Handbook of Research on Methods and Techniques for Studying Virtual Communities: Paradigms and Phenomena satisfies the need for methodological consideration and tools for data collection, analysis and presentation in virtual communities. Chapters cover studies on various types of virtual communities, making this reference a comprehensive source of research for those in the social sciences and humanities. Additionally, the book supports executives and corporate leaders concerned with the management of expertise, social capital, competence knowledge, and information and organizational development in different types of virtual communities and environments.

Handbook of research on methods and techniques for studying virtual communities : paradigms and phenomena

This paper discusses the conceptual, practical and ethical considerations towards the development of a framework of experience to inform design and assessment of serious games. Towards this, we review the literature on experience in interaction design, HCI, and games, and identify that the dominant focus for design has been, and still remains, on positive and fun experience. In contrast, anything other than positive experience is often loosely and sometimes inappropriately lumped together under the broad label "negative experience" which can imply bad experience and something to be avoided, while at the same time suggesting it's not useful to design. While work in HCI and the games literature begins to address experience beyond positive, it just scratches the surface. By turning to drama, performance, literature, music, art and film that has shaped experiences and emotion beyond the positive and fun for many years, we describe what experience beyond positive looks like, show how it is not always "uncomfortable" and how it can be classed as entertainment, and argue for the more appropriate term "serious experience". We propose that the focus for design of interaction and serious games should be an appropriate rhythm between positive and serious experience. Finally, we discuss the importance of the take-away message and positive and serious experience in serious games to linger or resonate post-encounter for players in order to encourage reflection and fulfill purpose, and describe associated ethical concerns and make recommendations for designers, evaluators and practitioners in order to safeguard players/users.

Experience in serious games: between positive and serious experience

The preservation of Indigenous Australian cultural heritage (CH) is a challenge acknowledged by communities, scholars, and policymakers. Research indicates video games are strong tools for heritage, but existing culture-oriented serious games are unsuccessful as cultural worlds. Commercial open-world role-playing games (RPGs) like The Elder Scrolls V: Skyrim (2011) immerse players in complex virtual worlds populated by fictional societies and cultures. The engagement of commercial game players in informal learning and production in the context of online passionate affinity spaces (PAS) indicates players become invested in the cultural content depicted in games. While commercial RPGs do not typically transmit real cultural heritage, culture-oriented serious games can be enhanced by importing features from commercial RPGs. This thesis poses the question: how can open-world RPGs like Skyrim contribute to the transmission of Aboriginal heritage? To respond to this question, three studies were conducted. Immersive autoethnography was employed to investigate world-building tools, methods, and strategies employed in Skyrim. An online survey explored Skyrim player motivations and modus operandi in PAS engagement, as encyclopaedists who collate game lore on the Unofficial Elder Scrolls Pages, and as modders, who produce patches and modifications for Skyrim. Finally, qualitative interviews were conducted with 12 experts from heritage, virtual heritage, and video games to explore the requirements of Indigenous Australian CH. The three studies were synthesised to develop a set of guidelines and recommendations for the content and development procedures of RPGs for indigenous CH. Skyrim’s world-building was found to use a wide range of tools and practices possible to incorporate individually or together to enhance heritage-oriented serious games. The survey of Skyrim’s PAS communities showed the game’s world-building methods inspire players to learn and apply a range of knowledge and skills motivated by interest in the game world. Expert interviews identified focal points for game-based depiction of indigenous cultures, including a focus on values and relationships rather than individual cultural features. The importance of natural heritage and desirability to develop greater environmental dynamics in virtual worlds was noted. The thesis concludes RPG virtual worlds can immerse players in a new culture within a unified environmental, social and cultural context, making them holistic frameworks appropriate for the depiction of indigenous culture.

The Elder Scrolls V: Skyrim and its audience as a world-building benchmark for Indigenous virtual cultural heritage.

The design and representation of time and space are important in any narrative form. Not surprisingly there is an extensive literature on specific considerations of space or time in game design. However, there is less attention to more systematic analyses that examine both of these key factors--including their dynamic interrelationship within game storytelling. This paper adapts critical frameworks of narrative space and narrative time drawn from other media and demonstrates their application in the understanding of game narratives. In order to do this we incorporate fundamental concepts from the field of game studies to build a game-specific framework for analyzing the design of narrative time and narrative space. The paper applies this framework against a case analysis in order to demonstrate its operation and utility. This process grounds the understanding of game narrative space and narrative time in broader traditions of narrative discourse and analysis.

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Time and space in digital game storytelling

Like other games in its series, Assassin’s Creed III (AC3) is heavily invested in a wellresearched, nuanced representation of historical conflicts. Yet as with any historical text, designers must be selective in their storytelling. Through their choices, we can better understand who might be the expected audience for this “speculative fiction.” This article addresses AC3’s tensions around realism. In it, the author addresses the politics of representation in how players are asked to identify with particular characters (constructed identification), how the game was produced (constructed authenticity), and the version of history portrayed in the game (constructed history). The author argues that the game’s ludic and narrative possibilities limit its ability to critique colonial powers during the American Revolution. The article concludes by looking at what counterhistorical approach to AC3’s story might entail. Throughout, the author discusses how the game’s expected audience, that is Ubisoft’s construction of the intended player, is reflected in each of these decisions and limits the emancipatory possibilities of AC3.

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The Tyranny of Realism: Historical accuracy and politics of representation in Assassin’s Creed III

Video game playing is becoming a predominant part of popular culture. Games, like Assassin’s Creed (Ubisoft, released 2007), The Sims (Maxis, released 2000), Guitar Hero (RedOctane, released 2005), and World of War Craft (Bilizzard, released 2004), have attracted many players from different cultures and age groups. In this paper, we propose that the experience of playing a video game, like Assassin’s Creed, is a personal experience shaped through one’s emotional values, expectations, knowledge, and attitudes as influenced by culture. To validate this claim, we provide an analysis of the experience of playing Assassins’ Creed from the perspectives of this paper’s four co-authors, who represent two different cultural viewpoints: Middle-Eastern and Western, as well as different intellectual disciplinary backgrounds, including architecture, theatre, and computer science. To someone from the Middle-East, for example, the game aroused many nostalgic feelings through its simulated Middle-Eastern cities, the use of Arabic words, accents and gestures, and the detailed Middle-Eastern architectural design. While such small details meant much when viewed through a Middle-Eastern eye, their values were different when viewed through a Western eye. From a Western perspective, the game play experience was heightened through the beautiful architectural detail and the use of the environment layout as a function of gameplay, such as the use of rooftops for platforming, fast movement and flying-like actions, and stealth. Thus, apparently the way the game was experienced was very different when viewed through people with different cultural backgrounds. In this paper, we aim to show this claim through thorough analysis of the game as experienced by the co¬authors.

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Assassin’s Creed: A Multi-Cultural Read

of human figures Persuasive human figures Performing human figures

The architectural image: space, movement and myth

As part of our inquiry about the practice of architectural film and animation and where it might go, this paper presents the results of interviews with architects on space, and on animation. We present their rich sense of space, and explain how they structure architectural film and animation. We found that architects wish to convey the subjective impact of design, but don’t know how to connect film editing techniques to architectural ends. Computational design could fill this gap with, for example, drag-and-drop editing patterns.

Architects on architectural film and animation

The paper discusses Jeddah, an interactive artwork that experiments with the relation between cursor and background art. In addition to being functional, the cursor is also cast as an element of artistic expression. It is exaggerated in shape, scale, color and motion to blend in with the background art, and is constantly transforming in response to the art world. This is done to enhance the mood and experience of spatial exploration of Jeddah's world.

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Maha Zeini Al-Saati

Papers

Assassin’s Creed: A Multi-Cultural Read

The architectural image: space, movement and myth

Architects on architectural film and animation

The cursor as an artistic expression in jeddah

Depictions of Architectural Spaces in Film