Immersion

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Immersion

  1. 1. Spatial Presence ACHIEVING IMMERSIVE QUALITIES IN VIDEO GAMES
  2. 2. What It Is  “the process by which a media element entices a person to suspend their disbelief and accept what they are viewing on a screen or page as actual reality”  “existing when media contents are perceived as real”  “experience of media users that they are personally and physically present in the displayed environment”  Essentially, it is an illusive technique
  3. 3.  Players are put under the illusion that they are part of this virtual world  Can be a conscious or subconscious decision  Trading one reality for another
  4. 4. IMPORTANCE
  5. 5. Important to both gamers and game developers  Proven that players who are immersed enjoy the game more  Encourages the player to play the game to the fullest  Keeps players coming back  Success of a video game is partially based on how immersive the game is
  6. 6. HOW DO WE ACHIEVE IT?
  7. 7. Making the player think  The player should be required to think within the context of the game  Important to create situations in the game where the player’s attention and focus is fully required  Player is less likely to be distracted  Trying to sustain the illusion of spatial presence
  8. 8. Making the player not think  Player should think within the context of the game but not outside of the context of the game  The game world should be consistent and make sense  Avoid reminding the player that they are playing a video game  Do Heads-Up-Displays, game chat, damage numbers…etc., pull the player out of immersion?  What about in-game advertisements?  Again, trying to sustain the illusion of spatial presence
  9. 9.  Psychologists are of the opinion that the more senses we try to address in a given medium, the more immersed the subject will become  Mimicking reality as accurately as possible Addressing the senses
  10. 10. GAME CONTENT AS SEEN BY THE PLAYER 3D Anaglyph gaming is currently possible and many gamers prefer it. It is still in further development
  11. 11. GAME CONTENT AS HEARD BY THE PLAYER Gaming audio is already at a very advanced stage Is also in further development
  12. 12. ADDRESSING THE PLAYER’S SENSE OF SMELL Smell-o-vision has existed since the 60’s but the implementing technology was poor Talk of smell-o-vision being incorporated into movies Would be a bigger success with video games
  13. 13. ADDRESSING THE PLAYER’S SENSE OF TOUCH Soon we may be able to feel actual pain while playing a game Tactile Gaming Vest being developed at the University of Pennsylvania Solenoid actuators in different parts of vest which fire in sync with game events
  14. 14. Other immersive qualities include…  A story or narrative – adds to the game world and makes it more believable. Gives the player extra incentive to play the game  A complete lack of technical problems – nothing is more frustrating and ruins a gaming experience more, than problems like lag, glitching…etc. When prevalent in a game, it makes it impossible for the player to be immersed  Music – creates an ambience. Plays to the players emotions
  15. 15. CONCLUSION
  16. 16.  These techniques are some of the ways we can achieve immersive qualities in a game  However, not all of these techniques are necessary. They merely make it easier for the player to suspend their disbelief  The techniques are particularly useful and applicable when designing a modern-day RPG, FPS or other free-roam adventure game  The level of immersion is most likely different for every individual. One player may become instantly immersed in a game, while another may have greater difficulty suspending their disbelief playing the same game
  17. 17. END

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