Edith Cowan University Research Online Theses : Honours Theses 2007 In The Game : An Exploration of the Concept of Immersion in Video-Games and its Usage in Game Design Cesar Manuel Saez Ojeda Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses_hons Part of the Game Design Commons Recommended Citation Ojeda, C. M. (2007). In The Game : An Exploration of the Concept of Immersion in Video-Games and its Usage in Game Design. https://ro.ecu.edu.au/theses_hons/1298 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses_hons/1298 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. 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For the Degr.ee of BSc -Digital Media Honours In The Game An exploration of the concept of immersion in video-games and its usage in game design Cesar Manuel Saez Ojeda Student Nr: Supervisor: Dr. Mark McMahon USE OF THESIS The Use of Thesis statement is not included in this version of the thesis. ABSTRACT This thesis outlines a research project whose aim was to develop a design taxonomy for the creation of immersion in video-games. These guidelines can then be used in-sync with different stages in video-game design and development to ensure an immersive experience. Integral to this is the 'suspension of disbelief' the end user experiences when fully immersed in a video-game (Holland, 2002; Mediacollage.com, 2006). A r~view of the literature has identified the major contributing theory to the concept of immersion as flow (Csikszentmihalyi, 1991). Flow embodies cognitive elements of involvement such as concentration on a task, completing a challenge, having control over the environment and so on. This cognitive flow is also integrated with affective components such as the loss of self consciousness and sense of 'oneness' with the environment. A model of immersion has been proposed that embraces the cognitive aspects of flow through the gameplay elements that have been integrated as well as the affective dimension of identification which can be achieved through the integration of narrative elements. Immersive gameplay is framed within the nature of the challenges the user faces. These vary, such as the psychomotor challenges inherent in platform games and shooters through cognitive challenges of quizzes and tutorials through to social challenges such as multiplayer online environments. The criteria for cognitive flow embrace but also extend on traditional theories of motivation. Concepts such as challenge and control (Astleitner & Weisner, 2004) combine with the relevance and confidence inherent in Keller's ARCS theory of motivation (Rezabek, 1994) to describe the contingent aspects of gameplay. An understanding of these within the context of game goals, challenges, rules, boundaries and feedback can assist designers in applying appropriate criteria to ensure deep cognitive engagement on the part of the end user. Playing a game, however, is also an emotional and aesthetic experience. The term 'emotioneering' (Freeman, 2003) has been used to describe the ways in which designers create a sense of involvement with the game. These include traditional motivational constructs such as curiosity/attention, satisfaction and fantasy, and can be disaggregated to a range of criteria that may be used to guide the development of the affective aspects of gaming including player enacted narrative and role·play, the affective and the range of 'interesting' and 'deepening' techniques that can add emotional depth and complexity to the game world (Freeman, 2003) through visual and narrative design elements. The criteria developed from the immersion model are proposed as a lens to assist designers in understanding this state-of-mind. These criteria have been applied through the analysis df the use of existing games in a study on undergraduate students in game design and culture to ascertain their validity, and with the goal of providing guidelines for the future design of entertainment as well as serious games: --------------~~-------------- Page3 I certify that this thesis does not, to the best of my knowledge and belief (i) Incorporate without acknowledgment any material previously submitted for a degree or diploma in any institution of higher education; (ii) Contain any material previously published or written by another person except where due reference is made in the text; or (iii) Contain any defamatory material. I also grant permission for the Library at Edith Cowan University to make duplicate copies of my thesis as required. Cesar Manuel Saez Ojeda (3.d03/2008) Acknowledgement First and foremost, I would like to thank my family for everything they have done to get me where I am today. I would also like to thank my supervisor, Dr. Mark McMahon, for his belief, support, well, everything really! Last, I would like to thank Edith Cowan University and the participants of this study for the help they provided me during this research. Thank you, muchas gracias and tusen takk for alt! --------~----~7-------------- Page4 Table of Content INTRODUCTION ..................................................................................................................................... 9 BACKGROUND ....................................................................................................................................... 9 SiGNIFICANCE ................................................................................................. ••••••• ............................... 10 RESEARCH AIM & QUESTIONS ..................................................................................................................11 LITERATURE REVIEW ............................................................................................................................12 SCOPE ................................................................................................................................................13 FLOW & MOTIVATION ............................................................................................................................14 The Flow State ...............................................................................................................................14 Best Path ....................................................................................................................................... 16 Motivation ............... : ........................................................... : ........................................................ 18 GAMEPLAY ...........................................................................................................................................19 Openness ......................................................................................................................................19 Challenge Definitions .....................................................................................................................20 IDENTITY & EMOTIONS ...........................................................................................................................24 State of Mind ....................................... : ........................................................................................ 24 Emotional Attachment .................................................................................................................. 25 NARRATIVE ..........................................................................................................................................26 Everyday Hero ............................................................................................................................... 27 Stories in Games ............................................................................................................................28 Telling the Story .............................................................................................................. .............. 29 CONCLUSION ........................................................................................................................................31 METHODOLOGY ...................................................................................................................................34 TOOLS & PARTICIPANTS ..........................................................................................................................34 Questionnaire Group ...................................................................................................................