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Although the social relevance of digital gaming has been discussed and investigated in cultural and sociological readings, social context has been largely neglected in terms of in-game player experience. In this paper we present a study in which player experience is empirically tested comprehen-sively, with the focus on the interplay between player enjoyment and social context. Self reports on the Game Experience Questionnaire and an aggression state questionnaire were explored for three play configurations: virtual, mediated, and co-located co-play. Additionally, effects of familiarity and winning vs. losing were tested. Results indicate that a co-located co-player significantly adds to the fun, challenge, and perceived competence in the game. Aggression was influenced by familiarity and performance. The effect of social context was mediated by the level of social presence. These findings illustrate that social context is an important determinant of player enjoyment and should be incorporated in models of player experience.

"Games and play occupied a central, if misunderstood, role in modern art in the twentieth century. Many art-historical narratives have downplayed the ways in which artists returned to play and to games as analogues to art practice, as metaphors for creativity, or as models for art criticism. The essays collected in this volume investigate the fundamental importance of supposedly nonserious activity and attend to the ways in which artists used play and games in order to reconsider their practice and to expand their critical strategies. With subjects ranging from early-twentieth-century manifestations of games and play in Surrealism, Duchamp, Picasso, and Bauhaus photography to their repercussions in Fluxus, performance, public practice, and new media, these essays establish the diversity and potential of games and play and point toward an alternate trajectory in the development of modern art.

http://www.amazon.com/Diversion-Subversion-Twentieth-Century-Refiguring-Modernism/dp/0271037032/ref=sr_1_4?ie=UTF8&s=books&qid=1297084774&sr=8-4"

A large volume of neurobiological research has been conducted in recent years, almost all of which has been considered solely from the perspective of biology. However, most of the insights gained through this research are also valuable for the game research field. This paper discusses the implications of existing research in neurobiology to the play of games (including, but not restricted to digital games), and connects neurobiological perspectives with models of play aiming to construct superior player satisfaction models built upon biological foundations. Connections are presented between already recognized patterns of play and recent research on the brain (in particular, the limbic system). By providing a framework for understanding how the brain responds to recurrent patterns inherent to play, we aim to provide a platform for future experimental player-game interaction research (for which possible directions are briefly explored), and a propaedeutic to biologically-grounded player satisfaction models.

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Although the social relevance of digital gaming has been discussed and investigated in cultural and sociological readings, social context has been largely neglected in terms of in-game player experience. In this paper we present a study in which player experience is empirically tested comprehen-sively, with the focus on the interplay between player enjoyment and social context. Self reports on the Game Experience Questionnaire and an aggression state questionnaire were explored for three play configurations: virtual, mediated, and co-located co-play. Additionally, effects of familiarity and winning vs. losing were tested. Results indicate that a co-located co-player significantly adds to the fun, challenge, and perceived competence in the game. Aggression was influenced by familiarity and performance. The effect of social context was mediated by the level of social presence. These findings illustrate that social context is an important determinant of player enjoyment and should be incorporated in models of player experience.

Recognizing players' affective state while playing video games has been the focus of many recent research studies. In this paper we describe the process that has been followed to build a corpus based on game events and recorded video sessions from human players while playing Super Mario Bros. We present different types of information that have been extracted from game context, player preferences and perception of the game, as well as user features, automatically extracted from video recordings. We run a number of initial experiments to analyse players' behaviour while playing video games as a case study for using the corpus.

Esta monografia detalha o conceito de jogo como foi entendido por Neva Leona Boyd (1876-1963), apresentando aspectos de seu pensamento, da característica de sua prática, explicitando os preceitos e as ligações com o sistema de jogos teatrais de Viola Spolin (1906-1994). Aborda-se a distinção de jogo (play) e jogo (game), sua estruturação prática, a partir de uma análise dos principais escritos de Neva Boyd.

This paper presents the concepts of play and game as understood by Neva Boyd (1876-1963), also presents aspects of her thinking, aspects of her practice, showing their links with the work of Viola Spolin’s theatrical games. It presents a distinction between play and game concepts based in the analysis of the main writings by Neva Boyd.