Genre, technology and embodied interaction: The evolution of digital game genres and motion gaming

A natural user interface to integrate citizen science and physical exercise

“…Our results confirm the hypothesis that physical activity involving a set of body motions is perceived as engaging, despite the fact that it may limit maneuverability [ 71 ]. It is possible that the gestures performed by the participants could offer an additional motivational driver, similar to instances of gamification in citizen science [ 72 , 73 ].…”

Gaming and the limits of digital embodiment

“…The idea that digital environments could provide complete sensory immersion has long been a 'technofantasy' of science fiction (Ihde, 2010;; Gregersen, 2011). However, this remains a regulative ideal and point of orientation for games design, with 3D game worlds becoming ever more convincing, haptic technologies more sophisticated, and control interfaces based on more natural forms of bodily action.…”

Generic Structures, Generic Experiences: A Cognitive Experientialist Approach to Video Game Analysis

“…One way to formalize such success criteria are to see them as player goals embedded in a structure of mechanics and dynamics (Hunicke et al 2004) and another proposal for a more specific formalization of these success criteria, pitched at a higher level of abstraction, is that of quest structures (Aarseth 2005). In addition, we can also trace the embodied agency of players to their actual embodiment: Players interact with material interfaces and perform actual embodied physical actions, and one can thus argue that video game genres systematically structure embodied interaction modes of players by way of their generic material interfaces and their required embodied actions and requisite mapping to virtual actions (Gregersen 2011).…”

“…An important and consistent aspect of video game interactivity is not just the interactivity as defined in terms of game goals, but also in terms of actual embodied interaction (Gregersen andGrodal 2009, Gregersen 2011). Players interact physically with the control interface and computational procedures register and map these actions into meaningful action in the audiovisually representated game world.…”

“…When conceptualising genre as tied to audiences and their genre-specific knowledge of what to expect from a given genre, the physical interaction mode is clearly part of this set of cognitive competences. This is thus one set of experiences which is generic, namely that of the experience of structured embodied interaction (Gregersen 2011).…”