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| 2. |
- Kriglstein, Simone, et al.
(författare)
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Special Interest Group : The Present and Future of Esports in HCI
- 2021
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Ingår i: Extended abstracts of the 2021 CHI conference on human factors in computing systems (CHI'21). - New York, NY, USA : Association for Computing Machinery (ACM). - 9781450380959
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Konferensbidrag (refereegranskat)abstract
- Rapidly gaining in mainstream appeal, esports constitute a phenomenon at the intersection of different Human-Computer Interaction (HCI) perspectives-relating to games user research, multifaceted aspects of game design for performance and entertainment, design and support of social or interpersonal interaction, inclusion vs. toxicity in online communities, visualization of esports data, subdomains like physical esports, as well as connections with education and health contexts. This special interest group (SIG) will provide a space for HCI researchers and practitioners to connect and discuss themes at the intersection of HCI and esports. It will serve as a starting point for mapping the esports design and research landscape in order to identify and pursue opportunities for research, to increase awareness for collaboration in this domain within the HCI community, to share experiences and knowledge, and to establish a community to shape the future of esports.
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| 3. |
- Seif El-Nasr, Magy, et al.
(författare)
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Assassin's Creed : A Multi-Cultural Read
- 2008
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Ingår i: Loading . . .. - : Simon Fraser University. - 1923-2691. ; 2:3
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Tidskriftsartikel (refereegranskat)abstract
- 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.
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| 4. |
- Seif El-Nasr, Magy, et al.
(författare)
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Dynamic Lighting for Tension in Games
- 2007
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Ingår i: Game Studies. - : Greenland Perspective, University of Copenhagen. - 1604-7982. ; 7:1
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Tidskriftsartikel (refereegranskat)abstract
- Lighting design is an important element of game design, due to its role in directing attention, providing visibility, establishing important information concerning period and time of day, influencing emotions, and affecting presence. The current lighting technique used within the game industry relies on static cinematic lighting design methods, which are inappropriate for gaming environments. Game environments are dynamic; therefore, a lighting design that accommodates to such changes is required. While dynamic lighting is feasible, the current state of lighting design theory and techniques do not incorporate dynamic lighting, and thus the aesthetic utility of dynamic lighting remains uncharted territory. This paper addresses this issue to provide a first step towards developing a lighting design theory appropriate for gaming environments. In this paper, we will outline several psychological and sensory effects of lighting and lighting movements. Based on analyses of movies and lighting design texts, we will present a collection of lighting methods and describe their use and impact. In addition, we will describe a case study of an informal experiment conducted as a pilot study to evaluate the aesthetic utility of dynamic lighting within a game. Finally, we will discuss lessons learned, and propose a plan for further research into the use of dynamic lighting within video games.
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