User Tools
interactivity
Differences
This shows you the differences between two versions of the page.
| Both sides previous revision Previous revision Next revision | Previous revision | ||
|
interactivity [2021/05/03 12:33] admin |
interactivity [2021/09/05 14:34] (current) jim [Authors for this section:] |
||
|---|---|---|---|
| Line 1: | Line 1: | ||
| ====== INTERACTIVITY ====== | ====== INTERACTIVITY ====== | ||
| - | Presenting | + | Presenting |
| ====Set-Up==== | ====Set-Up==== | ||
| - | Limited space can force curators to make decisions over which games will be playable and which to present in deactivated form. Some games may require large custom interfaces or specialized equipment such as game cabins or VR igloos to name a few. In this case it is better to prioritize these displays over games that the visitor may be able to acquire and play at home since access to the former is much less probable. | + | Limited space can force curators to make decisions over which games will be playable and which to present in deactivated form. Some games may require large custom interfaces or specialized equipment such as game cabins or VR igloos to name a few. In this case it is better to prioritize these displays over games that the visitor may be able to acquire and play at home since access to the former is much less likely. |
| This is not to imply an arcade solution is not possible, for example, the V& | This is not to imply an arcade solution is not possible, for example, the V& | ||
| Line 15: | Line 15: | ||
| ====Duration==== | ====Duration==== | ||
| - | While it may be considered a technical limitation, playtime length also puts limitations on the curator at a conceptual level. While most art games lean towards exhibition friendly formats such as short playtime or pick up and put down timeframes, some games, particularly commercial ones may require playtimes of over 50hrs to fully experience. In this case decisions have to be made as to how to present gameplay. The simplest solution would be to allow players to take the game from the beginning, however this will result in tutorials being played over and over as well as not offering the full experience. In other cases, the game may be more suited to be played at home at leisure so the themes are fully communicated or the state of flow and control fluency is achieved. | + | While it may be considered a technical limitation, playtime length also puts limitations on the curator at a conceptual level. While many art games lean towards exhibition friendly formats such as short playtime or pick up and put down timeframes, some games (particularly commercial ones) may require playtimes of over 50hrs to fully experience. In this case decisions have to be made as to how to present gameplay. The simplest solution would be to allow players to start the game from the beginning, however this will result in tutorials being played over and over as well as not offering the full experience. In other cases, the game may be more suited to be played at home at leisure so the themes are fully communicated or the state of flow and control fluency is achieved. |
| As such, not all video games may be served by presenting them in their interactive form and other approaches such as screenshots or gameplay videos may be used. In the cases where interactivity is desired, thought must be put into how interaction will take place. The following questions will be helpful in determining the best solution. | As such, not all video games may be served by presenting them in their interactive form and other approaches such as screenshots or gameplay videos may be used. In the cases where interactivity is desired, thought must be put into how interaction will take place. The following questions will be helpful in determining the best solution. | ||
| - | - Will the game be available on a first come first serve basis or will it be handled through some booking system? | + | - Will the game be available on a first-come first-serve basis or will it be handled through some booking system? |
| - Is the game short enough that the player can complete the experience within a reasonable amount of time? (0-5 minutes) | - Is the game short enough that the player can complete the experience within a reasonable amount of time? (0-5 minutes) | ||
| - If not, will the player be able to play from the beginning or start at another determinate time of the game, and for how long? | - If not, will the player be able to play from the beginning or start at another determinate time of the game, and for how long? | ||
| - Are the game controls simple enough that most users will be able to adequately engage with the game within the determined time frame or will there need to be some sort of training or assistance? | - Are the game controls simple enough that most users will be able to adequately engage with the game within the determined time frame or will there need to be some sort of training or assistance? | ||
| - | The exhibition theme will also help determine how many games should be playable. If an exhibition focuses on art and design at the production stage of game making, interactivity may not be a priority and perhaps a showcase of concept art and game play videos may be better suited to the exhibition. Again, the V&A exhibition is a perfect example of this, as at its core the exhibition is centered on the design process of the games rather than the games themselves, the focus is not on gameplay or the meanings and themes derived from play. | + | The exhibition theme will also help determine how many games should be playable. If an exhibition focuses on art and design at the production stage of game making, interactivity may not be a priority and perhaps a showcase of concept art and game play videos may be better suited to the exhibition. Again, the V&A exhibition is a perfect example of this, as at its core the exhibition is centered on the design process of the games rather than the games themselves |
| ====Accessibility==== | ====Accessibility==== | ||
| Line 47: | Line 47: | ||
| Vicarious participation is the process where the audience may get to experience a video game without having to actually control the action. This is achieved by placing large secondary screens that can be seen by others in the space which mirror the action the player sees, a smaller monitor for the player to engage with and space for the audience to sit back and enjoy the gameplay. In smaller setups a single large screen and allowing the vicarious participate to communicate with the player is enough to satisfy the needs of vicarious participation. This can both offer a bridge to better understanding the gameplay and a chance to observe a more confident and skilled player, which can potentially lead to hesitant visitors interacting on their own, or, even if they don't interact directly, coming away from the exhibition with a better understanding of the game. | Vicarious participation is the process where the audience may get to experience a video game without having to actually control the action. This is achieved by placing large secondary screens that can be seen by others in the space which mirror the action the player sees, a smaller monitor for the player to engage with and space for the audience to sit back and enjoy the gameplay. In smaller setups a single large screen and allowing the vicarious participate to communicate with the player is enough to satisfy the needs of vicarious participation. This can both offer a bridge to better understanding the gameplay and a chance to observe a more confident and skilled player, which can potentially lead to hesitant visitors interacting on their own, or, even if they don't interact directly, coming away from the exhibition with a better understanding of the game. | ||
| - | Given that some video games are specific in nature, a solution may be to present audiovisual resources on screens or QR codes that present the video game, where they can tell us how the videogame was created, the developers, the creators, | + | Given that some video games are specific in nature, a solution may be to present audiovisual resources on screens or QR codes that present the video game, where they can tell us how the videogame was created, the developers, the creators, all the institutions involved, as well as the people who have played the video game by narrating the experience and playability of the game. |
| This narrates the video game in some way without losing its essence and can generate interest in the user by giving them valuable information. | This narrates the video game in some way without losing its essence and can generate interest in the user by giving them valuable information. | ||
| Line 53: | Line 54: | ||
| Rene G. Cepeda | Rene G. Cepeda | ||
| + | |||
| Emilie Reed | Emilie Reed | ||
| + | |||
| Saraelena Cabrera | Saraelena Cabrera | ||
interactivity.1620063187.txt.gz · Last modified: 2021/05/03 12:33 by admin
Except where otherwise noted, content on this wiki is licensed under the following license: CC Attribution-Noncommercial-Share Alike 4.0 International
