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IE Tables of Contents: 0607080910121314

Proceedings of the 2009 Australasian Conference on Interactive Entertainment

Fullname:Proceedings of the Sixth Australasian Conference on Interactive Entertainment
Editors:Malcolm Ryan; Yusuf Pisan
Location:Sydney, Australia
Dates:2009-Dec-17 to 2009-Dec-19
Standard No:ISBN: 978-1-4503-0010-0; ACM DL: Table of Contents; hcibib: IE09
Links:Conference Website
Converging mediations of space in computer games and spatial navigation systems BIBAFull-Text 1
  Chris Chesher
As computer games become more 'realistic', reality is becoming more like computer games. The ways that space is simulated in games and mediated in actual space are commingled. This suggests that a significant change in the ways that space is socially produced is taking place. Lefebvre's [7] critical account of social space has become complicated with the emergence of digital media. Lefebvre analysed the social production of space as 'perceived', 'conceived' and 'lived' spaces. With digital mediation, these three kinds of space are becoming more closely connected. Live information systems such as satellite navigation and smart phones are making abstracted spaces available in everyday encounters with space. The semiotic conventions and practices by which metadata (about speed cameras, shopping) are laid against a perceived space have been borrowed heavily from games.
A tool for characterizing the experience of play BIBAFull-Text 2
  Brigid Costello; Ernest Edmonds
We survey six theories that characterize the pleasurable aspects of a play experience and synthesize these to develop a new framework. This new play framework contains thirteen categories; creation, exploration, discovery, difficulty, competition, danger, captivation, sensation, sympathy, simulation, fantasy, camaraderie and subversion. The methods of using this framework as a tool to aid in the design of playful interactive experiences are then discussed.
assimilate: situated collaborative storytelling system BIBAFull-Text 3
  Damian Hills
The assimilate system is an online collaborative environment that allows participants to visually construct narratives in a 3D virtual space. Using an expressive and physical touch table interface, up to four participants can collaboratively narrate an ongoing story using online media obtained through an internet keyword search.
B.J.'s family: a survey of First Person Shooters and their avatars BIBAFull-Text 4
  Michael Hitchens
The First Person Shooter (FPS) is a popular game form, with examples appearing on many different platforms. Gameplay in the FPS is focused through the avatar, all the player's interaction with the world is mediated by the avatar. While there has been extensive study of the FPS genre, this has tended to focus on particular games, or at best a limited set of examples. In order to provide a wider context for such work this paper surveys 499 separate FPS titles, across a range of platforms. The distribution of releases over platform and time are examined. Given the importance of the avatar, basic characteristics of avatars within the sample are documented, including race, gender and background, and how these vary across platform and time.
Games for a better life: effects of playing Wii games on the well-being of seniors in a long-term care facility BIBAFull-Text 5
  Younbo Jung; Koay Jing Li; Ng Sihui Janissa; Wong Li Chieh Gladys; Kwan Min Lee
In the current study, we examined the impact of playing Nintendo Wii games on the psychological and physical well-being of seniors in a long-term care facility. A six week-long intervention was held in SASCO Senior Citizens' Home, a long-term care facility in Singapore. Forty five residents aged between 56 and 92 years old participated in the longitudinal field experiment. Results showed that playing Wii games had a positive impact on the overall well-being of the elderly, compared to a control group that played traditional board games. Implications for future applications of Wii in interventions for the elderly are discussed.
Improving player spatial abilities for 3D challenges BIBAFull-Text 6
  Keith Nesbitt; Ken Sutton; Joshua Wilson; Geoff Hookham
In this paper, we describe the development of tutorial levels for navigation challenges requiring a 3D mini-map. Navigation in 3D game worlds is a common challenge for players, and it often forms a significant part of the game play in RPG and Adventure games. Navigation of the game world is typically supported by a mini-map which provides a 2D, top-down view of the game world. This mini-map might also display the position of key landmarks along with the position of the player's avatar and any other relevant actors in the game. In contrast to these 2D min-maps we have been developing a 3D mini-map to support game play that requires navigation in a 3D world. However, even understanding connectivity and structure in a simple 3D mini-map requires the player possess some complex abilities in terms of mental rotation and translation between 3D and 2D. Acquiring these skills is fortunately well studied in psychology and we draw on outcomes from this field to develop progressive challenges that can act as tutorial levels for players. The intention is to allow players to gradually learn how to interpret the 3D mini-map before advancing to more difficult levels in the game. This work encompasses two important aspects. First it draws on findings from cognitive psychology to support the design of spatial challenges in computer games and secondly it considers how computer games can be used in an educational capacity to help improve spatial abilities.
PLAI: staged encounters in computer-mediated environments BIBAFull-Text 7
  Bronwin Patrickson
In response to the ongoing debate about the role of stories in games: whether they suit the form, whether they are a primary focus, a mere backdrop or at worst an intrusion, this paper proposes a new term to describe both the medium and form of computer-mediated game-play: Plai, defined in terms of staged encounters in computer-mediated environments.
   Traditionally the word story (or content) is understood to be a noun: A retelling of events after the facts. In interactive environments, however, stories are not just told. They are also actively created. They are verbs, actions, as well as noun, objects. Plai emerges out of that paradox. Efforts to reinterpret the word 'story' to include co-creative encounters and improvised gameplay have met with resistance, no doubt because 'story' comes pre-loaded with associations from other media. A survey of current terms reveals the need for a new term to more accurately describe playful, interactive and often dramatic encounters in our interactive, convergent and soon to be ubiquitous media-scape.
   Just as web 2.0 media is both consumed and made, so plai is both noun and verb. Plai has evolved in response to social network media, which stands poised to become a portal to a variety of media platforms. Social media is not necessarily a game, nor does it necessarily provide authored stories. Social media is, however, playful.
   Generative systems also propel users in to a process of creative discovery. In environments where narrative can emerge as a result of game-play plai reflects the spontaneous creation of dramatic, interactive storytelling, or encounter, free of set plots. In the realm of emergent narrative what is encountered is less about story and more about storified experience.
   In computer-mediated environments plai is staged and bound by rules, yet it is also improvised, co-created and open. Computer games offer plai and players plai.
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A development environment using behavior patterns to facilitate building 3D/VR applications BIBAFull-Text 8
  Bram Pellens; Frederic Kleinermann; Olga De Troyer
High expectations and the increasing complexity of behavior in the domain of interactive 3D/VR applications demand for a better support at design time. Current development tools do not provide any high-level design facilities; developers usually are forced to directly program the behavior. This paper discusses an approach and framework that facilitates modeling behavior in interactive 3D/VR applications, at a level higher than programming. The approach is utilizing a graphical notation in combination with the concept of generative design patterns. By adopting the approach, the specification of complex behavior in interactive 3D/VR applications is facilitated because the specification is done at a higher level of abstraction than coding. This also facilitates communication between different stakeholders in the project, and code generation is supported as well. An example is presented to illustrate the approach. The paper ends with an overview of the tool that has been developed to support our approach.
Developing an agent-based training simulation using game and virtual reality software: experience report BIBAFull-Text 9
  Debbie Richards; John Porte
This paper reports our usage of game and virtual reality technology to build a risk training simulation inhabited by agents. We describe the design and issues in the development of the Risk Management Module using UrealEd 3.0 game toolkit and the BOrder Security System using Vizard so that others with similar goals might be informed by our experiences.
Illuminati: the game of conspiracy: a close reading BIBAFull-Text 10
  Malcolm Ryan
Illuminati is a humorous game of conspiracy and political intrigue. Designed by Steve Jackson in 1981, it has proven to be enduringly popular through many years of revision and republication. In this paper we examine its latest incarnation, Deluxe Illuminati, and closely analyse its operation in terms of the MDA framework of Hunicke, LeBlanc and Zubek [8]. Five general-purpose game-dynamic patterns are discovered that might serve in the understanding and design of other games.
Exergame development using the dual flow model BIBAFull-Text 11
  Jeff Sinclair; Philip Hingston; Martin Masek
Exergaming, the merger of exercise and video games, tries to use the engaging experience of playing a video game to help people achieve their exercise requirements. To guide the design of such games the dual flow model, an extension of the theory of flow to both mental and physical experience, has been proposed. This paper presents the development of an exergame system designed to demonstrate the validity of the dual flow model, along with initial results from a pilot trial. The results show that such a game system can be used to deliver the required exercise across a range of participants.
Models for Interactive Narrative actions BIBAFull-Text 12
  Ulrike Spierling
In Interactive Storytelling, authors need to conceive events in an indirect way, which differs from traditional storytelling that assumes to pre-define a linear order of narrated events. Actions of characters are to be described including the whole acting situation as conditions before and after the action. This concept is compared with narrative theory and illustrated by a practical authoring example. The goal is to find general conceptual models and a vocabulary for authors in Interactive Narrative.
Ludic dystopias: power, politics and play BIBAFull-Text 13
  Rowan Tulloch
This paper is a close reading of the first-person shooter video game Bioshock. I analyse Bioshock within a heritage of dystopian media forms. I explore the commonalities between this particular dystopic vision and those that have preceded it in book and film. Following the rich tradition of reading dystopias as reflecting the cultural zeitgeist and fears of the era they were created, I look at the political and social concerns Bioshock embodies such as the dehumanising effects of technology and the danger of corporate domination. I argue that it is in its ludic mechanisms that Bioshock reveals the most about our current anxieties. I demonstrate that this game deconstructs its own mediation to offer a broad political critique of contemporary society.
Thoughts on adjusting perceived difficulty in games BIBAFull-Text 14
  Anthony Youssef; Stephen Cossell
Many game designers face the challenge of providing their players with a balance between challenge and experience. If a game is too difficult the player may not get to experience the complete game. If the game is too easy, the player may get to experience the complete game, but they may also feel "short changed" by the experience. This paper gives possible methods to gauge a player's skill and proposes ways to personalise a gamer's difficulty, and therefore experience, of a game.