Video games are an exciting part of new media. Although game play has been intensively studied, the underlying neurobiology is still poorly understood. Flow theory is a well-established model developed to describe subjective game experience. In 13 healthy male subjects, we acquired fMRI data during free play of a video game and analyzed brain activity based on the game content. In accordance with flow theory, we extracted the following factors from the game content: (i) balance between ability and challenge; (ii) concentration and focus; (iii) direct feedback of action results; (iv) clear goals; and (v) control over the situation/activity. We suggest that flow is characterized by specific neural activation patterns and that the latter can be assessed-at least partially-by content factors contributing to the emergence of flow. Each of the content factors was characterized by specific and distinguishable brain activation patterns, encompassing reward-related midbrain structures, as well as cognitive and sensorimotor networks. The activation of sensory and motor networks in the conjunction analyses underpinned the central role of simulation for flow experience. Flow factors can be validated with functional brain imaging which can improve the understanding of human emotions and motivational processes during media entertainment.

Supramodal representation of emotion and its neural substrates have recently attracted attention as a marker of social cognition. However, the question whether perceptual integration of facial and vocal emotions takes place in primary sensory areas, multimodal cortices, or in affective structures remains unanswered yet. Using novel computer-generated stimuli, we combined emotional faces and voices in congruent and incongruent ways and assessed functional brain data (fMRI) during an emotional classification task. Both congruent and incongruent audiovisual stimuli evoked larger responses in thalamus and superior temporal regions compared with unimodal conditions. Congruent emotions were characterized by activation in amygdala, insula, ventral posterior cingulate (vPCC), temporo-occipital, and auditory cortices; incongruent emotions activated a frontoparietal network and bilateral caudate nucleus, indicating a greater processing load in working memory and emotion-encoding areas. The vPCC alone exhibited differential reactions to congruency and incongruency for all emotion categories and can thus be considered a central structure for supramodal representation of complex emotional information. Moreover, the left amygdala reflected supramodal representation of happy stimuli. These findings document that emotional information does not merge at the perceptual audiovisual integration level in unimodal or multimodal areas, but in vPCC and amygdala.

In our everyday lives, we perceive emotional information via multiple sensory channels. This is particularly evident for emotional faces and voices in a social context. Over the past years, a multitude of studies have addressed the question of how affective cues conveyed by auditory and visual channels are integrated. Behavioral studies show that hearing and seeing emotional expressions can support and influence each other, a notion which is supported by investigations on the underlying neurobiology. Numerous electrophysiological and neuroimaging studies have identified brain regions subserving the integration of multimodal emotions and have provided new insights into the neural processing steps underlying the synergistic confluence of affective information from voice and face. In this paper we provide a comprehensive review covering current behavioral, electrophysiological and functional neuroimaging findings on the combination of emotions from the auditory and visual domains. Behavioral advantages arising from multimodal redundancy are paralleled by specific integration patterns on the neural level, from encoding in early sensory cortices to late cognitive evaluation in higher association areas. In summary, these findings indicate that bimodal emotions interact at multiple stages of the audiovisual integration process.