Abstract:The main focus of this article is to examine the interpretation of twelve cartographic symbols on the map in Valheim. The authors set the research goal: to investigate how players and non-players interpret the symbols. The Valheim video game, which was released in 2021, is a survival game set in an open world. The authors noticed that game developers did not provide a direct explanation of the map symbols used, which could result in a different interpretation and experience of the game. The authors adopted a s… Show more
“…One of the most important conditions is the sample size and the value of each response. There is no arbitrary acceptable sample size, so the minimum sample value varies between 20 and 50 people (Horbiński & Zagata, 2021). The number of responses assumes that no more than 1/5 of the expected values are less than 5 and that there are no cells with the number zero (Rosner, 2006).…”
Section: Methodsmentioning
confidence: 99%
“…In modern video games the term “spatial exploration” is used as a fundamental element of the game that consists in expanding the knowledge of the world and facilitating navigation in the field (Si et al, 2017). Moreover, collecting spatial information is to a large extent based on reading maps and the interaction with the navigation elements of the user interface (Horbiński & Zagata, 2021, 2022a, 2022b). In the last years game developers were working out various navigation aids, such as: maps of campaign setting, mini-maps, routing lines, compass, verbal instructions, colours of objects and cut-scenes (Gardony et al, 2015; Toups et al, 2019).…”
Background League of Legends is one of the most popular video games in the world. With the help of the new initiatives of the developers and publishers (Riot Games), professional international and local tournaments were established. Riot Games also took care of establishing regional leagues, such as LCK (League of Legends Champions Korea) or LEC (League of Legends European Championship). The best teams from each region have an annual chance to compete in October / November to become the esports world champions in LoL. Watching the tournaments such as world champions, as well as amateur streams on popular platforms (Twitch, YouTube) is now trending more and more. The fact that the game (especially spatial situations) can be observed by both experts (players of this game) and non-experts (players of other games or non-players at all) creates a field for scientific research. Intervention The authors of this article wanted to establish whether or not the League of Legends game offers gamers with different levels of knowledge of the entire game and different range of cognitive skills the same interpretation of spatial situations. Methods The research was carried out in the form of a questionnaire (offline), in which respondents were supposed to watch five short videos presenting different situations during the game. Eighty-two respondents, divided into three groups, participated in the research. The Pearson chi-square test was used for the analysis of the differences between groups. Results and Discussion As a consequence of the results of this study it may be concluded that gamers on different advancement level do not present the same level of interpretation of spatial situations in the game. The authors, using the scheme of knowledge of the point, lane, and area in the construction of video questionnaire did not focus on the game as a whole, but wanted to highlight crucial elements of the entire game.
“…One of the most important conditions is the sample size and the value of each response. There is no arbitrary acceptable sample size, so the minimum sample value varies between 20 and 50 people (Horbiński & Zagata, 2021). The number of responses assumes that no more than 1/5 of the expected values are less than 5 and that there are no cells with the number zero (Rosner, 2006).…”
Section: Methodsmentioning
confidence: 99%
“…In modern video games the term “spatial exploration” is used as a fundamental element of the game that consists in expanding the knowledge of the world and facilitating navigation in the field (Si et al, 2017). Moreover, collecting spatial information is to a large extent based on reading maps and the interaction with the navigation elements of the user interface (Horbiński & Zagata, 2021, 2022a, 2022b). In the last years game developers were working out various navigation aids, such as: maps of campaign setting, mini-maps, routing lines, compass, verbal instructions, colours of objects and cut-scenes (Gardony et al, 2015; Toups et al, 2019).…”
Background League of Legends is one of the most popular video games in the world. With the help of the new initiatives of the developers and publishers (Riot Games), professional international and local tournaments were established. Riot Games also took care of establishing regional leagues, such as LCK (League of Legends Champions Korea) or LEC (League of Legends European Championship). The best teams from each region have an annual chance to compete in October / November to become the esports world champions in LoL. Watching the tournaments such as world champions, as well as amateur streams on popular platforms (Twitch, YouTube) is now trending more and more. The fact that the game (especially spatial situations) can be observed by both experts (players of this game) and non-experts (players of other games or non-players at all) creates a field for scientific research. Intervention The authors of this article wanted to establish whether or not the League of Legends game offers gamers with different levels of knowledge of the entire game and different range of cognitive skills the same interpretation of spatial situations. Methods The research was carried out in the form of a questionnaire (offline), in which respondents were supposed to watch five short videos presenting different situations during the game. Eighty-two respondents, divided into three groups, participated in the research. The Pearson chi-square test was used for the analysis of the differences between groups. Results and Discussion As a consequence of the results of this study it may be concluded that gamers on different advancement level do not present the same level of interpretation of spatial situations in the game. The authors, using the scheme of knowledge of the point, lane, and area in the construction of video questionnaire did not focus on the game as a whole, but wanted to highlight crucial elements of the entire game.
“…The useful experience from computer games was pointed out by Edler: "VR environments can be supported by new tools of user navigation and locomotion which have been adopted from video and computer gaming, such as mini-maps, signifying markers and teleporting techniques" [23]. The usage of symbols in games and how they are perceived by non-gamers is shown in Horbi ński's paper, where he analyzed map symbols in the game "Valheim" [28]. The findings can surely be applied to VR applications since they are also a form of a game, but we must understand that some of the new VR users are not gamers and so we must adjust accordingly.…”
Digital technologies in the modern era are almost mandatory for the presentation of all types of cultural heritage. Virtual depictions of crafts and traditions offer the users the possibility of time travel, taking them to the past through the use of 3D reconstructions of cultural monuments and sites. However, digital resources alone are not enough to adequately present cultural heritage. Additional information on the historical context in the form of stories, virtual reconstructions, and digitized objects is needed. All of this can be implemented using a digital multimedia presentation technique called digital storytelling. Nowadays, an integral part of many museum exhibitions is interactive digital storytelling. This paper gives an overview of the techniques and discusses different means of facilitating interaction on digital storytelling applications for virtual cultural heritage presentations. We describe the ways in which natural interaction and interaction via eXtended Reality (Virtual and Augmented Reality) applications for cultural heritage are made possible. Users will find the stories told through these applications educational and entertaining at the same time. Through user-experience studies, we measure the user edutainment level and present how users react to implemented interactions.
“…Visual storytelling in cartography and map modification by using appropriate structural features of textual media more suitable for storytelling are considered interesting forms of an interdisciplinary approach [15][16][17]. This issue is also part of ongoing debates in the field of multimedia cartography, particularly in terms of established forms of expression [18][19][20]. Multiple studies touch upon the cognitive limits of animated maps [21] and the increasing role of story maps and interactive information graphics in spatial information [22].…”
Research on a specific topic requires the individualized cartographic methods of work that may be defined as the Realm of Maps. The double dimensionality in the Realm of Maps is understood here as a physical place—a studio workroom—and as a research method. In this study, we focused on the way of presenting a research method designed to study the topic of historico-geographical space in the form of a short film story. The second purpose is to indicate the legitimacy of combining two dimensions of working with maps, the real one and the virtual one, to be able to collect cartographic and descriptive sources in one scientific center. Our research on the Story from the Realm of Maps in Regensburg: ‘People Movement in Southeast Europe’ included a concept adopted by cartographical, historical, and geographical sources; the construction of a studio workroom; a script draft; individual sequences of the story in different types of media; editing the video, along with publishing it on an online video-sharing platform. We used as many different types of geomedia as possible, which, on the one hand, boosts the attractiveness of the film and, on the other, may hamper the proper perception of the main film plot. Finally, we recommend principles of map design for the film, with analog maps and maps created specifically for the short film, published using online video-sharing platforms.
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