Karpouzis / Yannakakis Emotion in Games

Theory and Praxis
1. Auflage 2016
ISBN: 978-3-319-41316-7
Verlag: Springer International Publishing
Format: PDF
Kopierschutz: 1 - PDF Watermark

E-Book, Englisch, Band 4, 344 Seiten

Reihe: Socio-Affective Computing

The core message of this book is: computer games best realise affective interaction. This book brings together contributions from specialists in affective computing, game studies, game artificial intelligence, user experience research, sensor technology, multi-modal interfaces and psychology that will advance the state-of-the-art in player experience research; affect modelling, induction, and sensing; affect-driven game adaptation and game-based learning and assessment. In 3 parts the books covers Theory, Emotion Modelling and Affect-Driven Adaptation, and Applications. This book will be of interest to researchers and scholars in the fields of game research, affective computing, human computer interaction, and artificial intelligence.
 

Autoren/Hrsg.

Karpouzis, Kostas

Yannakakis, Georgios N.

Inhaltsverzeichnis

1;Foreword;6
2;Preface;8
3;Contents;11
4;Contributors;13
5;Part I Theory;16
5.1;1 The Aesthetic Motives of Play;17
5.1.1;Introduction;17
5.1.2;Cautions About Asking `Why';18
5.1.3;Uncertainty as the Foundation of Play;19
5.1.4;General Motives;20
5.1.5;The Social Motive;20
5.1.6;The Thrill-Seeking Motive;21
5.1.7;The Curiosity Motive;22
5.1.8;Functional Motives;23
5.1.9;The Victory Motive;23
5.1.10;The Problem-Solving Motive;24
5.1.11;The Luck Motive;25
5.1.12;The Acquisition Motive;25
5.1.13;Representational Motives;26
5.1.14;The Narrative Motive;27
5.1.15;The Horror Motive;27
5.1.16;The Agency Motive;28
5.1.17;Conclusion;29
5.1.18;References;31
5.2;2 Affect Channel Model of Evaluation in the Context of Digital Games;35
5.2.1;Introduction;35
5.2.2;Background;36
5.2.3;Model Details;37
5.2.3.1;Building Blocks;37
5.2.3.2;Organization;40
5.2.3.3;Affect Channels;41
5.2.4;The Model;42
5.2.4.1;Pre-stimulus Level (L0);42
5.2.4.2;Reflexes (L1);43
5.2.4.3;Survival Evaluation (L2);44
5.2.4.4;Evaluation of Predicted Consequences (L3);45
5.2.4.5;Conceptual Evaluations and Further (L4+);46
5.2.5;Final Words;48
5.2.6;References;49
5.3;3 Affective Involvement in Digital Games;52
5.3.1;Introduction;52
5.3.2;The Bottom-Up Experience Triangle;53
5.3.3;The Player Involvement Model;54
5.3.4;A Quantitative Perspective;57
5.3.5;Experimental Design;57
5.3.5.1;Experiment 1: Game Story;57
5.3.5.2;Experiment 2: Social Setting;58
5.3.5.3;Experiment 3: Game Controller;58
5.3.6;Measures;59
5.3.7;Results;61
5.3.7.1;Impact of Manipulations on Player Involvement;61
5.3.7.2;Experiment 1: Game Story;61
5.3.7.3;Experiment 2: Social Setting;62
5.3.7.4;Experiment 3: Game Controller;63
5.3.8;Combining Affective Involvement;63
5.3.8.1;Experiment 1: Game Story;64
5.3.8.1.1;Narrative Involvement and Affective Involvement;64
5.3.8.1.2;Ludic Involvement and Affective Involvement;64
5.3.8.2;Experiment 2: Social Setting;64
5.3.8.2.1;Shared Involvement and Affective Involvement;65
5.3.8.3;Experiment 3: Game Controller;65
5.3.8.3.1;Kinesthetic Involvement and Affective Involvement;65
5.3.8.3.2;Spatial Involvement and Affective Involvement;65
5.3.9;Conclusion;66
5.3.10;References;68
6;Part II Emotion Modelling and Affect-Driven Adaptation;70
6.1;4 Multimodal Sensing in Affective Gaming;71
6.1.1;Introduction;72
6.1.2;Affective Gaming;74
6.1.3;Sources of Affect;76
6.1.3.1;Vision-Based;77
6.1.3.1.1;Facial Expressions;77
6.1.3.1.2;Body Expressivity;80
6.1.3.2;Haptics;82
6.1.3.3;Wearable Games;83
6.1.4;Affective Evaluation of Players;84
6.1.5;Affective Interaction in Games;85
6.1.6;Existing Commercial Games;86
6.1.7;Affective Gaming Scenarios and Challenges;87
6.1.7.1;Affective Gaming Scenarios;87
6.1.7.2;Affective Gaming Challenges;89
6.1.7.3;Applications of Affective Games;91
6.1.8;Conclusions;91
6.1.9;References;92
6.2;5 Emotion Modelling via Speech Content and Prosody: In Computer Games and Elsewhere;97
6.2.1;Introduction;97
6.2.1.1;Emotion Modelling;97
6.2.1.2;Emotion and Games;98
6.2.2;Speech Content;99
6.2.2.1;Speech Recognition and Emotion;99
6.2.2.2;Textual Features;100
6.2.2.2.1;Tokenisation and Tagging;100
6.2.2.2.2;Vector Space Modelling;101
6.2.2.3;Zero-Resource Modelling;101
6.2.2.4;Learning;102
6.2.3;Prosodic and Acoustic Modelling;102
6.2.3.1;Speaker Separation and Denoising;102
6.2.3.2;Prosodic and Acoustic Features;102
6.2.3.3;Zero-Resource Modelling;104
6.2.3.4;Learning;104
6.2.4;Integration and Embedding;105
6.2.4.1;Fusion;105
6.2.4.2;Available Tools;105
6.2.4.3;Data and Benchmarks;106
6.2.4.4;Distribution;106
6.2.4.5;Confidence Measures;107
6.2.4.6;Adaptation and Self-Training;107
6.2.4.7;Encoding and Standards;109
6.2.5;Summary and White Spots;109
6.2.5.1;Summary;109
6.2.5.2;White Spots;110
6.2.6;References;111
6.3;6 Comparing Two Commercial Brain Computer Interfaces for Serious Games and Virtual Environments;115
6.3.1;What Are Brain-Computer Interfaces?;115
6.3.2;Neuroimaging Techniques for BCI Systems;116
6.3.3;Electroencephalography-Based BCI (EEG-Based BCI);117
6.3.4;Stages of a BCI System;118
6.3.5;BCI Paradigms;119
6.3.5.1;Active BCI;119
6.3.5.2;Reactive BCI;119
6.3.5.3;Passive BCI;120
6.3.6;BCI and Serious Games;120
6.3.6.1;BCI Games for Research;121
6.3.6.2;BCI Games for Medical Applications;121
6.3.6.3;Commercial BCI Games;122
6.3.7;Investigating Commercial BCI Systems for Serious Games and Virtual Environments;122
6.3.7.1;Comparison of Serious Games Using Emotiv;123
6.3.7.1.1;The `BrainMaze' Game;123
6.3.7.1.2;Roma Nova;124
6.3.7.1.3;Participants and Experimental Procedure;124
6.3.7.1.4;Results;124
6.3.7.2;Comparison of Serious Games Using NeuroSky;125
6.3.7.2.1;Roma Nova;125
6.3.7.2.2;Tetris;126
6.3.7.2.3;Participants and Experimental Procedure;126
6.3.7.2.4;Results;126
6.3.7.3;Comparison of Emotiv and NeuroSky;127
6.3.8;Conclusions and Limitations;127
6.3.9;References;128
6.4;7 Psychophysiology in Games;130
6.4.1;Introduction;130
6.4.2;Why Physiology in Games?;132
6.4.2.1;Heart Activity;133
6.4.2.2;Electrodermal Activity;133
6.4.3;Sensor Technology;134
6.4.4;Annotating Physiology with Psychological Labels;136
6.4.5;Models of Psychophysiology in Games;137
6.4.5.1;Physiological Signal Processing;138
6.4.5.2;Feature Extraction;138
6.4.5.3;Feature Selection;139
6.4.5.4;Modeling Psychophysiology;139
6.4.6;Adapting the Game to Affect Models;140
6.4.7;Psychophysiology Beyond Games;141
6.4.7.1;Intelligent Tutoring Systems;141
6.4.7.2;Health Technologies;141
6.4.8;Limitations of Physiology;142
6.4.9;Conclusions;143
6.4.10;References;143
6.5;8 Emotion and Attitude Modeling for Non-player Characters;149
6.5.1;Introduction;149
6.5.2;Emotion Modeling;150
6.5.2.1;Theory on Emotions;150
6.5.2.1.1;Basic Emotions;151
6.5.2.1.2;Multidimensional Models;151
6.5.2.1.3;Appraisal Theory;152
6.5.2.2;Computational Model of Emotions;152
6.5.2.3;Expression of Emotions;154
6.5.2.3.1;Data-Driven Models;155
6.5.2.3.2;Literature-Based Models;155
6.5.3;Attitude Modeling;156
6.5.3.1;Theory on Attitudes;156
6.5.3.2;Computational Model of Attitudes;157
6.5.3.3;Expression of Attitude;158
6.5.4;Conclusion;160
6.5.5;References;160
6.6;9 Emotion-Driven Level Generation;165
6.6.1;Introduction;165
6.6.2;Emotion-Driven Level Generation;166
6.6.3;A Taxonomy of Emotion-Driven Level Generators;168
6.6.3.1;First-Order vs. Second-Order Level Generators;168
6.6.3.2;Direct vs. Indirect Level Generators;169
6.6.4;Exemplifying Emotion-Driven Level Generation;169
6.6.4.1;Super Mario Bros: First-Order, Direct Level Generation;170
6.6.4.2;MiniDungeons: First-Order, Indirect Level Generation;170
6.6.4.3;Sonancia: Second-Order, Direct Level Generation;172
6.6.4.4;Sentient Sketchbook: Second-Order, Indirect Level Generation;172
6.6.5;Discussion;173
6.6.6;Future Vision and Conclusion;174
6.6.7;References;175
6.7;10 Emotion-Driven Narrative Generation;177
6.7.1;Introduction;177
6.7.2;Background;178
6.7.2.1;Narrative;178
6.7.2.2;Story Generation and Interactive Narrative;179
6.7.2.3;Suspense;180
6.7.3;Dramatis;181
6.7.3.1;Reformulating Gerrig and Bernardo;181
6.7.3.2;Dramatis Algorithm and Inputs;183
6.7.3.2.1;Time-Slices;184
6.7.3.2.2;Scripts;184
6.7.3.2.3;Planning Operators;185
6.7.3.3;Predicting Negative Outcomes;185
6.7.3.4;Measuring Reader Salience;186
6.7.3.5;Generating Escape Plans;186
6.7.4;Future of Emotion-Driven Story Generation;187
6.7.5;Concluding Remarks;188
6.7.6;References;189
6.8;11 Game Cinematography: From Camera Control to PlayerEmotions;191
6.8.1;Introduction;191
6.8.2;Camera Control in Computer Games;193
6.8.3;Automatic Camera Control;195
6.8.4;Story-Driven Interactive Cinematography;197
6.8.5;Camera and Player Interaction;198
6.8.6;Affective Cameras;200
6.8.7;Future Directions in Game Cinematography;201
6.8.8;Conclusion;202
6.8.9;References;202
6.9;12 From Sinewaves to Physiologically-Adaptive Soundscapes: The Evolving Relationship Between Sound and Emotion in Video Games;206
6.9.1;The Power of Sound to Evoke Emotion During Video Gameplay;206
6.9.2;8-Bit Affect: Sound and Emotion in Video Games' Formative Years;207
6.9.2.1;Audio Technology and Its Sound Design and Composition Affordances;207
6.9.2.2;Evoking Player Emotion Via Sound in the 8, 16 and 32-Bit Eras;211
6.9.3;The Contemporary Sound-Emotion Relationship;212
6.9.3.1;Modern Technical Developments in Games Audio Technology;212
6.9.3.2;Contemporary Approaches to Affective Experience in Gaming via Sound;213
6.9.4;Psychophysiology and Biometric Game Control Interfaces;216
6.9.4.1;Principles and Mechanics;217
6.9.4.2;Utilising Biofeedback to Connect Player-Emotion to Game Sound;218
6.9.5;The Future of Sound and Emotion in Video Games;219
6.9.6;References;221
6.10;13 Emotional Appraisal Engines for Games;224
6.10.1;Introduction;224
6.10.2;Why Are Model-Based NPC Emotions Rare in Commercial Games?;227
6.10.3;Emotional Appraisal Engines as Plug-in Modules;230
6.10.4;Integrating Emotional Appraisal Engines with NPC Control;231
6.10.4.1;Simulating Emotions in Semantic Worlds;232
6.10.4.2;Simulating Emotions in Phaser, a Javascript Game Engine;233
6.10.4.3;Simulating Emotions in Cognitive Agent Programming;233
6.10.4.4;Simulating Emotions in Narrative Generation;234
6.10.5;Appraisal Engines Enable Novel Gameplays and Genres;234
6.10.5.1;Action-Adventure Games (e.g., Legend of Zelda, The Witcher);235
6.10.5.2;Fighting and First-Person Shooter Games (e.g., Mortal Combat, Doom);235
6.10.5.3;Real-Time Strategy Games (RTS) (e.g., Age of Empires, Warcraft);236
6.10.5.4;Role-Playing Games (RPGs) (e.g., Baldur's Gate, Skyrim);237
6.10.5.5;Arcade and Platform Games (Pac-Man, Mario Bros);237
6.10.5.6;Serious Games;237
6.10.6;Final Remarks;238
6.10.7;References;239
7;Part III Applications;242
7.1;14 Emotion and Body-Based Games: Overview and Opportunities;243
7.1.1;Introduction;243
7.1.2;The Body as a Means for Expressing Emotions;244
7.1.2.1;Theory;244
7.1.2.2;Practice;246
7.1.3;The Body as a Means for Biasing Emotions;251
7.1.3.1;Theory;251
7.1.3.2;Practice;252
7.1.4;The Body as a Means for Social Bonding;253
7.1.4.1;Theory;253
7.1.4.2;Practice;255
7.1.5;Future Work;256
7.1.5.1;Improving Sensing of Emotional Cues;256
7.1.5.2;Improving Body-Based Game Evaluation for Social Games;257
7.1.6;Conclusions;258
7.1.7;References;258
7.2;15 Games for Treating and Diagnosing Post Traumatic StressDisorder;264
7.2.1;Introduction;264
7.2.2;Posttraumatic Stress Disorder;265
7.2.3;Games for Mental Health and PTSD;265
7.2.3.1;Virtual Reality Therapy for Treating PTSD;266
7.2.4;StartleMart: A Virtual Scenario for Assessing Stress Response in PTSD;267
7.2.5;Assessment of Physiological Arousal, Subjective Stress Response, and PTSD Symptomatology;268
7.2.6;Clinical Trials Using StartleMart;269
7.2.6.1;Participants and Inclusion Criteria;269
7.2.6.2;Collected Features;270
7.2.6.2.1;Patient Profile Features;270
7.2.6.2.2;Session Features;270
7.2.6.2.3;Behavioral Features;272
7.2.6.2.4;Self-Reported Stress Response Features;272
7.2.6.2.5;SC Stress Response Features;272
7.2.6.3;Experimental Setup and Protocol;274
7.2.6.3.1;Equipment and Configuration;274
7.2.6.3.2;Experimental Protocol;274
7.2.7;Results;275
7.2.7.1;Predicting PTSD Severity;276
7.2.8;Discussion;277
7.2.9;Conclusion;278
7.2.10;References;279
7.3;16 Understanding and Designing for Conflict Learning Through Games;282
7.3.1;Introduction;282
7.3.2;Conflict Education and Games;283
7.3.3;Village Voices;284
7.3.3.1;Competitive Collaboration;285
7.3.3.2;Local Familiar Multiplayer;286
7.3.3.3;Learning Around the Game;287
7.3.3.4;Reimagining the Real;288
7.3.3.5;Persistence;289
7.3.4;Case Study;289
7.3.4.1;Conflict Experiences and Skills Become More Nuanced Over Time;290
7.3.4.2;In-Game Conflicts Do Not Always Engender Learning Moments;290
7.3.4.3;Learning Moments Are Shared, Communicated, and Emotionally Challenging;291
7.3.5;Discussion and Conclusion;291
7.3.6;References;293
7.4;17 Games Robots Play: Once More, with Feeling;295
7.4.1;Requirements for Social Game-Playing Robots;295
7.4.2;Robots as Play Companions;298
7.4.3;Robots and Digitised Games;301
7.4.4;Robots and Augmented Reality Game Experiences;304
7.4.5;Key Research Issues;305
7.4.6;References;307
7.5;18 Lovotics: Love and Sex with Robots;309
7.5.1;Introduction;309
7.5.2;The First Crude Sex Robot;312
7.5.3;Lovotics;314
7.5.3.1;The Formulation of Love;314
7.5.3.2;The Probability of Love;315
7.5.3.3;The Artificial Endocrine System;315
7.5.3.4;The Affective State Transmission System;316
7.5.4;The Kissenger;316
7.5.4.1;Design Features;319
7.5.4.2;Design Flow;321
7.5.5;Input Kiss Sensing;321
7.5.6;Control and Wireless;322
7.5.7;Output Kiss Actuation;322
7.5.7.1;Communication;322
7.5.8;The Ethical and Legal Debate;326
7.5.9;Robot Love;329
7.5.10;Predictions;330
7.5.10.1;Robot Sex;330
7.5.10.2;Robot Love;332
7.5.11;Conclusion;332
7.5.12;References;333
8;Index;335