Peter Vorderer

A Process Model of the Formation of Spatial Presence Experiences

In order to bridge interdisciplinary differences in Presence research and to establish connections between Presence and “older” concepts of psychology and communication, a theoretical model of the formation of Spatial Presence is proposed. It is applicable to the exposure to different media and intended to unify the existing efforts to develop a theory of Presence. The model includes assumptions about attention allocation, mental models, and involvement, and considers the role of media factors and user characteristics as well, thus incorporating much previous work. It is argued that a commonly accepted model of Spatial Presence is the only solution to secure further progress within the international, interdisciplinary and multiple-paradigm community of Presence research.

Playing video games : motives, responses, and consequences

When communication researchers consider computer games (and video games) as a new form of media entertainment, they typically highlight those games’ interactivity because it is the main feature that distinguishes them from most other kinds of entertainment (Grodal, 2000; Vorderer, 2000). Not only do game players actively process information provided by the medium (as do viewers, readers, and users of other noninteractive media), but they also contribute substantially to the quality and progress of the media product itself. Their decisions and actions determine how a game looks, how it develops, and how it ends. Consequently, most theoretical work on the enjoyment of playing computer games has focused on the issue of interactivity and player action during game play (Klimmt, 2003, 2005). In order to handle modern entertainment software successfully, users must stay alert for most of the playing time and be able to respond quickly and appropriately to incoming new information. Some, if not many, of these responses may be automatized (Bargh, 1997) for efficient execution and conservation of cognitive processing resources. But, in general, the use of computer games should be modeled as a complex and multifaceted kind of action. Therefore, research on the psychology of action (e.g., Gollwitzer & Bargh, 1996; Heckhausen, 1977) offers theories and empirical findings that may help explain why people play and what they do during playing. Adopting the perspective of the psychology of action means searching for motifs (and motivations) of playing.

Media entertainment : the psychology of its appeal

Contents: Preface. D. Zillmann, The Coming of Media Entertainment. P. Vorderer, Interactive Entertainment and Beyond. D. Zillmann, Humor and Comedy. P. Vorderer, S. Knobloch, Conflict and Suspense in Drama. G.G. Sparks, C.W. Sparks, Violence, Mayhem, and Horror. B.S. Greenberg, L. Hofschire, Sex on Entertainment Television. G. Bente, A. Feist, Affect-Talk and Its Kin. P.M. Valkenburg, J. Cantor, Childrens Likes and Dislikes of Entertainment Programs. J. Bryant, A.A. Raney, Sports on the Screen. C.H. Hansen, R.D. Hansen, Music and Music Videos. T. Grodal, Video Games and the Pleasures of Control. M.B. Oliver, The Respondent Gender Gap. J.B. Weaver, III, Personality and Entertainment Preferences. G.C. Cupchick, S. Kemp, The Aesthetics of Media Fare.

Media psychology "is not yet there": introducing theories on media entertainment to the presence debate

Contemporary theoretical explications of presence experiences can be advanced and completed by integrating theoretical frameworks from media psychology. This article briefly presents concepts related to media entertainment that have been elaborated and/or applied by media psychologists and that exhibit considerable overlaps with the explication of presence. Specifically, the concept of involvement (Vorderer, 1992), affective disposition theory (Zillmann, 1996), simulation theory (Oatley, 1994), and the psychological theory of play (Oerter, 1999) are introduced. For each framework, connection points to the theoretical conceptualization of presence are pointed out. The article illuminates new opportunities for interdisciplinary cooperation in advancing our understanding of presence.

Experimental evidence for suspense as determinant of video game enjoyment.

Based on theoretical assumptions from film psychology and their application to video games, the hypothesis is tested that suspense is a major factor in video game enjoyment. A first-person shooter game was experimentally manipulated to create either a low level or a high level of suspense. Sixty-three participants were randomly assigned to experimental conditions; enjoyment was assessed after playing by a 10-item rating scale. Results support the assumption that suspense is a driver of video game enjoyment.

A new framework for entertainment computing: from passive to active experience

In this paper a new framework for entertainment computing is introduced and discussed. Based on already existing models and concepts the different links and relationships between enjoyment, flow, presence, and different forms of experiences are shown and their contributions to the new framework reviewed. To address the more fundamental and theoretical issues regarding entertainment, we have to utilize existing theories in information processing, enjoyment and flow theory. Some already possible and probably important conclusions for the design of new entertainment system are drawn.

Player Performance, Satisfaction, and Video Game Enjoyment

An experiment (N = 74) was conducted to investigate the impact of game difficulty and player performance on game enjoyment. Participants played a First Person Shooter game with systematically varied levels of difficulty. Satisfaction with performance and game enjoyment were assessed after playing. Results are not fully in line with predictions derived from flow and attribution theory and suggest players to (1) change their view on their own performance with its implications for enjoyment with increasing game experience and (2) to switch strategically between different sources of fun, thus maintaining a (somewhat) positive experience even when performance-based enjoyment is low.

Audience involvement and program loyalty

Abstract In accordance with recent developments in motivational psychology, it can be assumed that the reasons for the persistence of TV consumption are not equivalent to the factors which are responsible for the initial choice of a respective program. This means that a viewer would at first form a reception intention on the basis of certain interests or simple viewing habits; afterwards, on the basis of his experiences with the program, he could reach another decision of whether or not to continue the reception. To find out what factors are responsible for persistent reception, the course of two possible modes of reception (i.e. “involvement” and “analysis”) of different viewing groups watching two TV films were compared with the course of the ratings for these two films. The results show that only involvement, but not analysis, can be responsible for the persistence of film reception.

What’s next? Remarks on the current vitalization of entertainment theory

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Forecasting the Experience of Future Entertainment Technology “Interactive Storytelling” and Media Enjoyment

Advances in gaming and other entertainment technologies are evolving rapidly and create new conceptual challenges for understanding and explaining the user experiences they can facilitate. The present article reports a prospective study on a particularly promising entertainment technology of the future: Interactive storytelling (IS). Integrating various streams of computing technology, such as advanced visualization, natural speech processing, and autonomous agents, IS systems are envisioned to offer new, personalized and thus unique kinds of entertainment to mass audiences of the future. The authors refer to existing models of media entertainment for a theoretical analysis and analyze expert interviews with members of the international IS development community to lay out the foundations for a forecast model of the entertainment experience of future IS systems. The resulting model organizes fundamental requirements, modes of users’ information processing, and specific types of (pleasant) experiences, which holds implications for (future) entertainment theory and research that accompanies further development of IS media.