These days, the gaming industry is dominated by the hype and flash of big development companies making blockbuster games. They were critical in the heydays when video games were just a budding hobby, and mostly responsible for the widespread use today. Every season, new games are coming out, rehashing the previous successes while slapping on an extra “perk” or “choose-your-own” mechanics. Despite the decades of developing games and millions of dollars in financial backing, these games are still hit or miss. Yet, they continue to hold the measuring stick by which popular video games are defined. How to solve this dilemma of consistently obtaining and playing an enjoyable game?

Good news! You do not have to look to the major game developers and big-name companies to find good games. Sometimes, the value of a quality game comes from knowing yourself, with a bit of exploration. Going off the beaten path sometimes could yield great rewards. Nowadays, Indie developers are gaining recognition along with the big players in the industry. They are doing as good of a job in producing games that really reach out to players, if not better. Without the shackles of contractual obligations and primarily pleasing the stakeholders, Indie developers are throwing caution to the wind to experiment with different mechanics and styles to offer players many refreshing options. While they might not deliver the range that a major company would provide, the few dimensions that they choose to focus on are solid and hard-hitting.

I miss the old days sometimes, when graphics and perks were not attainable due to the technological powers at the time. Back then, a game survived the market by its usability and playability. What we consider “classics” now, have operated on fundamental mechanics that we now know make a game truly successful. Collision detection, flow, palatable scenery, usability, and replay value are just some of the factors that were later discovered to be winning formulas. When managed appropriately, these factors result in a good game that can quickly become fan favorites and classics for decades.

These techniques are still being re-discovered today. User-created content in many browser-based flash game sites are making new games every hour. They have evolved from simple Tetris clones into solid game makers that can go toe-to-toe with the big boys. Console offer arcades at reduced prices as a medium for these individuals to share their creation, and for players to explore new frontiers. To reel back even further, enjoyable games can be created by anyone, even without the use of computer programming. Much like children making up the rules as they play along, so have grown ups modding their tabletop games and adjusting old board games. The possibilities are endless when rules are twisted and morphed into something that everyone at the table can find challenging and entertaining.

We don’t have to look to the shelves and empty our wallets for promises. Sure, the graphics might be nicer, and the metrics are more complex. There might be situations where games made by lesser known entities turn out to be a waste of time, too. But, focusing just on heavily-commercialized games would leave a majority of the gaming entertainment realm unexplored. Recognizing the rest might open up a new horizon in inspirations and what games could truly achieve.

In a computer game, one must not only have some control over the environment, but one must also be able to leverage this control to accomplish a goal set by the game (Garris, Ahlers, & Driskell, 2002). While there are a number of ways to implement this control, one of the more popular ways of doing so is to establish a digital representation of the self so that one can manipulate objects in the games virtual space. This digital representation is called an Avatar (Lim & Reeves, 2008).

Image property of NCSoft, from Aion: Ascension

In successful games, the user feels engrossed with the material on the screen, in a process known as immersion (Jin, 2009). To try and increase this sense of immersion, game designers do a number of things, including encouraging users to identify with their avatar; this identification process shifts the user from the role of an audience member to an acting member of the game (Bailey, Wise, & Bolls 2009). Being given a choice in terms of an avatar’s appearance has been shown to increase a player’s identification with that character, assuming the avatar is seen (Bailey et al., 2009). Consequently, many games offer avatar customization as a feature, an activity in which many players indulge (Ducheneaut, Wen, Yess, & Wadley, 2009). In fact, one can make the argument that, in the game Second Life, avatar customization is the point of the game (Ducheneaut et al, 2009). One’s identification with what is essentially a tool allows for the establishment of a curious relationship.

An avatar has the peculiar distinction of being both an externalized representation of the self and a tool that one uses. When we use a tool, we cognitively imbue it with properties of ourselves in a process known as disembodiment; the usage of tools, including avatars, is associated with the activation of the PTO junction, which is an area of the brain that encompasses parts of the parietal, temporal, and occipital lobes (Corradi-Dell’Acqua, Ueno, Ogawa, Cheng, Rumiati, & Iriki, 2008). So, because one sees their tool, the avatar, as an extension of the self, when your avatar does something, the individual takes responsibility for it. When you hit a nail with a hammer, you don’t think that the hammer embedded nails in wood; you did. The same principle applies in games, where one has an avatar, rather than a hammer.

Now, a particularly interesting part of this relationship is that not only do individuals project aspects of themselves onto their avatars, but that the relationship may in fact be reciprocal. There is evidence that a user’s mental model of the self, how one sees oneself, can actually be altered by one’s avatar when one is embodied in an avatar, albeit temporarily (Bailey et al., 2009). For example, on a dating/social networking site, when users were represented by more attractive avatars, they were more willing to approach members of the opposite sex (Vasalou, Joinson, Banziger, Goldie, & Pitt, 2008).

It’s like they’re twins!

While much more empirical research is necessary before one can make any conclusive claims, the implications of this potential reciprocal relationship are far reaching. If one wishes to go down the route of commercialism, this research would have consequences in the development of advergames. Advergames are advertiser sponsored games with branded content and they already make use of player customization to increase a user’s engagement with the game (Bailey et al., 2009). If one could establish this relationship, as well as a consistent means of establishing it, then one might be able leverage this relationship to increasing product sales. However, increasing sales is not the only reason to research this relationship further.

The potential for pro-social behavioral modification is also apparent. There is already research trying to use avatar design in exercise games as a way of keeping people on an exercise regime (Jin, 2009). People with poor self-image may be able to use specially designed games with avatars to help them establish a healthier self-image. Perhaps using an avatar to accomplish energy-conscious tasks in a game will yield slightly more “green” behavior amongst players. Further research in this field may give us another tool we could use to design games that can help players accomplish goals other than passing time in an enjoyable manner.

References

Bailey, R., Wise, K., & Bolls, P. (2009). How Avatar Customizability Affects Children’s Arousal and Subjective Presence During Junk Food–Sponsored Online Video Games. CyberPsychology & Behavior, 12(3), 277–283.

Corradi-Dell’Acqua, C., Ueno, K., Ogawa, A., Cheng, K., Rumiati, R. I., & Iriki, A. (2008). Effects of shifting perspective of the self: An fMRI study. NeuroImage, 40(4), 1902–1911.

Ducheneaut, N., Wen, M.-H., Yee, N., & Wadley, G. (2009). Body and mind: a study of avatar personalization in three virtual worlds. Proceedings of the 27th international conference on Human factors in computing systems, CHI ’09 (pp. 1151–1160). New York, NY, USA: ACM.

Garris, R., Ahlers, R., & Driskell, J. (2002). Games, motivation, and learning: A research and practice model. Simulation & Gaming: An Interdisciplinary Journal, 33(4), 441–467.

Jin, S.-A. A. (2009). Avatars Mirroring the Actual Self versus Projecting the Ideal Self: The Effects of Self-Priming on Interactivity and Immersion in an Exergame, Wii Fit. CyberPsychology & Behavior, 12(6), 761–765.

Lim, S., & Reeves, B. (2010). Computer agents versus avatars: Responses to interactive game characters controlled by a computer or other player. International Journal of Human-Computer Studies, 68(1–2), 57–68.

Augmented reality (AR) involves somehow supplementing the real world, often by overlaying virtually-generated information and animations onto real-time video of the actual environment. AR using head-mounted displays has long-been implemented¹. In recent years, however, the technology required for augmented reality (cameras, processing power, video cards, and displays) has become less expensive, less cumbersome, and more widespread. Because of this, we’ve been seeing more augmented reality in commercial products, like games and toys². Let’s face it, AR is pretty cool. Whether or not it is just a fad has yet to be seen, but the sheer number of applications for augmented reality is astounding (and exciting), and without a doubt AR has the potential to improve applications in several domains, such as for the Department of Defense, in training and education, and for entertainment.

Google recently revealed a new prototype video for Project Glass. Basically, this project focuses on wearable computing and augmented reality. An individual who wears these glasses can access messages, email, check into locations, take pictures, and use google for pretty much anything (general googling, google maps for directions, etc.).

More than ever, gaming hardware supports augmented reality. The PlayStation utilizes a camera for their augmented reality games (Eye of Judgement, EyePet) as does the Kinect for Xbox 360 (Fantastic Pets, to follow the virtual pet theme). The Nintendo 3DSi, which uses two screens to create a stereoscopic 3D effect and multiple cameras to support augmented reality gaming, comes packaged with AR games and cards. The PlayStation Vita also features cameras and has several free AR apps that can be downloaded to the system. Smartphones, which now make up about half of all mobile phones in the US, also have the hardware support needed to create augmented reality experiences — check out these interesting smartphone apps and games that use AR.

In very broad strokes, AR works by first scanning in some image. Mostly cards with special codes are used, but some AR platforms are capable of scanning entire objects. Next, that image is recognized and matched to entry in a database. Then, based on the programming, something happens: Text, images, video, or whatever assets are linked to that image pop-up on the screen, overlaid on the actual environment as captured by the cameras. Depending on the software and hardware, the individual may be able to interact with those assets.

Given their widespread availability and (relatively) inexpensive price tags, handheld gaming devices and mobile phones are popular mediums for serious games^3,4,5, and we know that they are now capable of supporting augmented reality. Squire & Klopfer⁶ list some reasons as to why augmented reality is extremely beneficial and has the potential to be extremely effective when implemented in serious games:

• AR is portable and accessible, which is especially relevant seeing as how most gaming hardware supports AR and the prevalence of smartphone use
• AR is social and encourages active participation
• AR allows for situated learning, which is where students learn in the relevant context and see how changes actually affect the system of interest, which is extremely important for learning science

For the serious game designer interested in creating AR serious games, it’s important to remember that we usually have to develop on the cheap. So what tools exist? You can look into the Kinect SDK, or look at Unity, which is a flexible development platform that will let you compile your game for consoles (if you have the right license). Your best bet, as a small serious games development team on a tight budget, is developing small app-based games for smartphones.

If you want to get started making apps, you should first check out the MIT App Inventor. It is a WYSIWYG, browser-based app development platform for Android phones. Originally Google’s project, this allows you to begin playing around with app creation. It is still in Beta, but it is definitely worth a look.

More specific to AR, there is Vuforia, Qualcomm’s augmented reality platform. It is used by smartphone and tablet app developers to create AR experiences. The SDK is available for download, so if you are interested in learning how to develop AR games for smartphones, this is a great place to start. Check out the video below to see an example of Vuforia in action.

Another exciting platform is Aurasma, which is a free app that you can download. It scans in entire images and then launches assets tied to that trigger. You, as a user, can tag images in the environment (creating auras) and add your own content. Aurasma lets you put in video, images, 3D objects, and, important to us, allows you to use objects in the environment for games.

These are advanced features created using the Aurasma Developer Studio, which does cost money, but if a serious game designer is interested in, say, making a museum display more engaging and interactive, using the free version, Aurasma Lite, can be a very helpful tool.

Since we’re also scientists over here, there are, of course, many human factors and ergonomics design considerations for using AR games, which I will only touch on briefly: there are ergonomics issues related to weight and extended use as these devices, given their hardware and power needs, may be quite heavy; general design issues related to multi-modal displays, attention, and distraction; the effect of 3D on developing visual systems; guidelines for designing near-to-eye games; issues related to simulator sickness. Future research areas could touch on AR and engagement, AR and training and education effectiveness, and ROI analyses to determine exactly how beneficial AR really is for serious games and training purposes.

This blog post comes from the following conference presentation that won best graduate paper at the 2012 Human Factors & Applied Psychology student conference: Procci, K. (2012, April). Augmented reality serious games. Paper presented at the 2012 Florida Student Conference for Human Factors and Applied Psychology at Embry-Riddle Aeronautical University, Daytona Beach, FL.

1. Szalavári, Z., Eckstein, E., & Gervautz, M. (1998). Collaborate gaming in augmented reality. VRST’98 (pp. 195-204). ACM.

2. Liarokapis, F. (2006). An exploration from virtual to augmented reality gaming. Simulation & Gaming, 37(4), 507-533.

3. Aoki, N., Ohta, S., Masuda, H., Naito, T., Sawai, T., Nishida, K., Okada, T., Oishi, M., Iwasawa, Y., Toyomasu, K., Hira, K., & Fukui, T. (2004). Edutainment tools for initial education of type-1 diabetes mellitus: Initial diabetes education with fun. Proceedings of the 11th World Congress on Medical Informatics (pp. 855–859). Amsterdam: IOS Press.

4. Crandall, R. W., & Sidak, J. G. (2008). Video games: Serious business for America’s economy. Entertainment Software Association.

5. Klopfer, E. (2008). Augmented learning: Research and design of mobile educational games. Cambridge, MA: MIT.

6. Squire, K., & Klopfer, E. (2007). Augmented reality simulations on handheld computers. Journal of the Learning Sciences, 16(3), 371-413.

ASPIRE is our newest project. It is both a research and game development effort.

ASPIRE, which stands for Architecture for Stress, Performance, Inoculation, Resilience, and Endurance, is a project funded by the Office of Naval Research to promote the development of mental toughness in Marines.

Returning Marines are at a high-risk of developing major depression, anxiety, and post-traumatic stress disorder¹. The Marine Corps Vision & Strategy 2025 highlights the need to enhance warfighters’ psychological resilience. We plan to address this problem through an extensive review of the existing resilience literature and by conducting an in-depth training-needs analysis. This will guide the development of a game-based training intervention for Marines aimed at improving warfighters’ resilience skills and promoting psychological well-being.

We look forward to beginning this project and welcoming the newest member to our team, Julian Montaquila, an incoming Clinical doctoral student at UCF, who will be helping us with this effort, along with programmer Greg Pardo.

1. J-MHAT. (2011). Joint Mental Health Advisory Team 7 to Operation Enduring Freedom Report. USAMC, USCENTCOM, & USFOR-A.

Today’s games and simulations allow one to see, be, and experience anything programmers and graphic artists can create.

Skyrim is a great example of a game that allows you have unique experiences. You have free roam over the world and can play the game however you want, from the hardy soldier to the quick thief or even as the vampire with a heart of gold, by having the ability to choose which quests you want to complete, how to complete them, which towns to explore, and you gain the specific skills and abilities you want. You can be whoever your heart desires in this game.

With this type of technology within our reach it is difficult not to become mesmerized by the lights and sounds of games and simulations. It seems the new issue educators have to ask themselves is: To simulate or not to simulate?

I recently encountered this dilemma while creating a new employee training program for drillers. The company I work for creates completely functional virtual worlds allowing new employees, with no prior knowledge or experience, to become aware of and familiar with the drill rig. This training allows new drillers learn the skills and abilities required to complete tasks safely and efficiently.

The problem presented itself when I was designing the training for the part of the task that required the driller to fill in safety checklists before beginning. The checklists don’t require the drillers to be by the drill rig. So I asked myself the question: To simulate or not to simulate?

The question was whether to train those competencies required for completing the checklist virtually or not.

Situated learning theories suggest that teaching is most effective when it is done so through the use of authentic context and activities (Dewey, 1933). Furthermore, Brown et al (1989) argued that teaching skills without context is akin to teaching a new language using only a dictionary.

To reach a decision, James Bohnsack and I weighed the potential effects of breaking immersion, levels of fidelity as well as which context was truly more authentic.

We decided that using a physical checklist would break immersion, which according to Witmer and Singer (1994) is the level of absorption felt by an individual during an activity. Furthermore, it was argued that the virtual checklist had a higher psychological fidelity, which is the “degree to which the simulation replicates the psychological factors experienced in the real-world environment, engaging the trainee in the same manner as the actual equipment in the real world” (Alexander et al 2005). Finally, we decided to use the virtual checklist because it would be embedded in the more authentic environment of a drill site.

So I wonder, although we were able to solve the question, what will the right answer be the next time?

References

Alexander, A. L., Brunyé, T., Sidman, J. & Weil, S. A. (2005). “From gaming to training: A review of studies on fidelity, immersion, presence, and buy-in and their effects on. transfer in. pc-based simulation and games. Retrieved from Aptima.

Dewey, J. (1933). How we think. Buffalo, NY: Prometheus Books.

Brown, J. S., Collins, A., & Duguid, P. (1989). Situated cognition and the culture of learning. Educational Researcher, 18(1), 32-42.

Witmer, B. & Singer, M. (1994). Measuring immersion in virtual environments (Tech. Report No. 1014). Alexandria, VA: U.S. Army Research Institute for the Behavioral and Social Sciences.

Rapidly advancing technologies introduce new challenges and requirements for individuals on a daily basis. Whether it is a new household tool or software, individuals feel the necessity to look for solutions that would help them learn, understand or advance in their area of interest, forcing a demand in continuous learning. Some of the methods, that has being used to support the learning efforts, included computer-based simulations, interactive class material presentations, online training, and traditional teaching methods. While the empirical researches comparing the effectiveness and capabilities of these methods were still ongoing, we were recently challenged with a new environment: Mobile products.  It wasn’t that long ago when the first computer-based learning environment, PLATO (Figure 1), was introduced. Yet, here we are – only 50 years later – experiencing computation, on a extremely mobile, touch screen, wireless device and looking for options to deliver knowledge to users through these devices. Learning products for tablet PCs are in their considerably early stages since commercial tablet technology was not introduced in the market until very recently. However tablet PC technology has the potential to change learning in many ways as more powerful tablet PCs are built with advanced touch screen technology. Powerful platforms allow designing complex applications and touch screen technology eliminates the needs for a mouse or keyboard while extending human computer interaction.

Figure 1 Newspaper Article (Brian 2011)

The developments in wireless infrastructures started a new era for mobile learning environments. It became very popular since simulation based e-learning provided animated, cheap, easy, reusable, solutions to trainers. Interactivity is another factor contributing to this popularity, however, for the sake of marketing, some commercial product providers may use interactivity for applications which are only based on user navigation.  Kolb (1984) defines interactivity as a capability that allows participants to hypothesize their understandings, and helps them learn from their mistakes and unexpected outcomes. Some of the technology platforms that enabled interactive learning included computer-aided instructional packages, games and automated tutors (Cannon-Bowers & Bowers 2008). The integration of these platforms and the tablet technology introduced new and exciting research areas in training. Even though it would be too early to make any assumptions, as the commercial tablets were released to the market only two years ago, the current statistics may reflect the popularity and potential of these platforms on a recently introduced technology. Having said this, according to a recent study focusing on the types of downloaded applications, games were found to be the most popular among all (Budiu & Nielsen 2011). So, why not start with the most popular application group to start delivering learning content? For example, a game for K-12 users that allows running experiments on some basic physics rules. Figure 2 captures a screenshot of an interactive, simulation based game application that is currently available on the application market.

The two operating systems that are currently used in tablets have different capabilities and limitations. Adobe AIR and Google/MIT’s easy-to-use application developer, App Inventor, allow more people to develop applications with less platform specific knowledge about Android and its development tools. This environment also allows integrating mathematical models and simulation using Java (Webdeveloper 2011).  IOS does not support Java to run on the iPad. Instead, for programming, the developers are required to use C-code (preferably objective-C). Later the code can be generated according to the models that are required by the simulation scenario (Apple 2011).

Figure 2 IOS–Experiment App (Exploriments 2011)

Figure 3 Forecasted Shipping (Alpha 2010)

Currently both of the discussed OSes have dedicated education categories. Within these categories, interested users can find simulation-based game applications. However, the research for adapting, simulation based learning systems for SCORM compliant applications and intelligent tutor systems are under development. Considering the benefits of learning environments that are interactive, accessible and adaptive, developments that integrate simulation into the existing mobile learning environments will increase significantly.

Alpha, S., 2010. Tablet Sales to Overtake Desktop PCs by 2013 – Seeking Alpha. Available at: http://seekingalpha.com/article/241196-tablet-sales-to-overtake-desktop-pcs-by-2013 [Accessed January 12, 2012].

Apple, 2011. IOS App Programming Guide. Available at: http://developer.apple.com/library/ios/#documentation/iPhone/Conceptual/iPhoneOSProgrammingGuide/Introduction/Introduction.html#//apple_ref/doc/uid/TP40007072-CH1-SW1 [Accessed January 16, 2012].

Brian, 2011. Plato II Demo. Available at: http://www.platohistory.org/blog/timeline/.

Budiu, R. & Nielsen, J., 2011. Usability of iPad Apps and Websites. Nielsen Norman Group, pp.1-115. Available at: http://www.nngroup.com/reports/mobile/ipad.

Cannon-Bowers, J.A. & Bowers, C.A., 2008. Synthetic Learning Environments. In Handbook of research on educational communications and technology. pp. 317-327.

Exploriments, 2011. Exploriments. Available at: http://itunes.apple.com/us/app/exploriments-weight-mass-force/id483875230?mt=8 [Accessed January 16, 2012].

Kolb, D.A., 1984. Experiential Learning: Experience as the Source of Learning and Development, NJ: Prentice Hall: Englewood Cliffs.

Webdeveloper, 2011. WebDeveloper. Available at: http://www.webdeveloper.com/java/ [Accessed January 14, 2012].

In late 2010, James Bohnsack and I were tasked with summarizing the literature on navigation skills for an informal lab presentation. We were interested in finding a way to improve the shipboard navigation skills of Navy recruits as a part of our game-based training project with BBN for ONR. We had a several-hour discussion as to how best train navigation skills, both route-based and something a little more dynamic, like the bullseye navigation system. By the end of our discussion, we had come up with the idea for the Rivet City mod.

Lucas Blair, who is now Dr. Blair, made the comment that there were some game maps he could redraw from memory since he had played them so much. Indeed, right now I could probably perfectly recreate 2fort and tell you the best places to build a turret. So that got us thinking — If you can learn how to navigate a real-world space through repeated exposure in an virtual environment, and if a game encourages you to repeatedly navigate that environment to meet your objectives, maybe making something game-like and fun that made Navy recruits use the navigation system over and over would help us solve this difficult training problem.

So, another idea we had was to mod one of Team Fortress 2′s capture-the-point maps to resemble the interior of the ship, complete with an accurate bullseye system. We wanted to spawn the capture point at different bullseye locations. The player would have to use their knowledge of the bullseye system to find and cap the point. We would have several different ship interiors that would change every time you played so that raw route memorization couldn’t occur. Instead, the player would have to rely on understanding and using the bullseye system. Plus, it would be fun, so hopefully that would encourage the player to practice, practice, practice those skills through repeated play. From a time-on-task perspective (or, if you’re into ACT-R, opportunities to use production rules), this should improve training outcomes. We never ended up pursuing it, although I think it still might be worth a shot.

Fast-forward a year and a handful of months. Enter Mapstalgia, a tumblr where people draw game maps from memory. Looks like we weren’t the only ones. I wonder if our idea would’ve worked, afterall…

Warning: Contains Spoilers

Color and lighting are two devices often used in the media to convey certain messages or highlight important aspects of the story. Video games did not fully utilize these devices outside of providing relative realism to an otherwise monochromatic game. Perhaps, that is due to the lack of processing power in compiling how the game looks visually. Nowadays, they can be deployed to draw a theme in the game mechanics, and used as integral parts of the plot. Enter Splinter Cell: Conviction. This AAA stealthy action-adventure from Ubisoft is the sixth installment of Tom Clancy’s Splinter Cell series. This game is just one example of how these devices are used to present compelling gameplay and a rich story.

Show Me The Way – Players move from one objective to the next from directions lit on the backdrops.

As with the previous series, protagonist Sam Fisher still needs to sneak around the map from one objective to the next. But this time, he’s doing it alone as he recovers from the recent loss of his daughter, Sarah. Immediately, the player can notice the change in how lighting is employed differently from the other games. When Fisher is hiding from his enemies’ view, the colorful screen changes to a simple black-and-white composition. When he is detected while sneaking, players are still able to move around. Now, however, a bright silhouette figure stands as contrast where the player has left. This signifies as the marker of the player’s last known location according to the enemies. Directions and tips for the game are shown on the wall from an unknown light source, sometimes with a loop of Fisher’s memories playing in the background in black and white. This bridge the device between the game mechanics and how the story is told.

How I Once Was – Detected players leave a white, transparent silhouette, which the enemy AI will focus towards. Note the chandelier remains in full color to allow players to interact with this object.

To compliment the action, color and lighting were also used during critical plot points. For example, at the beginning of the game, a cut scene featured a flashback of a conversation between Fisher and Sarah. The scene served as a tutorial, as well as demonstrating the theme of the story – darkness can be used as a positive tool to shield and protect you. This is a stark contrast to other games, where players depend on the consistency of brightness to maneuver through the game. This dichotomy also helps the player reach the next objective, where the player comes out of the darkness to the next part of the story.

Bedtime Story – Fisher’s flashback with his daughter Sarah. The use of lighting serves as a motif to the game mechanic and sets the mood for the whole game.

(Spoiler alert!) My favorite part of the game was the scene in which Fisher discovered that Sarah was in fact very much alive the whole time. Sarah, concurrently, was also told that her father had been killed. These actions were sanctioned by Fisher’s old boss and best friend, Lambert. However, both characters needed to be “kept in the dark” for their own safety, hammering in the overall theme of the entire game! Fisher was then overwhelmed and dazed with emotion to discover his daughter’s status, as well as his best friend’s betrayal. This is where the game really amped up the lighting trick. The player proceeds to finish out the level in sepia – not quite black-and-white, not quite fully colored; just dancing between the spectrum to reflect the balance of rage and sanity felt by Fisher at that moment. At that part of the game, Fisher has already infiltrated Third Echelon, the organization and building where he used to work for before his daughter’s supposed death. The player would then have to repel and eliminate various security forces and splinter cell agents, who are also kept in the dark and has labeled Fisher as their enemy and target. (On a side note, this plot twist added extra excitement to the game, since players controlled Fisher as a splinter cell agent in the previous games of the series – a practically untouchable warrior of the dark. Now, ironically, they are used as tools of evil that Fisher needed to defeat.)

Combined with other techniques to draw darkness as an aid rather than a hindrance (resupply crates hidden in the alleyways, Sonar Goggles to highlight units in the dark, etc.), Splinter Cell: Conviction is the perfect example of how color and lighting can weave through multiple aspects of a video game to deliver a significant impact to the overall experience.

Image Credits: Giant Bomb | Big Download

Almost exactly one year since we began, this past Tuesday we wrapped development on the Digital ECALC project. Developed by the UCF Substance Use Research Group (SURG), ECALC stands for “Expectancy Challenge Alcohol Literacy Curriculum.” It is an instructor-led, group-based intervention to educate students about expectancies associated with alcohol in an attempt to reduce heavy drinking.

When students think about the way drinking alcohol makes them feel, they often report that they are outgoing, happy, and carefree. These effects, however, run contrary to the actual physical effects of alcohol consumption, which include dizziness, slowed reactions, and nausea. These positive effects are expectancy effects, which are effects we’ve come to associate with alcohol through experience, such as repeatedly seeing alcohol consumption in party situations. This occurs because we have been conditioned to feel happy, silly, outgoing, etc., while drinking alcohol. Researchers have even found that people can even exhibit these positive expectancy effects associated with drinking while consuming beer that they believe to be real, but is actually non-alcoholic.¹

ECALC was constructed to educate students about the powerful effect of expectancies. When students drink heavily, they are often striving to experience these expectancy effects. This presentation reveals the truth about alcohol and that these effects are independent of actual consumption. This encourages students to rethink the decision to drink heavily.

RETRO was tasked with taking the content from the original ECALC presentation, which was based in PowerPoint, and turning it into a more engaging, interactive experience. We incorporated interactive minigames and demonstrations, narrated animations, pictures, sound clips, and video clips. Our former programmer, Dan Brown, even lent us his voice for the presentation’s guide, Scientist Dan. Our enhanced version of the presentation is scheduled to go live in front of UCF students all next week.

So, I’d like to take a moment to thank my wonderful development team for all of their hard work: Greg Pardo (programmer), Danielle Chelles (artist), Jenny Vogel (voice talent coordinator), and Dan Brown (the voice of Scientist Dan). Also, a huge thanks goes to our sponsors/SMEs from SURG — Dr. Dunn, Tom Hall, Amy Schreiner, Abigail Fried, and Alyssa Boucher.

You can read more about the project and see some screen caps on the Digital ECALC project page.

Are you interested in seeing how a research lab works? Would you like to experience science first-hand? The RETRO lab needs you! Beginning in Summer 2012, we will be running a series of 12 studies and we need a large number of both male and female undergraduate volunteers to serve as research assistants to help with data collection. Training needs to begin immediately.

We are currently seeking motivated undergraduate students
interested in gaining research experience!

As an undergraduate research assistant, you will volunteer 10 hours every week to collect data for these 12 studies. You will receive training on research ethics and how to conduct the experiment. You will interact with participants and collect data. You will also have the opportunity to participate in lab discussions about gaming and science. This is a great opportunity to experience research at a large university first-hand.

No previous experience is required!

Think of this as a training opportunity. We will teach you what you need to know. The skills you will acquire in the lab paired with the experience in data collection will look great on both job and graduate school applications.

What you’ll be doing:

• Interacting with participants
• Collecting data
• Using physiological instruments
• Participating in lab discussions

What you’ll learn

• Research ethics
• How to conduct an experiment
• How to use an Arrington eye tracker, a BIOPAC, and an Affectiva Q Sensor

Commitment: Volunteer 10 Hours / Week

Interested? Have questions? Please feel free to email me at kprocci at knights.ucf.edu!

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