ABSTRACT
Previous research has investigated player immersion and how it may affect gameplay. However, there is little research discussing diegesis in games and how diegetic and non-diegetic elements might influence the level of immersion. Furthermore, it is still controversial to apply the concept of diegesis originating from film theory to games. Unlike the traditional world of film, games deal with players as interactive participants in narration. This research explores the effect of diegetic and non-diegetic elements on the immersion of 2D games with respect to Galloway's theory of diegesis in games using prototypes as research base. Applying the Immersive Experience Questionnaire (IEQ) we conclude that the participants perceived the non-diegetic prototype on a higher level of immersion, notably differences in cognitive involvement and real world dissociation can be inferred.
- Emily Brown and Paul Cairns. 2004. A grounded investigation of game immersion. In Proceedings of CHI '04 Extended Abstracts on Human Factors in Computing Systems. ACM Press, April 24--29, 2004, Vienna, Austria, 1297--1300. Google ScholarDigital Library
- Kevin Cheng and Paul Cairns. 2005. Behaviour, Realism and Immersion in Games. In Proceedings of CHI '05 Extended Abstracts on Human Factors in Computing Systems. ACM Press, April 02--07, Portland, OR, USA, 1272--1275 Google ScholarDigital Library
- Mihaly Csikszentmihalyi. 1990. Flow: The psychology of optimal experience. Harper and Row, New York, NY.Google Scholar
- Alexander R. Galloway. 2006. Gaming: Essays on Algorithmic Culture. University of Minnesota Press, Minneapolis, MN. Google ScholarDigital Library
- Mark Grimshaw and Gareth Schott. 2007. Situating Gaming as a Sonic Experience: The acoustic ecology of First-Person Shooters. In Proceedings of the 2007 DiGRA International Conference: Situated Play (DiGRA '07). University of Tokyo, Japan, 474--481.Google Scholar
- Ioanna Iacovides, Anna L. Cox, Richard Kennedy, Paul Cairns, and Charlene Jennett. 2015. Removing the HUD: The Impact of Non-Diegetic Game Elements and Expertise on Player Involvement. In Proceedings of the 2015 Annual Synopsium on Computer-Human Interaction in Play (CHI PLAY '15). ACM Press, October 05--07, 2015, London, United Kingdom, 13--22 Google ScholarDigital Library
- Katherine Isbister, Elena Márquez Segura, and Edward F. Melcer. 2018. Social Affordances at Play. In Proceedings of the 2018 CHI Conference on Human Factors in Computing Systems (CHI '18). ACM Press, April 21--26, 2018, Montreal QC, CanadaGoogle Scholar
- Charlene Jennett, Anna L. Cox, Paul Cairns, Samira Dhoparee, Andrew Epps, Tim Tijs, and Alison Walton. 2008. Measuring and defining the experience of immersion in games. International Journal of Human-Computer Studies, 66 (Sept. 2008), 641--661. Google ScholarDigital Library
- Kristine Jørgensen. 2011. Time for New Terminology. In Mark Grimshaw (Ed.), Game Sound Technology and Player Interaction. Hershey, PA: IGI Global.Google Scholar
- Rilla Khaled. 2018. Questions Over Answers: Reflective Game Design. In Daniel Cermak-Sassenrath, (Ed.), Playful Disruption of Digital Media. Springer Singapore.Google Scholar
- Alison McMahan. 2003. Immersion, Engagement, and Presence: A Method for Analyzing 3D Videogames. In Mark J. P. Wolf and B. Perron (Eds.), The Video Game Theory Reader. Routledge, Taylor and Francis Group, New York, NY, USA.Google Scholar
- Lennart E. Nacke, Anders Drachen, Kai Kuikkaniemi, Joerg Niesenhaus, Hannu Korhonen, Wouter M. van den Hoogen, Karolien Poels, and Wijnand Ijsselsteijn. 2009. Playability and Player Experience Research. In Proceedings of the 2009 DiGRA International Conference: Breaking New Ground: Innovation in Games, Play, Practice and Theory (DiGRA '09). September 01--04, 2009, Brunel University, London, United Kingdom.Google Scholar
- Max Pears. 2017. Game Details: Turning Ordinary to Extraordinary - Part 1. (May 2017) Retrieved October 27, 2018 from http://www.gamasutra.com/blogs/MaxPears/20161212/287372/Game_Details_Turning_Ordinary_to_Extraordinary__Part1.php.Google Scholar
- Rob van Roy, Sebastian Deterding, and Bieke Zaman. 2018. Uses and Gratifications of Initiating Use of Gamified Learnings Platforms. In Proceedings of CHI '18 Extended Abstracts on Human Factors in Computing Systems. ACM Press, April 21--26, 2018, Montreal QC, Canada. Google ScholarDigital Library
- José L. González-Sánchez, Natalia P. Zea, and Francisco L. Gutiérrez. 2009. Playability: How to Identify the Player Experience in a Video Game. In Proceedings of 12th International Conference on Human-Computer Interaction (INTERACT 2009). Springer, August 24--28, 2009, Uppsala, Sweden, 356--359. Google ScholarDigital Library
- Anthony Stonehouse. 2014. User interface design in video games. (February 2014). Retrieved October 28, 2018 from http://www.gamasutra.com/blogs/AnthonyStonehouse/20140227/211823/User_interface_design_in_video_games.php.Google Scholar
- Andreas Westerberg and Henrik Schoenau-Fog. 2015. Categorizing video game audio. In Proceedings of the 19th International Academic Mindtrek Conference (AcademicMindTrek '15). ACM Press, September 22--24, 2015, Tampere, Finland, 47--54. Google ScholarDigital Library
Index Terms
- Exploring the influence of non-diegetic and diegetic elements on the immersion of 2D games
Recommendations
Exploring the feasibility of diegetic in-game store user interfaces
ACSW '17: Proceedings of the Australasian Computer Science Week MulticonferenceDiegetic (stock-on-shelf) user interfaces may offer advantages, such as increased player immersion, compared to non-diegetic (list-based) in-game store interfaces. One way to evaluate this hypothesis would be to have a single game store with both ...
The interplay between immersion and appeal in video games
A 2í 2 study on immersion and appeal of video games is presented.Immersion and appeal are found to be highly related.Immersion is found to be unaffected by playing experience.Appeal is found to be affected both by game played and playing experience. ...
Capturing User Emotions in Interactive Stories: Comparing a Diegetic and a Non-diegetic Approach to Self-reporting Emotion
Interactive StorytellingAbstractCapturing the player’s emotions in an interactive story can serve many purposes, such as to understand player response to a story or to alter the story’s path. The concept of diegesis defines the boundary between the story world and the real world,...
Comments