Visual design in games is a complex, but important, area of study, as it affects the player’s experience. Previous games research applied knowledge in visual attention to understand visual designs, for instance through cues and lighting to influence players’ behaviors and feelings. However, these approaches overlook how the visual design changes over time. In this paper, we focus on visual motion as an unexplored aspect of visual design, defined by a theory of visual perception as features associated with game elements. In particular, we consider the speed, size, and density of game elements in motion. Towards this goal, we developed a simple railed shooter game with a tool that allowed 8 expert game designers to manipulate perceptual features over time. Based on analysis of results collected through designers using this tool, as well as qualitative reviews, we present several perception-based design principles, stated as formulae of intended perceptual effects.

We describe a research toolset to explore visual designs in a video game. We focus specifically on visual motion, defined by attributes of motion, and their effect on accessibility, which may lead to a diminished experience for novice players. Eight expert game designers evaluated the tool embedded into a simple point and click game. Specifically they controlled attributes of speed, size of game elements, and amount of elements on screen associated to game targets, distractions, and feedback. The tool allowed experts to define difficulty settings and expose patterns, which they verified. As a game, we then investigated the effect of visual motion on accessibility in a formal user study comprised of 105 participants. As a follow-up to this work, we expanded the toolset to include 8 additional attributes of motion.

Games are an important part of popular culture and have successfully engaged audiences from different age groups [8]. This has caused many educators to start thinking of different ways to infuse game-based techniques (playing or construction) to enhance education. Over the past five years, there has been several research efforts on curriculum development and the evaluation of game construction and playing methods to promote STEM (Science Technology, Engineering and Mathematics) concepts to middle and high school students. In this paper, we report on a new study following the lead of previous efforts. In particular, we were granted a block within Frank Hurt High School by the Surrey school district for which to develop a game construction-based curriculum as a basis for computer science education within the school, replacing a traditional computer science class. From February till June 2011 students were taught elementary programming using GameMaker, a digital game development tool. In addition to collecting students' overall impressions, we also evaluated students' technical competency (using tests) and self-efficacy (using surveys) at the start and end of the semester. Our findings show that the curriculum had a positive, statistically significant effect on concept comprehension, which suggests that the curriculum was effective for understanding computer science and game design concepts. In this paper we present the course structure, methods, and evaluation as a contribution.

Games are a popular form of digital entertainment and one elusive question is how complex visual designs affect the player experience. We address one aspect of this topic in terms of similarity of visual features, explored both as an organizing principle in Gestalt psychology and as a theory in visual attention. To address this issue, we developed a 3D railed shooter game with adjustable visual features of size, speed, and density of targets and non-targets. Based on these features we evaluate 105 player's performance in 4 visual conditions. In addition, we employ a cognitive workload assessment as a means to understand the perceived demands on players. Results show effects of expertise on performance and cognitive workload, per visual condition. Our methods and implications on game design are discussed.

The topic of interactive narrative has been under research for many years. While there is research exploring the development of new algorithms that enable and enhance interactive narratives, few research projects focused on the question of how users interpret and experience an interactive narrative. In this paper we specifically focus on a single user interactive narrative experience since most work within this area focused on technological advancement and less on measurements of participants' experiences. Taking this angle, we aim to report on an in-depth qualitative content analysis study, specifically analyzing users' interpretations, emotions, and behavioral responses to an interactive narrative called Facade. We analyzed user data, including interviews and action logs, which include dialog uttered between participants and characters that inhabit Facade. Results from this analysis are discussed in the paper along with the methodology used and its limitations. These findings uncover several useful lessons that can help guide the design of future single user interactive narratives similar to Facade. (C) 2012 International Federation for Information Processing Published by Elsevier B.V. All rights reserved.

This paper explores game design patterns specific to the visual presentation of game elements. Informed by the similarity theory of visual perception coupled with designers' tacit knowledge, we establish an empirical basis to investigate visual balance, specifically in terms of maintaining, disrupting, and swapping the focus of attention . Since visual balance is a concept that is intertwined with difficulty and depends on users' expertise, we also explore the differences in novice vs. expert designs by collecting design configurations from designers, thus uncovering designers' tacit knowledge in regards to expertise. This is accomplished through the creation of a toolset to explore game elements in a railed shooter game comprised of targets, non-targets, and visual feedback with variables of size, speed , and density . Eight expert game designers encoded settings where the theory is evaluated. As a result of this investigation, we identify patters of similarity, noise , and ramps .

3D video games are a popular form of entertainment that features elaborate visual compositions and settings. Occasionally, players are thrown into situations with a high amount of visual complexity, which may cause players, especially novice players, to misinterpret important game goals or mechanics, which may, in turn, lead to a diminished experience. Previous research investigated visual design, but only in terms of brightness and color contrast, no research investigated attributes of motion, their complexity in regards to visual design, and their effect on the game experience. Informed by cinema and visual perception domains, we embark on a study of 4 motion attributes: flicker, shape, speed, and repetition, and investigate their design within 6 games. We rate these games based on their complexity. We use video coding with a kappa reliability measure to identify these attributes. We then investigate the relationship between the use of these motion attributes and the rated complexity of the visual scene. We present this analysis as a contribution, and design lessons extrapolated based on the analysis.

It is common sense that people don't play games that are too difficult for them. Thus Game developers need to understand the performance abilities of players. Several studies suggest a clear dissimilarity in video game playing abilities between different genders and age groups. In this paper, we report on a study investigating impact of age, gender and previous gaming experience on gameplay performance. The study explored the performance of 60 kids 6-16 years old within three video games: Rock Band 2, Lego Star Wars and Kameo. The paper outlines clear impact of age and gender and less prior gaming experience on performance parameters: score and game progression.

This paper investigates the differences between 3D level designs in 21 popular games. We have developed a framework to analyze 3D level designs based on patterns extracted from level designers and game play sessions. We then use these patterns to analyze several game play sessions. Results of this analysis reveal methods by which designers push and pull players through levels. We discuss an analysis of these patterns in terms of three level affordance configurations, combat, environmental resistance, and mixed goals in 21 different games using one walkthrough play session per game. By looking at the variety of games, we can further explore the level similarities and differences between games.

Video games today increasingly situate play in imaginative 3D worlds. As a result, the industry devotes much time and effort to level design. However, this subject has received very little research. Documentation on the process of level design or how designers push or pull players through a level within a video game is very sparse. In this paper, we propose a set of design patterns for level design. The patterns were developed based on a process involving interviews with game designers as well as gameplay analysis of different games. We established face validity of these patterns through expert review; we also established reliability using inter-rater agreement. In addition, we also developed a timeline video annotation method based on these patterns. This visualization method provides a very effective approach to view players' play style and preference as well as level design problems. The patterns as well as the visualization method will be discussed in the paper.

Cooperative design has been an integral part of many games. With the success of games like Left4Dead, many game designers and producers are currently exploring the addition of cooperative patterns within their games. Unfortunately, very little research investigated cooperative patterns or methods to evaluate them. In this paper, we present a set of cooperative patterns identified based on analysis of fourteen cooperative games. Additionally, we propose Cooperative Performance Metrics (CPM). To evaluate the use of these CPMs, we ran a study with a total of 60 participants, grouped in 2-3 participants per session. Participants were asked to play four cooperative games (Rock Band 2, Lego Star Wars, Kameo, and Little Big Planet). Videos of the play sessions were annotated using the CPMs, which were then mapped to cooperative patterns that caused them. Results, validated through inter-rater agreement, identify several effective cooperative patterns and lessons for future cooperative game designs.

Video game playing is becoming a predominant part of popular culture. Games, like Assassin’s Creed (Ubisoft, released 2007), The Sims (Maxis, released 2000), Guitar Hero (RedOctane, released 2005), and World of War Craft (Bilizzard, released 2004), have attracted many players from different cultures and age groups. In this paper, we propose that the experience of playing a video game, like Assassin’s Creed, is a personal experience shaped through one’s emotional values, expectations, knowledge, and attitudes as influenced by culture. To validate this claim, we provide an analysis of the experience of playing Assassins’ Creed from the perspectives of this paper’s four co-authors, who represent two different cultural viewpoints: Middle-Eastern and Western, as well as different intellectual disciplinary backgrounds, including architecture, theatre, and computer science. To someone from the Middle-East, for example, the game aroused many nostalgic feelings through its simulated Middle-Eastern cities, the use of Arabic words, accents and gestures, and the detailed Middle-Eastern architectural design. While such small details meant much when viewed through a Middle-Eastern eye, their values were different when viewed through a Western eye. From a Western perspective, the game play experience was heightened through the beautiful architectural detail and the use of the environment layout as a function of gameplay, such as the use of rooftops for platforming, fast movement and flying-like actions, and stealth. Thus, apparently the way the game was experienced was very different when viewed through people with different cultural backgrounds. In this paper, we aim to show this claim through thorough analysis of the game as experienced by the co¬authors.

Video game playing is becoming a predominant part of popular culture. Games, like Assassin's Creed (Ubisoft, released 2007), The Sims (Maxis, released 2000), Guitar Hero (RedOctane, released 2005), and World of War Craft (Bilizzard, released 2004), have attracted players from many different cultures and age groups. In this paper, we propose that the experience of playing a video game, like Assassin's Creed, is a personal experience shaped through one's emotional values, expectations, knowledge, and attitudes as influenced by culture. As we set out to review the Assassin's Creed game, we discovered that each one of us had a different experience with the game. In this paper, we draw on our Assassin's Creed play sessions. This experience is shaped by our different cultural viewpoints, including Middle-Eastern and Western, as well as intellectual disciplinary backgrounds, which include architecture, theatre, and computer science. To Maha and Magy, for example, the game aroused many nostalgic feelings through its simulated Middle-Eastern cities, the use of Arabic words, accents and gestures, and the detailed Middle-Eastern architectural design. While such small details meant much when viewed by Maha and Magy, their values were different when viewed by Simon and David. To both Simon and David, the game play experience was heightened through the beautiful architectural detail and the use of the environment layout as a function of gameplay, such as the use of rooftops for platforming, fast movement and flying-like actions, and stealth. This collaborative game review suggests that a game is, in interesting ways, experienced and perceived differently by players from divergent cultural-linguistic situations.

The topic of interactive narrative has been under research for many years. While there has been much research exploring the development of new algorithms that enable and enhance interactive narratives, there has been little research focusing on the question of how players understand and internalize their interactive narrative experiences. This paper addresses this problem through conducting a phenomenological study on participants playing Façade; we specifically chose a phenomenological methodology due to its emphasis on the participants’ lived experience from the participants’ viewpoint. We chose Façade, because it is the only accessible example of an experience that revolves around social relationships, conflict, and drama as its core mechanics. In this paper, we discuss sixteen themes that resulted from the analysis of the data gathered through the study. In addition, we reflect on these themes discussing their relationship to participants’ backgrounds, and project implications on the design of future interactive narratives.