gaming system supports

Gaming Experience

Preece, Rogers, and Sharp (2014) define experience as how the play feels to the gamers. Such a definition is too broad and vague, yet Dewey defines

gaming system supports

experience as the result of the interaction between an individual and the environment at a given time. Dewey’s () definition is much more in line with Rosenblatt’s view of the transactional experience.

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When discussing the meaning of experience with gaming, Dewey’s ) perspective of experience is the most applicable, in that the https://www.youtube.com/@kumaraatram5625 occurs when the individual interacts with the environment.

In gaming, the player must be involved in interaction with the game. Rosenblatt’s transactional theory https://www.youtube.com/@kumaraatram5625 key to understanding the reader’s engagement with literary texts, as well as providing the reason why such responses are significant

(Soter, Wilkinson, Connors, Murphy, & Shen, 2010). The video game is vital to the experience, just as a piece of text is vital to the transactional experience.

Similarly, the gamer is also essential in the experience. A connection with reader-response theory exists because as Rosenblatt (1995) explains, the transactional experience is personal and varies for each individual, based on what the individual brings to the reading experience

The gaming experience operates similarly by combining the player and the context of the game; thus, the experience is formed once the different pieces are put together, with the player finally deciding if the experience was positive (Dix, 2003; Hassenzahl, 2003).

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Calvillo-Gámez, Cairns, and Cox (2010) define experience as it directly relates to gaming, as: “the experience of playing video games on a one-to-one basis of the interaction between player and game” (p. 48). Their work is based on Dewey’s definition of experience: “

Experience is both the process and outcome of the interaction of a use with the environment at a given time” (p. 50). When studying the gaming experience, Calvillo-Gámez et al.

(2010) look specifically at the relationship between the gamer and the video game and the elements “present in the process of the interaction” (p. 51).

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The theory for this study is built around the core elements of the gaming experience (CEGE). Using value codes with questions, this instrument is used in the study to help understand the gaming experience.

The CEGE are the foundational elements that must be present in a video game in order for the gaming experience to be positive. The CEGE do not detail how positive an experience the gamer will have,

but if the CEGE are present, the gamer will not have a negative experience (Calvillo-Gámez et al., 2010). The main areas of the CEGE are puppetry and the actual video-game details

(game play, rules, scenario, environment, graphics, and sound). From the CEGE, the Core Elements of Gaming Experience Questionnaire (CEGEQ) was developed, and these questions help to determine if the CEGE are present during the gaming experience.

Calvillo-Gamez (2009b) created the CEGEQ due to the need for an instrument to measure the gaming experience. He developed the CEGE and CEGEQ after conducting a series of exploratory pilot studies,

where the participants were asked to play video games using different devices or methods. The first two studies asked participants to play games using different devices, and the third study focused on the different

experiences between playing a video game and watching it being played (Calvillo-Gamez, 2009a). The three studies led to finding key elements within the gaming experience.

The CEGEQ identifies the differences in players’ experiences, by showing which of the CEGE are missing. There is no overall score for the CEGEQ; instead, it provides an understanding of which elements are present and which are missing, during the experience.

Method

A collective case study was used to examine the gaming experience of participants with three commercial video games of three separate genres:

Sims FreePlay (simulation); Halo 1 (first person shooter (FPS)); and World of Warcraft (role-playing game). A total of 15 gamers were placed into three sets of five participants for each

video game, and interviews were conducted to explore the gaming experience in relation to the transaction, which is a major component of Louise Rosenblatt’s reader-response theory.

Limited research has been conducted regarding reader-response theory and the new literacies; by using the reader-response lens, the gaming experience was compared with the reading experience to add the new literacies to the existing literature on reader-response.

This analysis of the emotions connected to the gaming experience demonstrated substantial parallels between the gaming experience and the reading transaction, as well as looking at the viability of understanding the literacy value of video games.

This study examined how participants perceived their gaming experiences during video-game play, in order to evaluate the response to gaming as connected to Louise Rosenblatt’s concept of reader-response theory.

The gamer and the video game were studied to understand the transaction, which becomes the “gaming experience.” Emotion is a key component in understanding how

the transaction and gaming experience are related. The gamer’s experience with playing the video game may be parallel to the transaction in reader-response.

Since this study examined participants’ gaming experiences, a qualitative design was judged appropriate to understand variables that, at this point, cannot be quantified,

although certain variables in the study are presented objectively. This study is most closely related methodologically to Merriam’s (1988) definition of a qualitative study in that assessing the gaming

experience cannot be measured fully in the format of the positivist quantitative inquiry. This study addresses an understanding of the gaming experience, as described by the participants and is approached without a measurable hypothesis.

Ultimately, this research documented and examined the participants’ gaming experiences, which falls in line with Stake’s (1995) view of qualitative

research as, “not necessarily to map and conquer the world but to sophisticate the beholding of it” (p. 43). I constructed a descriptive case study showing, “all its particularity and ordinariness”

The Gaming Experience as the Transaction

Through the transaction, meaning is constructed: “A novel or poem or play remains merely ink spots on paper until a reader transforms them into a set of meaningful symbols”

(Rosenblatt, 1995, p. 24). Just as readers can have a transaction with text, the gamer can have such a transaction with a video game. The stance created lends to the occurrence of the transaction and eventually the poem. Rosenblatt (2005)

explains that the stance is aligned with the reader’s purpose, and by selecting a particular stance, the reader will have a different kind of relationship with the text. This relationship and transaction are deeply connected to the emotion evoked during gameplay.

The literary experience begins with marks on the paper connected with knowledge and emotion, to result in meaning for the reader. The gamer walks down a similar path when creating a gaming experience. Such meaning gained for a reader,

which results in a literary experience, goes beyond a literal meaning of the text and connects what is experienced when read to a greater meaning outside the text and applies to the reader’s life.

Rosenblatt describes how we must go beyond the text: “The patterns of signs on the page remain[s] the same; the difference is in the reader’s activity in relation to those signs” (p. xxiii).

Cox and Many (1989) relate this idea in their levels of personal use (LPU) chart to the more aesthetic end of the chart described as a general belief or application to life

opposed to the more efferent end of the chart described as a literal meaning of the text. The LPU has a 4-point scale to further demonstrate if the response is more

aesthetic or efferent. The first and second points demonstrate the world of the text while the third and fourth points show application to life. Points one and two

connect to responses that show a more literal meaning of the text. Points three and four rate responses that show a personal connection with the text.

Responses on the third point will demonstrate understanding the story with an analogy to self or the world. The fourth point responses show an understanding of relating the story with a belief about life (Cox & Many, 1992a).

Rosenblatt does not list gaming specifically but does discuss that “literature makes comprehensible the myriad ways in which human beings meet the infinite possibilities that life offers”

(Rosenblatt, 1995, p. 6). Such a connection to the outside world can apply to generalizations about society and/or to more personal connections to the individual’s life. Rosenblatt believes this level of application cannot be avoided:

“Even if the teacher desired to, he could not evade transmitting certain generalized concepts concerning character and the ways in which it is molded and motivated” (Rosenblatt, 1995, p. 14).

When the reader is in a more predominately aesthetic stance, she/he is able to make a personal application to the literature or relate it to the outside world.

The complexity of combining both the social awareness and pure enjoyment is what Rosenblatt (1995) calls a “more fruitful understanding and appreciation of

literature” (p. 23). The participants discussed this concept of application to their lives and greater understanding in their interviews about

the gaming experience. The meaning of the challenges faced in the game provided an understanding of how to operate in life when dealing with obstacles.

During an aesthetic transaction, the text is particularly important to the reader. A rephrasing of the material is not appropriate for a reader in the aesthetic stance.

In contrast, the reader in an efferent stance can gain an equal experience from a rephrasing of the text given to her/him (Rosenblatt, 1978).

Each of the participants discussed their views regarding the gaming experience when they were not actually playing the game but just watching.

The participants did not believe that about game play would equal a gaming experience. On the other hand, the participants did believe they could have a gaming experience from watching game play.

This idea of watching another player as evoking a gaming experience falls in line with Rosenblatt’s transaction when in an aesthetic stance because watching the game is not a rephrasing of the game play.

The players (especially the Halo 1 and WoW gamers) who were watching, saw themselves as actually engaging in the game play even if they were not actually controlling the play.

Rosenblatt explains that the transaction occurring in an aesthetic stance cannot be rephrased or paraphrased for another because a listing of ideas or even feelings

“elicited by the text would not be mistaken for a statement of its ‘meaning’” (Rosenblatt, 1978, p. 87). By watching the game play, the players were involved directly, and thus could have a transaction.

Meaning is created during the transaction and is an organic process occurring as the reader and the text connect in a specific moment in time.

“A novel or poem or play remains merely ink spots on paper until a reader transforms them into a set of meaningful symbols” (Rosenblatt, 1995, p. 24).

Since meaning is creating through the transaction process, meaning cannot be separated from the transaction; they are intertwined (Rosenblatt, 2005).

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Throughout the gaming experience, gamers are also creating meaning, but cheating can impact and possibly interrupt such creation of meaning and thus affect the transaction.

Rosenblatt (1995) describes the transaction and meaning creation as a “give and take” (p. 26) between the symbols on the page and the reader;

the Halo 1 and WoW participants viewed cheating as an one-way street where players are not giving (of their genuine skills) and only taking.

As a result, those participants saw the gaming experience of those who are cheating as inauthentic.

The belief and attitude statements in the CEGEQ about cheating reflected these results, with WoW and Halo 1 participants scoring directly opposite from Sims FreePlay participants.

Incorporating emotional experience as evaluation measure for serious games

One of the widely evaluated among the review articles is gaming experience.

Again, emotion is one of the attributes that is largely affected in an entertainment-based computing environment like virtual reality, companion robots and gaming

experience [76]. Now, some studies have considered emotion as UX and measure. For instance, emotion is used to evaluate UX of a gaming context (an action-puzzle game) [14]. Again, emotion is also used to evaluate

usability of another gaming environment (a digital car game) [17]. So, it is clear that there exists a close relation between users’ emotional experience and gaming

applications. But the existing studies have focused on particularly entertainment purposed gaming application and not on serious games while serious games are played for a particular purpose rather than pure entertainment such as a simulation

game for healthcare training programs which has effect on users’ emotion [77]. Thus, measuring emotion for UX and usability evaluation for serious games is vital and one of the key concerns in

the context of gaming experience as it offers a gaming environment that incorporates pedagogical aspects which is highly regulated by user emotion where traditional measures maybe questionable [78].

Besides, how the pedagogical elements of different types of serious games are affected by emotion, how the evaluation results of emotion for general

gaming experience and serious games differ, how effective the evaluation results are for a particular

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type of serious game are some of the open issues which require further investigation for evaluating users’ https://www.youtube.com/@kumaraatram5625 experience for serious games.

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