We will employ a high-level game taxonomy as a tool for
exploring games (Lindley, 2003). The purpose of this taxonomy is to identify
the functional and formal aspects of games, to help differentiate kinds of
games, and, further, to map illumination knowledge and practices external to
games onto game forms. Lindley's ludological definition is "a goal-directed and
competitive activity conducted within a framework of agreed rules;" a narrative
is loosely defined as "an experience structured in time;" and simulation is "a
representation of the function, operation or features of one process or system
through the use of another." All three elements may be said to contribute to
the game experience, though the precise balance varies on a game-by-game basis
The terms of this taxonomy have helped shape the composition of our research
group and the features of our research method. The way in which lighting
supports the narrative element in games (especially in formal features such as
pre-rendered cutscenes) is informed by practices such as film and performance
lighting (Niedenthal, sub). The impact of illumination upon the ludological,
goal-directed and competitive element of gameplay can be best explored through
interaction design processes focusing on players' goals, guided by insights
from studies of light coming from cognitive/environmental psychology. Finally,
the simulation of light in digital games is a function of, and constrained by
rendering technologies. A game engine programmer will represent this competency
on our team. We propose the following features for our research:
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Description:
our first task is to be able to describe the qualities of simulated light in
games, and be able to communicate those qualities within the research team and
to our industry partners. We will seek to develop our own form of light
"notation," exploring the use of new forms of visualization to supplement the
traditional descriptive terms related to light such as intensity, colour,
direction, and shadow quality.
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Analysis:
we will take a genre-based approach to exploring the impact of simulated
illumination on the gaming experience. That is, we will assume that whether the
game is an action game, adventure game, sports game or simulation determines to
a large extent the sort of gameplay experience the player desires. Based upon
input from our industry advisors and our own gaming, we will identify games
that could serve as representatives within each genre. Within specific game
genres we will identify player goals and tasks, which could include, for
example, exploration, combat, acquiring objects and understanding their
significance, solving puzzles, etc. We will attempt to correlate the tasks with
the observed illumination from existing games.
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Evaluation:
we will seek to understand the influence of simulated illumination upon the
player's experience of a game. There are several different ways in which we
propose to do so. First, we will set up gameplay groups to serve as evaluation
test beds. One way to test the influence of light is to note player responses
to playing the same game under different illumination conditions, using
modifications of existing games. Another evaluation strategy we will employ is
to develop a very simple game world in which to isolate the effect of
illumination variables such as colour, intensity, shadow quality, etc. Players
serving as subjects will be carefully chosen based upon the level of their
previous gaming experience.
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Sketching new possibilities: Besides looking existing games,
we will also suggest illumination possibilities that appear to us to be
currently underexploited in game design. One way to explore new possibilities
is to import illumination concepts into games from other areas such as
literature, theatre and film studies. Exploring the illumination possibilities
of aesthetic categories such as "the sublime," "farce," "film noir" or "dream
light" could have significance for game lighting. Simple game worlds will be
created to instantiate these concepts.
The research profile at the coordinating site (K3) is characterized by an
aesthetic-technological-critical orientation that combines professional design
practices, information technology, new media and academic depth.