Design and Evaluation of Physically Interactive Games
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Johanna Höysniemi Design and Evaluation of Physically Interactive Games ACADEMIC DISSERTATION To be presented with the permission of the Faculty of Information Sciences of the University of Tampere, for public discussion in the Pinni auditorium B1100 on August 19th, 2006, at noon. Department of Computer Sciences University of Tampere Dissertations in Interactive Technology, Number 5 Tampere 2006 ACADEMIC DISSERTATION IN INTERACTIVE TECHNOLOGY Supervisor: Professor Kari-Jouko Räihä, PhD, Department of Computer Sciences, University of Tampere, Finland Opponent: Professor Martti Mäntylä, DrSc (Eng), Helsinki Institute for Information Technology, Finland Reviewers: Professor Frans Mäyrä, PhD, Hypermedia Laboratory, University of Tampere, Finland Professor Ana Paiva, PhD, Instituto Superior Técnico, Porto Salvo, Portugal Electronic dissertation Acta Electronica Universitatis Tamperensis 544 ISBN 951-44-6694-2 ISSN 1456-954X http://acta.uta.fi Dissertations in Interactive Technology, Number 5 Department of Computer Sciences FIN-33014 University of Tampere FINLAND ISBN 951-44-6668-3 ISSN 1795-9489 Tampereen yliopistopaino Oy Tampere 2006 Abstract !" # $ % % & ' P Q& S % # + , $ ' $ ! # % $ $ ' ' S $ % $ ' - ' GGGGG iii Acknowledgements . % ' / 011 23 454 '& % ' $ S 6 ' ' % 7 N 7 % % 9 . : ' 7 % . : 7 ; < 9 > ' % ? : % '' @@S ! A ' '; ; .' B' 9 % 9 / ' ' > & C ? . ' 9 . + . B C'? ' 7 % '& & - $ $ ; + . % ;' ' ' ' . ' : . . $ . GGGGG iv % % D % 'B % &C0E 0113 C GGGGG v Contents 1INTRODUCTION ............................................................................ 1 EE $ E E0 ? 0 EG ? @ G E2 ? ; G E4 9 % 4 2PHYSICALLY INTERACTIVE GAMING........................................................ 6 0E . 3 00 . ; ! H 0G ! EE 02 9 01 3UNDERSTANDING THE USERS .............................................................22 GE 0G G0 . ; 0I 4CASE I: COMPUTER VISION ADVENTURE GAME FOR CHILDREN ..........................32 2E G0 20 $ 7 9 < GG 2G 7 :: + G2 22 7 < G4 5CASE II: COMPUTER VISION MARTIAL ARTS GAME .......................................44 4E 22 40 $ 7 9 < 24 4G JK + . 9 24 42 7 < 25 6CASE III: GAME CULTURE STUDY –DANCE GAMING......................................51 3E 4E 30 7 40 3G $ 7 42 32 <<? + 45 7EVALUATION METHODS AND STUDIES ....................................................59 5E % 31 50 >6 /6 3E 5G 9 ! 30 52 / 9 3G 54 @ 34 8IMPLICATIONS OF PHYSICAL GAMING .....................................................67 HE ? K ! 35 H0 K ! 51 HG 9 ! 5G 9CONCLUSIONS ............................................................................78 10REFERENCES ..............................................................................81 GGGGG vi List of publications % C L % '' : 011G" 7 IG 0" 014004 C L% '':0112">6 /6 EEI ! ;. 05G2 C EG0112. C L 0112" < D E0I "# $ % $ & ' ' 0E02> ' . 040112: J C % '' : L ? % 0114" EG4 D ($ )E"2241 J % C : . L E24 ,' ;0114". *+, , - *. , S!($ 5HE5I1 ; 050114 / J C L 0113" S S E45 +(0% (+( 1 2 . 5 0113 + < 7 M <7M0114", G401149 + ; J C 0113" < < E54 ? ($ 3 0" ; ,H; 0113 GGGGG vii Division of labor ? -J "; $ % ' - J J J 9 - J : % '' % ? ' ' % J% $ 6 ; ,' .'':% J $ J J J < % J & # GGGGG viii List of Figures Figure 1 Screenshots of Krueger’s Videoplace. Photo courtesy of Myron Krueger. Figure 2 Freeman: computer vision for computer games (Freeman, 1999). Photo courtesy of William Freeman. Figure 3 KidsRoom installation shown from the outside (left) and children interacting with the installation (right). Photo courtesy of Aaron Bobick. Figure 4 The MIT Media Lab’s perceptual user interfaces, clockwise from left to right: ALIVE (Photo courtesy of Christopher R. Wren and the M.I.T. Media Laboratory), DanceSpace (Photo courtesy of Flavia Sparacino), Personal aerobics trainer (Photo courtesy of Sam Ogden Photography) and SURVIVE (Photo courtesy of Christopher R. Wren and the M.I.T. Media Laboratory). Figure 5 Left: AR-Soccer and the edge-tracking algorithm (Paelke et al., 2004. Photo courtesy of Volker Paelke); right: Mixed Reality Pong (Kallio, 2001. Photo courtesy of Kiia Kallio) played by two people. Figure 6 Children playing Nautilus together. Photo courtesy of VTT Information Technology. Figure 7 Two players playing Konami’s Dance Dance Revolution together (left; Photo courtesy of Positive Gaming AS). A player plays the game Taiko no Tatsujin (developed by Namco) by beating two drums to the beat of the music (right; Photo courtesy of Janet Hsu). Figure 8 The Foot Craz floor pad and the marketing material for the game (images obtained from http://www.atarihq.com/museum/2678/hardware/footcraz.html). Figure 9 Cateye Gamebike (left; Photo courtesy of Jim Stone/Cateye Fitness Products) and Radica Snowboarder (right; Photo courtesy of Martin Frain/Radica UK Ltd). Figure 10 Radica Madden Football (left; Photo courtesy of Martin Frain/Radica UK Ltd) and Breakout for Two (right; Photo courtesy of Florian Mueller). Figure 11 The four roles that children may have in the design of new technologies (Druin, 2002). Figure 12 A five-year-old boy plays the flying game by flapping his hands (left). Computer hearing is used to make the avatar shoot flames from its mouth when a player shouts (upper right). The game being played in a museum by two boys; one of the boys handles the movements and the other shouts (lower right). Figure 13 Concept drawings made during game design. The anatomy and appearance of QuiQui (top row). One storyboard screen for the beginning of the first game task (bottom). These illustrations were drawn by Teppo Rouvi. GGGGG ix Figure 14 The game’s menu screen. The player selects a game task by positioning QuiQui on an appropriate game task tile, moving sideways in front of the camera. The game is selected by jumping. Figure 15 Kick Ass Kung-Fu played by martial arts practitioners. Left: A typical setup of two projected screens and a playing field in the middle. Right: A screenshot of a player kicking a virtual enemy. Figure 16 Kick Ass Kung-Fu enables versatile and personal playing styles. Here, experienced martial artists carry out flamboyant movements that attract audiences. Figure 17 DDR played with a soft pad at home (left; Photo courtesy of Pete Nguyen) and a DDR arcade machine (right). Figure 18 A screenshot of Dance Dance Revolution Max 2 (left). The difficulty level is set to “Heavy.” A partial step chart showing the timing and the layout of the steps within a particular difficulty level for a song (right). Figure 19 A view from the audience of a Kick Ass Kung-Fu installation (top left). Children observing other players while waiting for their turn (top right). A group of people watching how an eight-year-old boy tries to make QuiQui escape from the spider’s web (bottom left). A cheering audience gathered around famous DDR freestyler DJ8Ball (bottom right; image extracted from a freestyling video, courtesy of v00j00). Figure 20 Two players freestyling while playing Pump It Up (upper left; image extracted from a freestyling video). Two 10 year-old boys playing Kick Ass Kung-Fu by lying on the ground and waving the soft Styrofoam sticks (upper right). A martial artist doing a handstand (bottom left). The Sony EyeToy “Groove,” with a feature that records the player’s improvised dance moves (lower right). GGGGG x 1 Introduction 1.1 CONTEXT ' - ' N 7 9 $ - J 0112&C LA ' 0110& L. 0110" 6 % 9 K 9 ; 0114 " 02H .