Mark Grimshaw

More than a feeling: Measurement of sonic user experience and psychophysiology in a first-person shooter game

The combination of psychophysiological and psychometric methods provides reliable measurements of affective user experience (UX). Understanding the nature of affective UX in interactive entertainment, especially with a focus on sonic stimuli, is an ongoing research challenge. In the empirical study reported here, participants played a fast-paced, immersive first-person shooter (FPS) game modification, in which sound (on/off) and music (on/off) were manipulated, while psychophysiological recordings of electrodermal activity (EDA) and facial muscle activity (EMG) were recorded in addition to a Game Experience Questionnaire (GEQ). Results indicate no main or interaction effects of sound or music on EMG and EDA. However, a significant main effect of sound on all GEQ dimensions (immersion, tension, competence, flow, negative affect, positive affect, and challenge) was found. In addition, an interaction effect of sound and music on GEQ dimension tension and flow indicates an important relationship of sound and music for gameplay experience. Additionally, we report the results of a correlation between GEQ dimensions and EMG/EDA activity. We conclude subjective measures could advance our understanding of sonic UX in digital games, while affective tonic (i.e., long-term psychophysiological) measures of sonic UX in digital games did not yield statistically significant results. One approach for future affective psychophysiological measures of sonic UX could be experiments investigating phasic (i.e., event-related) psychophysiological measures of sonic gameplay elements in digital games. This could improve our general understanding of sonic UX beyond affective gaming evaluation.

Bridging the uncanny: an impossible traverse?

This paper proposes that increasing technological sophistication in the creation of realism for human-like virtual characters is matched by increasing technological discernment on the part of the viewer. One of the goals for achieving a realism that is believable for virtual characters is to overcome the Uncanny Valley where perceived eeriness or familiarity are rated against perceived human-likeness. Empirical evidence shows the uncanny can be applied to virtual characters, yet implies a more complex picture than the shape of a deep valley with a sharp gradient as depicted in Moris original plot of the Uncanny Valley. Our results imply that: (1) perceived familiarity is dependent upon a wider range of variables other than appearance and behaviour; and (2) for realistic, human-like characters, the Uncanny Valley is better replaced with the notion of an Uncanny Wall because the Uncanny Valley, as a concept, is not fully supported by the empirical evidence but, more importantly as a standard for creating human-like realism, is an impossible traverse.

The Uncanny Wall

This paper proposes that increasing technological sophistication in the creation of realism for human-like, virtual characters is matched by increasing technological discernment on the part of the viewer. One of the goals for achieving a realism that is believable for virtual characters is to overcome the Uncanny Valley where perceived strangeness or familiarity is rated against perceived human-likeness. Empirical evidence shows that the Uncanny can be applied to virtual characters, yet implies a more complex picture than the shape of a deep valley with a sharp gradient as depicted in Mori’s original plot of the Uncanny Valley. Our results imply that: (1) perceived familiarity is dependent upon a wider range of variables other than appearance and behaviour and (2) for realistic, human-like characters, the Uncanny Valley is an impossible traverse, is not supported fully by empirical evidence and the concept is better replaced with the notion of an Uncanny Wall.

A preliminary experiment to assess the fear value of preselected sound parameters in a survival horror game

This paper presents an experiment testing which sound parameters, in a survival horror game context, most warrant further investigation as a means to control the level of fear in such games. The experiment is part of a long-term study ultimately designed to support the development of a biofeedback procedural audio engine for computer games. By this means, it is hoped to provide an enhanced gaming experience whereby sound synthesis and audio processing is conducted in real-time according to the players affect responses and emotional state. Results indicate that coarse manipulation of audio parameters has the potential to influence the intensity of the players fear response whilst playing a survival horror game. Evidence is also presented that supports the integration of event logging and realtime participant vocal response into an experimental design to gather unbiased, quantitative data that can be associated with qualitative emotional response.

A climate of fear: considerations for designing a virtual acoustic ecology of fear

This paper proposes a framework that incorporates fear, acoustics, thought processing and digital game sound theory; with the potential to not only improve understanding of our relationship with fear, but also generate a foundation for reliable and significant manipulation of the fear experience. A brief literature review provides the context for a discussion of fear and sound in virtual worlds before the framework is described; concluding remarks point to future empirical work testing and refining the framework.

Relational Agents: A Critical Review

Relationships between people who meet in virtual worlds are common and these relationships can be long term, in some cases lasting a life-time. Although relationships formed in virtual worlds have invited a lot of recent interest, surprisingly little work has been done on developing computer agents and non-player characters that can actively participate in such relationships. The focus of this review is relational agents, agents that can build long term socio- emotional relationships with users. In virtual worlds, such agents are just starting to emerge; they are more common in other environments but remain few and far between. This review critically assesses the progress of relational agent development and research since their inception in 2005, proposes new areas of research and considers the potential for their exploitation in virtual worlds.

Sonic Virtuality: Sound as Emergent Perception

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The Effect of Onset Asynchrony in Audio Visual Speech and the Uncanny Valley in Virtual Characters

This study investigates if the Uncanny Valley phenomenon is increased for realistic, human-like characters with an asynchrony of lip movement during speech. An experiment was conducted in which 113 participants rated, a human and a realistic, talking-head, human-like, virtual character over a range of onset asynchronies for both perceived familiarity and human-likeness. The results show that virtual characters were regarded as more uncanny (less familiar and human-like) than humans and that increasing levels of asynchrony increased perception of uncanniness. Interestingly, participants were more sensitive to the uncanny in characters when the audio stream preceded the visual stream than with asynchronous footage where the video stream preceded the audio stream. This paper considers possible psychological explanations as to why the magnitude and direction of an asynchrony of speech dictates magnitude of perceived uncanniness and the implications of this in character design.

Effect of emotion and articulation of speech on the uncanny valley in virtual characters

This paper presents a study of how exaggerated facial expression in the lower face region affects perception of emotion and the Uncanny Valley phenomenon in realistic, human-like, virtual characters. Characters communicated the six basic emotions, anger, disgust, fear, sadness and surprise with normal and exaggerated mouth movements. Measures were taken for perceived familiarity and human-likeness. The results showed that: an increased intensity of articulation significantly reduced the uncanny for anger; yet increased perception of the uncanny for characters expressing happiness with an exaggeration of mouth movement. The practical implications of these findings are considered when controlling the uncanny in virtual characters.

The Sound of the Smell of my Shoes

Given the sensory poverty of virtual environments, such as those found in computer games that rely, in the main, solely on audio-visual interfaces, how best do we attain the experience of presence in those environments when presence requires the construction of a coherent (in the sense of realism) place in which to be and in which to act? The paper explores this question through an investigation of the senses of hearing and smell and suggests the possibility of introducing the experience of odours into such environments through the use of sound.