More than a feeling: Measurement of sonic user experience and psychophysiology in a first-person shooter game

Abstract

a b s t r a c tThe combination of psychophysiological and psychometric methods provides reliable measurements of affective user experience (UX). Understanding the nature of affective UX in interactive entertainment, especially with a focus on sonic stimuli, is an ongoing research challenge. In the empirical study reported here, participants played a fast-paced, immersive first-person shooter (FPS) game modification, in which sound (on/off) and music (on/off) were manipulated, while psychophysiological recordings of electrodermal activity (EDA) and facial muscle activity (EMG) were recorded in addition to a Game Experience Questionnaire (GEQ). Results indicate no main or interaction effects of sound or music on EMG and EDA. However, a significant main effect of sound on all GEQ dimensions (immersion, tension, competence, flow, negative affect, positive affect, and challenge) was found. In addition, an interaction effect of sound and music on GEQ dimension tension and flow indicates an important relationship of sound and music for gameplay experience. Additionally, we report the results of a correlation between GEQ dimensions and EMG/EDA activity. We conclude subjective measures could advance our understanding of sonic UX in digital games, while affective tonic (i.e., long-term psychophysiological) measures of sonic UX in digital games did not yield statistically significant results. One approach for future affective psychophysiological measures of sonic UX could be experiments investigating phasic (i.e., event-related) psychophysiological measures of sonic gameplay elements in digital games. This could improve our general understanding of sonic UX beyond affective gaming evaluation.

Being enjoyably challenged is the key to an enjoyable gaming experience: an experimental approach in a first-person shooter game

“…Based on Csikszentmihalyi’s Flow Theory, a large literature has studied how enjoyment, immersion, and challenge link to provide the gamer with flow experience ([17,18] in FPS). Jennett et al [19] have studied the characteristics of the game (pace, interaction with other players on a website, realism, and easier identification with the shooter in a first-person game) fostering gamer immersion and enjoyment.…”

“…However, the common feature of the studies mentioned so far is that they share a narrow view of game enjoyment, which is mostly based on the pleasure gained from the game as measured through self-reported assessment, 3 GEQ questionnaires [24], or physiological measures [2,18,25,26]. Two drawbacks can also be mentioned here when using questionnaires.…”

The Influence of Background Music of Video Games on Immersion

“…The background music, referring to all the sound (including music and sound effect) appeared in the video game in this study, has long been acknowledged to be an indispensible part of modern video game [3][4][5]. It usually is used to communicate aspect of the narrative, convey emotion, and enrich the experience of the player [6].…”

Evaluating User Experience for Interactive Television: Towards the Development of a Domain-Specific User Experience Questionnaire

“…Other ways to measure the emotional response include physiological measurements (e.g. heart rate, skin conductance) or the evaluation of valence and arousal, which are currently also applied in the games area [39]. To measure the user experience beyond the instrumental, task-based approach, Hassenzahl [17] introduced the AttrakDiff questionnaire.…”

“…Izard [25] described ten basic emotions, of which the three clearly positive emotions were chosen to be included in the questionnaire (interest, joy and surprise), as UX is described as focusing on positive experiences [18]. Additionally, the feeling of competence as a need fulfillment is covered within this dimension [50,20,39].…”