No abstract

Digital games with realistic virtual characters have become very popular. The ability for players to promptly control their character is a crucial feature of these types of games, be it platform games, first-person shooters, or role-playing games. Controller latencies, meaning delays in the responsiveness of a player's character, for example due to extensive computations or to network latencies, can considerably reduce the player's enjoyment of a game. In this paper, we present a thorough analysis of the consequences of such delays on the player's experience across three parts of a game with different levels of difficulty. We investigate the effects of responsiveness on the player's enjoyment, performance, and perception of the game, as well as the player's adaptability to delays. We find that responsiveness is very important for the player as delays affect the player's enjoyment of the game as well as the player's performance. A quick responsiveness becomes essential for more challenging tasks. AbstractDigital games with realistic virtual characters have become very popular. The ability for players to promptly control their character is a crucial feature of these types of games, be it platform games, first-person shooters, or role-playing games. Controller latencies, meaning delays in the responsiveness of a player's character, for example due to extensive computations or to network latencies, can considerably reduce the player's enjoyment of a game. In this paper, we present a thorough analysis of the consequences of such delays on the player's experience across three parts of a game with different levels of difficulty. We investigate the effects of responsiveness on the player's enjoyment, performance, and perception of the game, as well as the player's adaptability to delays. We find that responsiveness is very important for the player as delays affect the player's enjoyment of the game as well as the player's performance. A quick responsiveness becomes essential for more challenging tasks.

Response lag in digital games is known to negatively affect a player's game experience. Particularly with networked multiplayer games, where lag is typically unavoidable, the impact of delays needs to be well understood so that its effects can be mitigated. In this paper, we investigate two aspects of lag independently: latency (constant delay) and jitter (varying delay). We evaluate how latency and jitter each affect a player's enjoyment, frustration, performance, and experience as well as the extent to which players can adjust to such delays after a few minutes of gameplay. We focus on a platform game where the player controls a virtual character through a world. We find that delays up to 300ms do not impact the players' experience as long as they are constant. When jitter was added to a delay of 200ms, however, the lag was noticed by participants more often, hindered players' ability to improve with practice, increased how often they failed to reach the goal of the game, and reduced the perceived motion quality of the character.

Adventure role playing games (RPGs) provide players with increasingly expansive worlds, compelling storylines, and meaningful fictional character interactions. Despite the fast-growing richness of these worlds, the majority of interactions between the player and non-player characters (NPCs) still remain scripted. In this paper we propose using an NPC's animations to reflect how they feel towards the player and as a proof of concept, investigate the potential for a straightforward gaze model to convey trust. Through two perceptual experiments, we find that viewers can distinguish between high and low trust animations, that viewers associate the gaze differences specifically with trust and not with an unrelated attitude (aggression), and that the effect can hold for different facial expressions and scene contexts, even when viewed by participants for a short (five second) clip length. With an additional experiment, we explore the extent that trust is uniquely conveyed over other attitudes associated with gaze, such as interest, unfriendliness, and admiration. AbstractAdventure role playing games (RPGs) provide players with increasingly expansive worlds, compelling storylines, and meaningful fictional character interactions. Despite the fast-growing richness of these worlds, the majority of interactions between the player and non-player characters (NPCs) still remain scripted. In this paper we propose using an NPC's animations to reflect how they feel towards the player and as a proof of concept, investigate the potential for a straightforward gaze model to convey trust. Through two perceptual experiments, we find that viewers can distinguish between high and low trust animations, that viewers associate the gaze differences specifically with trust and not with an unrelated attitude (aggression), and that the effect can hold for different facial expressions and scene contexts, even when viewed by participants for a short (five second) clip length. With an additional experiment, we explore the extent that trust is uniquely conveyed over other attitudes associated with gaze, such as interest, unfriendliness, and admiration.

AngerDisgust Fear Happiness Sadness Surprise AbstractMotion capture remains a popular and widely-used method for animating virtual characters. However, all practical applications of motion capture rely on motion editing techniques to increase the reusability and flexibility of captured motions. Because humans are proficient in detecting and interpreting subtle details in human motion, understanding the perceptual consequences of motion editing is essential. Thus in this work, we perform three experiments to gain a better understanding of how motion editing might affect the emotional content of a captured performance, particularly changes in posture and dynamics, two factors shown to be important perceptual indicators of bodily emotions. In these studies, we analyse the properties (angles and velocities) and perception (recognition rates and perceived intensities) of a varied set of full-body motion clips representing the six emotions anger, disgust, fear, happiness, sadness, and surprise. We have found that emotions are mostly conveyed through the upper body, that the perceived intensity of an emotion can be reduced by blending with a neutral motion, and that posture changes can alter the perceived emotion but subtle changes in dynamics only alter the intensity.