{"id":2011,"date":"2014-05-23T15:15:43","date_gmt":"2014-05-23T15:15:43","guid":{"rendered":"http:\/\/memetechnology.org\/?p=3101"},"modified":"2014-05-23T15:15:43","modified_gmt":"2014-05-23T15:15:43","slug":"engines-of-emotion","status":"publish","type":"post","link":"https:\/\/generic.wordpress.soton.ac.uk\/archaeology\/2014\/05\/23\/engines-of-emotion\/","title":{"rendered":"Engines of Emotion"},"content":{"rendered":"

This is the text of my short presentation today:<\/p>\n

This is my first presentation to this forum, so by way of introduction, let me explain that I\u2019m interested in the power that video (or computer) games have, to tell stories in virtual (though ever more realistic) spaces. I want to explore what we can learn from games, as interpreters and storytellers of cultural heritage about telling emotionally engaging stories in the spaces that we look after.<\/p>\n

First, I looked at the game mechanics<\/a> that appear to drive emotional engagement with video games, and I was able to find a good deal of agreement in the literature, and at the same time group them into eight categories. Some of which \u2013 spectacle, learning, society and presence for example – cultural heritage sites can easily claim to share. Others, like acquisition, challenge, music and character aren\u2019t things that cultural heritage does particularly well.<\/p>\n

But the most obvious similarity between cultural heritage sites and a great many of the most acclaimed computer games is the way that both gamers and visitors explore a narrative by moving through space.
\nSo recently I\u2019ve been looking at cultural heritage interpretation projects that don\u2019t just borrow ideas from game mechanics, but actually put a game on site that requires visitors move from space to space to play it and uncover the story.<\/p>\n

\"One<\/a>

One of the Holburne Museum’s recently discovered Listening Devices<\/p><\/div>\n

For example, this is Ghosts in the Garden<\/a>, designed by a company called Splash and Ripple for the Holburne Museum, Bath. It\u2019s a sort of aural choose-your own-adventure game which encourages visitors to explore the early 19th century pleasure gardens around the museum.
\nAnd on a larger scale, this is Magic in Modern Londo<\/a>n<\/span>, designed by Amblr for the Welcome Trust. It\u2019s a sort of scavenger hunt. The user visits locations to collect virtual amulets and so uncovers the story of Edwardian folkloreist Edward Lovett. Southampton University, working with external partners, recently sought funding to build a similar location based game, exploring the events of the Southampton plot. We wanted to build an open source, non-proprietary framework, not just for this game, but to enable other cultural institutions to create their own games at minimal cost. This specific bit of research, sought to discover what game mechanics might best encourage gamers onto the street of Southampton, what social networks might best be leveraged, and also could we challenge gamers with something more sophisticated than a scavenger hunt.
\nLet me make clear early on, our funding bid was not successful.
\nI composed an on-line survey,\u00a0which we distributed via the partners\u2019 social networks, on-line gaming forums, Eatleigh\u2019s youth network, local schools and Winchester School of art. 226 people responded, though 33 didn\u2019t answer all the questions.<\/p>\n

Our primary challenge became apparent with the very first question block. We asked about the respondents\u2019 knowledge of a variety of games, on fixed devices (consoles and computers) as well mobile devices. Mobile games have an awareness issue. Eleven people had never heard of Minecraft. 178 people haven\u2019t heard of Ingress, a location based game that according to some sites, including Android Headlines on 4th December 2012, is \u201ctaking the world by storm.\u201d Just 32 people said they\u2019ve played a game that uses their device\u2019s location.
\nSo, we asked them what game they enjoyed most recently:<\/p>\n

\"FavGame\"<\/a><\/p>\n

With its open world, layers of (made up) history, and research quests, Skyrim is close to many an archaeologist\u2019s heart, and proved popular with our correspondents. But of course different people like different things, and so I wanted to see if they was a particular \u201ctype\u201d of gamer who might be more attracted than others to the open and real world, location based game that we were proposing. The most famous classification of gamer motivations is Richard Bartle\u2019s 1996 paper. However that is actually based on players of just one genre of on-line gaming, and has limited application beyond that.
\nSo the taxonomy I settled on for this research was that of Nicole Lazarro. Drawing on the work of anthropologist Paul Ekman, Lazzarro and her team recorded the facial expressions of volunteers playing different types of games. The conclusion of their study was a classification of four type of fun:
\nHard Fun – The emotion that the team observed here was fiero, an italian word borrowed by Eckman because decribes the personal feeling of triumph over adversity, an emotion for which there is no word in English. And the game mechanics that unlock that emotion (and possibly on the way, the emotions of frustration and boredom too) are: goals; challenge; obstacles; strategy; power ups; puzzles; score and points; bonuses; levels; and, monsters.
\nEasy Fun – Curiosity is the main emotion evident in the Easy Fun style of play, though surprise, wonder and awe were observed too. The game mechanics that define this style of play are: roleplay; exploration; experimentation; fooling around; having fun with the controls; iconic situations; ambiguity; detail; fantasy; uniqueness; \u201cEaster Eggs\u201d; tricks; story; and, novelty.
\nSerious Fun – What is the most common emotion observed with Serious Fun mechanics? Relaxation! The game mechanics that take players to that state are: rhythm; repetition; collection; completion; matching; stimulation; bright visuals; music; learning; simulation; working out; study; and real-world value. It\u2019s this last mechanic that explains why its called \u201cserious\u201d fun. People playing in this mode also seem more ready to attach a value to their participation in the game outside the game itself \u2013 brain-training, physical exercise, developing skills or even a conscious effort to kill time (think of those people playing Candy Crush on the train)
\nPeople Fun – Happiness comes with People Fun, Lazzaro\u2019s team observed \u201camusement, schadenfreude (pleasure in other people\u2019s misfortune) and naches (pleasure in the achievements of someone you have helped)\u201d among players in this mode. Among the he long list of game mechanics that get people there are: cooperation; competition; communication; mentoring; leading; performing; characters; personalisation; open expression; jokes; secret meanings; nurturing; endorsements; chat; and gifting.
\nI used some of the evidence Lazarro had gathered to create a number of Likert agreement scale questions, which might, in combination, indicate respondents\u2019 preferences for the four different types of fun.<\/p>\n

\"Histx4SeriousFunIndicators\"<\/a><\/p>\n

This example shows how people responded to the questions about what Lazarro called Serious Fun.<\/p>\n

\"plotx4FunProfiles\"<\/a>
\nAnd this slide shows how the combined responses to the questions indicate the cohorts\u2019 preferences for the four types of fun. You will note that Easy Fun, which includes a preference for narrative or story based games, is the highest scoring in this sample. I was very encouraged by this. I was hoping that I\u2019d see s correlation between a preference for Easy Fun and another Likert question we asked about interest in a locatative game.<\/p>\n

\"scatterplotLocatativeFun\"<\/a>
\nHowever this correlation matrix shows no relationship between respndents\u2019 preference for Easy Fun and their expressed interest in locatative games. There is, however, a possible relationship between gamers\u2019 preference for Hard Fun.<\/p>\n

\"plotHardLocatativeInterest\"<\/a>
\nHowever, on closer inspection of that relationship, the confidence intervals shown in this scattergram, show me I can\u2019t disprove the null hypothesis. Now I should state that the number of respondents who answered all the questions required for this analysis was less that half the total number of completed surveys, just 94. So it may be that a larger sample size would better enable me to prove or disprove the null hypothesis. But the more worrying observation is this one \u2013 a large proportion of this sample expressed zero interest in games involving the player\u2019s location. Which resonates with the earlier observation that there was very little recognition or awareness of of such games. So it may be that most people don\u2019t want to play games that use their real world position, or that idea is yet to have it\u2019s moment.
\nEither way it strikes me I\u2019d be better off investigating how some of games\u2019 engagement drivers could improve cultural heritage interpretation, rather than rushing to import locatative games wholesale into the cultural heritage space.<\/p>
\"\"<\/a> \"\"","protected":false},"excerpt":{"rendered":"

This is the text of my short presentation today: This is my first presentation to this forum, so by way of introduction, let me explain that I’m interested in the power that video (or computer) games have, to tell stories … Continue reading →<\/span><\/a>\"\"<\/p>\n","protected":false},"author":337,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[848],"class_list":["post-2011","post","type-post","status-publish","format-standard","hentry","category-uncategorized","tag-uncategorized","column","threecol"],"yoast_head":"\nEngines of Emotion - Archaeology Blogs<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"http:\/\/generic.wordpress.soton.ac.uk\/archaeology\/2014\/05\/23\/engines-of-emotion\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Engines of Emotion - 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In my free time, I volunteered as a costumed interpreter at Kentwell Hall and, with re-enactment societies, at various medieval sites around the UK and France. When, one evening, a few of us said \u201cwe could make a business out of this\u201d I left my job at the bank to go to college, first to get an Art Foundation and then to Manchester Polytechnic to join an innovative course called Design for Communications Media. I specialised in Educational Media Design, with the intention of applying what I was learning to cultural heritage. During my vacations and upon graduation I worked for the nascent company my friends had started, Past Pleasures, creating immersive living history festivals at Lancaster and Tunbridge Wells, as well as projects including: an exhibition for the centenary of the Commonwealth Institute; a design for a metafictional Sherlock Holmes exhibition in Croydon; and, a game that combined real-time investment advice from 300 year-old characters at the Bank of England Museum with a digital simulation, tracking the players\u2019 investment portfolio from the founding of the bank to its tercentenary. In 1996 I helped found JMD&Co, and for two years I also lectured on Heritage Tourism and Visitor Management and Interpretation modules for a Portsmouth University validated HND\/degree course at Farnborough Technical College. Subsequently, I enrolled in the new Distance Learning delivered Masters\u2019 degree in Museum Studies at Leicester University, where I became interested in the social use of space, particularly Bill Hillier\u2019s \u201cspace syntax,\u201d and the increasing futility of cultural heritage sites trying to tell doggedly linear stories in three-dimensional spaces. Although my dissertation explored models for mapping interpretation, and particularly learning styles, onto spaces, a satisfactory reconciliation of linear story and three-dimensional space eluded me. After graduation, I decided my time in the \u201csmall business\u201d end of cultural heritage was over for a while, and I left JMD&Co to join a cultural institution, the National Trust, as a Regional Community, Learning and Volunteering Manager. I brought the first National Trust iPad into use at Batemans, where, combined with a wax cylinder record player, and the help of renowned folk singer, Jon Boden, we\u2019ve returned Rudyard Kipling\u2019s voice back into his old home. However, one of the innovations which I am most proud of is the National Trust\u2019s virtual tours. Working with a small company, and a range of disabled stakeholders, we created a touch-screen based human computer interface that could also, if required, be controlled with other input devices, and allowed visitors with a variety of disabilities to fully enjoy the virtual tour. The teams\u2019 achievement was recognised with a Jodi Award for Excellence in accessible digital media in 2008.","sameAs":["http:\/\/memetechnology.wordpress.com\/"],"url":"https:\/\/generic.wordpress.soton.ac.uk\/archaeology\/author\/matthew-tyler-jones\/"}]}},"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/generic.wordpress.soton.ac.uk\/archaeology\/wp-json\/wp\/v2\/posts\/2011","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/generic.wordpress.soton.ac.uk\/archaeology\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/generic.wordpress.soton.ac.uk\/archaeology\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/generic.wordpress.soton.ac.uk\/archaeology\/wp-json\/wp\/v2\/users\/337"}],"replies":[{"embeddable":true,"href":"https:\/\/generic.wordpress.soton.ac.uk\/archaeology\/wp-json\/wp\/v2\/comments?post=2011"}],"version-history":[{"count":0,"href":"https:\/\/generic.wordpress.soton.ac.uk\/archaeology\/wp-json\/wp\/v2\/posts\/2011\/revisions"}],"wp:attachment":[{"href":"https:\/\/generic.wordpress.soton.ac.uk\/archaeology\/wp-json\/wp\/v2\/media?parent=2011"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/generic.wordpress.soton.ac.uk\/archaeology\/wp-json\/wp\/v2\/categories?post=2011"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/generic.wordpress.soton.ac.uk\/archaeology\/wp-json\/wp\/v2\/tags?post=2011"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}