Peter Lunenfeld. The satisfaction I feel at my current post at the School of Arts and Communica- tion, Malmö University, is largely due to the great collegiality I experience here. Thanks in particular to Pelle Ehn, who first told me about this place. I am especially grateful to Mikael Jakobsson. Our discussions of virtual space, games and design over the past 10 years have had a tremendous influence, and helped me on the path to my current research. His willingness to share his great knowledge of games raises my own game as a researcher. Thanks are due to my thesis advisors: to my supervisor Jonas Löwgren, for his patient readings, apt critique and warm encouragement, and to Craig Lindley, who helped out a lot with the psychology references and kept me on my toes. There aren’t that many scholars interested in simulated illumination and game aesthetics, but there are a few, and I cherish them: Aki Järvinen, Magy Seif El-Nasr, and Igor Knez. They all contributed feedback and ideas to the extended introduc- tion. I really appreciate my partners in the Shadowplay project and my friends in the Malmö game industry: Sten Selander, Martin Berglund, David Polfeldt, Kim Nordström, and Magnus Bergholtz. I could not have accomplished my work without the support of a number of crackerjack undergraduate and masters level students, especially Martin Bergöö 5 and Markus Dahlström. Without them, Novem Corda would never have existed. Thanks also to Martin Landhammar and Anders Svensson for their work on the Maze, and to Pontus Stalin, Per Nilsson and Teddy Persson for their work in the Shadowlab. I owe special acknowledgements to Mike Heim and Bernard Perron. You have both left your marks on this thesis, and the warm friendship I feel for you is com- bined with a sense of admiration at your integrity as thinkers. The main title of my thesis, “Complicated Shadows,” has been borrowed from a 1996 song by Elvis Costello. I am grateful for the personal support I have received from my mother Cor- rine Niedenthal and my super-smart sister Paula Niedenthal, who also helped with some of the psychology references, and whom I am proud to cite in this thesis. I am especially thankful to my wife Tina-Marie for her abiding love, and to my children Camilla and Adrian for the unique joys they provide, and demands they place upon me.
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