Toward a Unified Theory of Digital Games

Role of situational context in use continuance after critical exergaming incidents

“…Another interesting research approach would be to investigate how game design and aesthetics influence exergame use, experience, and playing motivations by utilizing, for example, the unified theory of digital games proposed by Ralph and Monu () or the works of Hunicke, LeBlanc, and Zubek (2004) and Przybylski, Rigby, and Ryan (2010). Potentially, our qualitative findings could provide a starting point for this.…”

“…Such experiences are likely to lead to positive outcomes, whereas if the gaming experience undermines these needs, it can lead to negative outcomes (Przybylski et al, ). These needs for competence, autonomy, and relatedness may also be supported by game mechanics—that is, the elements used by game developers (Ralph & Monu, ) with which the player interacts. Ralph and Monu () state that the digital game experience emerges from the player interacting with game artefacts (including game mechanics), which creates a positive or a negative experience.…”

“…These needs for competence, autonomy, and relatedness may also be supported by game mechanics—that is, the elements used by game developers (Ralph & Monu, ) with which the player interacts. Ralph and Monu () state that the digital game experience emerges from the player interacting with game artefacts (including game mechanics), which creates a positive or a negative experience. Game experiences, in contrast, “produce aesthetics,” which they define as “the emotions evoked by the game.” Thus, aesthetics are related to the player's internal interpretation of the game experience and might continue to last within the player's mind even after the game experience has ended (Ralph & Monu, ).…”

“…Ralph and Monu () state that the digital game experience emerges from the player interacting with game artefacts (including game mechanics), which creates a positive or a negative experience. Game experiences, in contrast, “produce aesthetics,” which they define as “the emotions evoked by the game.” Thus, aesthetics are related to the player's internal interpretation of the game experience and might continue to last within the player's mind even after the game experience has ended (Ralph & Monu, ). Ralph and Monu present 9 aesthetics, 8 of which were originally identified by Hunicke, LeBlanc, and Zubek (): sensation, fantasy, narrative, challenge, fellowship, discovery, expression, submission, and competition.…”

Enduring Design Challenges in Western Roleplaying Video Games

“…Morality scales are also common in sandbox games such as the Infamous and Far Cry series. Morality scales may be used as game mechanics or narrative mechanics (Ralph & Monu, 2015). The player's morality score may affect numerous aspects of the game including:…”