An array of studies has shown that games can be suitable for marketing communication - but that not all game genres can be expected to be equally successful in generating advertising effects. Since the game task in shooter games requests players to strictly focus on objects that can pose a threat, that game genre seems especially problematic for in-game advertising. Subliminal communication can theoretically be expected to overcome (part) of that problem. Therefore, our experimental study (N = 143) focuses on marketing communication effects of subliminally presented brand logos. We aim to find out (i) whether subliminal marketing communication causes recognition effects and (ii) whether pictorial logos differ from textual logos in the size of the effect they generate. This way we can shine a light on the message processing mechanisms that are foundational to subliminal message effects. The results of our study show that subliminally presented brand logos do have a communicative potential: the recognition effects are significant. Besides, our study indicates that pictorial logos have a greater propensity to subliminally communicate than textual logos.
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Games zijn bedoeld voor vermaak, maar we kunnen ze ook opvatten als een vorm van cultuur. Ze vertellen iets over de samenleving waarin ze zijn gemaakt: al dan niet met opzet komen er via de verbeelding van de makers opvattingen over de samenleving in games terecht. Games zetten op hun beurt aan tot verbeelding, waardoor gamers zich mogelijk gestimuleerd voelen na te denken over die samenleving. Toch is het aannemelijk dat gamers daar weinig voor voelen, omdat dit een plezierige ervaring in de weg kan staan. Maar gamers blijken wel degelijk geneigd tot reflectie op de wereld om ons heen, over het leven, over goed en kwaad. Ruim driekwart van de gamers uit dit onderzoek zegt dat wel eens te doen. Tegen de verwachting is daarbij geen verschil te zien tussen reguliere gamers en professionals, zoals reviewers en game designers. Verondersteld werd dat die laatstgenoemden zich beroepsmatig vaker aangezet voelen tot reflectie op de wereld om ons heen. Vaker dan verwacht blijken gamers een kunstervaring te ondergaan bij het spelen van games. In de context van deze studie wil dat zeggen dat die spelers ‘tussen de regels door’ commentaar op de spel- en verhaalgebeurtenissen hebben opgemerkt, dat hen aan het denken zette over de wereld. Daarbij was geen verschil te zien tussen mainstream games en indiegames. De verwachting dat de meeste gamers vooral de bijzondere vormgeving van games noemen als reden om ze als kunst te bestempelen is ten slotte wel bevestigd. Dit laat meteen ook het verschil zien tussen de gangbare esthetische kunstopvatting en wat ik in deze studie onder kunst versta: het ervaren van een betekenisproces dat stimuleert tot reflectie op het leven.
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In this chapter, we propose an ethical framework for serious game design, which we term the Ecosystem for Designing Games Ethically (EDGE).EDGE expands on Zagal’s categorization of ethical areas in game design by incorporating the different contexts of design and their use. In addition, we leverage these contexts to suggest four guidelines that support Ethical Stewardship in serious game design. We conclude by discussing a number of specific areas inwhich ethics plays a role in serious game design. These include games in (a) amilitary context, (b) the consideration of privacy issues, and (c) the evaluation ofgame design choices.
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In this paper we show the Casanova language (and its accompanying design pattern, Rule-Script-Draw) in action by building a series of games with it. In particular we discuss how Casanova is suitable for making games regardless of their genre: the Game of Life, a shooter game, an adventure game and a strategy game. We also discuss the difference between Casanova and existing frameworks.
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Psychophysiological measurements have so far been used to express player experience quantitatively in game genres such as shooter games and race games. However, these methods have not yet been applied to casual video games. From a development point of view, games developed in the casual sector of the games industry are characterized by very short production cycles which make them ill-suited for complex and lengthy psychophysiological testing regimes. This paper discusses some methodological innovations that lead to the application of psychophysiological measurements to enhance the design of a commercially released casual game for the Apple iPad, called 'Gua-Le-Ni'; or, The Horrendous Parade'. The game was tested in different stages of its development to dry-run a cycle of design improvements derived from psychophysiological data. The tests looked at the correlation between stress levels and the contraction of facial muscles with in-game performance in order to establish whether 'Gua-Le-Ni' offered the cognitive challenge, the learning curve, and the enjoyment the designers had in mind for this product. In this paper, we discuss the changes that were made to the game and the data-analysis that led to these changes.
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Gaming Horizons is a EU-funded project that explored the role of video games in culture, the economy and education. We engaged with more than 280 stakeholders through interviews, workshops and webinars.
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With the increased adoption of real-time objective measurements of player experience, advances have been made in characterising the dynamically changing aspects of the player experience during gameplay itself. A direct coupling to player action, however, is not without challenges. Many physiological responses, for instance, have an inherent delay, and often take some time to return to a baseline, providing challenges of interpretation when analysing rapidly changing gameplay on a micro level of interaction. The development of event-related, or phasic, measurements directly coupled to player actions provides additional insights, for instance through player modelling, but also through the use of behavioural characteristics of the human computer interaction itself. In this study, we focused on the latter, and measured keyboard pressure in a number of different, fast-paced action games. In this particular case, we related specific functional game actions (keyboard presses) to experiential player behaviour. We found keyboard pressure to be higher for avoidance as compared to approach-oriented actions. Additionally, the difference between avoidance and approach keyboard pressure related to levels of arousal. The findings illustrate the application potential of qualifying players’ functional actions at play (navigating in a game) and interpret player experience related to these actions through players’ real world behavioural characteristics like interface pressure.
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What makes an educational game good? This paper describes three research directions that could provide insight in the underlying principles of effective educational games. These aspects are 1) The importance of distinguishing between types of to-be-learned knowledge, 2) the need to understand the relationship between game mechanics and learning goals, and 3) using research on intelligent tutoring systems to create more personalized learning experiences. Central in these directions is the concept of cognition and how it impacts the educational effectiveness of an educational game. This paper will give a short introduction on cognition and discuss why the research directions require further research.
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