game transfer phenomena: the pervasiveness of sounds from video games and their impact on behaviour
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Game transfer Phenomena: the pervasiveness of sounds from video games and their impact on behaviour Angelica B. ortiz de Gortari Interactive Technologies and Games (ITAG) Conference 2014 Health, Disability and Education Dates: Thursday 16 October 2014 - Friday 17 October 2014 Location: The Council House, NG1 2DT, Nottingham, UKTRANSCRIPT
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ITAG 2014.
Nottingham, 17 October 2014.
International Gaming Research Unit
Angelica Ortiz de Gortari & Mark D. Griffiths
@cyberpsyke
Game Transfer Phenomena: The pervasiveness of sounds from video games and their impact on behaviour
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What if real life had
sounds effects?
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First video games- Simplemelodies of the 8-bit machinesand MIDI.
Most modern VG- High qualitysoundtracks and high auralrealism (Västfjäll, 2003).
Soundtracks or backgroundmusic have even meritedawards, and video game musicby itself is starting to beconsidered a music genre.
Background: Video games & music
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Background: Effect of auditory cues
in video games
Auditory cues/sound FX are
typically embedded in movies
or video games since they are
one of the most effective ways
to induce mood (Flannery &
Walles, 2003).
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Background: Effect of auditory cues
in video games
Modifying mood states
Physiological reactions while
playing
Immersion
Better sense of presence in the
virtual environment (Anderson &
Casey, 1997; Hendrix & Barfield,
1995).
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Background: Video games’ effects
Playing a violent video game
with techno music on lead to
physiological arousal and
anxiety (Freeman, et al., 2008;
Hebert, et al., 2005).
Playing a violent video game
with screams of pain and
increased arousal compared
with the control conditions (Jun,
Bohil & Biocca, 2011).
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Holistic & multimodal research frame
work for investigate the effects of video
games
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Method & Aim
3 qualitative studies with 1,681 experiences
from 1, 248 gamers.
60 online vg forums.
12% were auditory experiences. (n=155)
30 online video game forums
To identify, classify and explain the auditory
modality of GTP.
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Auditory misperceptions
Auditory experiences in Game
Transfer Phenomena
Confuse
sounds
Involuntary auditory imagery
Keep
hearing
music
Inner speechHear your
own
thoughts
Auditory verbal
pseudo-hallucinations
Hear voices
that are not
there
Neuraladaptations
Auditory
after-effects
Multisensory
Hear and
see
something
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How common is it to hear sounds after
playing?
97% in a cross-cultural
survey (n=2,565) had
experienced some type of
GTP
85% had experienced some
type of auditory experience
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Music Sounds
Voices
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Head Ears
ObjectsSome-where
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Findings
Large variety of games. A total
of 95 different video game titles.
From tile-matching puzzle
games to first person shooters.
Sound alerts coming from
consoles and computers when
these were shut off (e.g., Xbox
achievement and alerts from
Steam’s message service).
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Involuntary auditory imagery
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Hearing music/sounds when falling
asleep
“I will wake up sometimes and check if my computer is off
because I swear I heard videogame music coming out of my
speakers. I need help” (AraRider)
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Hearing music triggered by daily
activities
“Every time I stack a trolley or cab I heard the Tetris theme in my
head and try to stack everything without gaps” (Pepertony)
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Hearing music/sounds triggered by
activities
“I keep a flashlight next to my bed, and sometimes when I walk in
a dark area I hear the sound the radio makes near a monster in
Silent Hill, I turn around if I don't see anything in front of me”
(CrownDave)
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Neuraladaptations
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Hearing everything in the voice of the game
“After a marathon of Portal/Portal 2, I heard everything in
GLaDOS's voice for about three days” (Peartech)
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The Developers noticed that testers were more
motivated when hearing the voice (Gamasutra, 2008)
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Schwinberger (2008) demonstrated this in an experiment adaptation to voices. For a long period of time the participants were exposed to female voices, and later on androgynous voices were perceived as more female.
Auditory neural adaptions induce
in laboratory
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Inner speech
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Hearing sounds in the head
“After years of playing Outrun whenever I drive under a sign on
the road, I hear in my head "CHECKPOINT!” (Yates1000)
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Hearing voices in the head
“The Team Fortress 2 announcer. Every time a football
commentator has mentioned that a game might go into overtime,
a voice at the back of my mind has yelled ‘Overtime! OVERTIME!
OVERTIME!’” (Souly)
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Auditory misperceptions
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Misinterpreting sounds
“I walked into the school as the door shut behind me, I
heard the same sound that spiders make when they're
attacking in Minecraft, and I ran like hell” (Jelor)
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Auditory verbal pseudo-
hallucinations
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Hearing voices triggered by stimuli
“After playing Clive Barker's [Jericho] for a couple of hours I
heard that shivering voice saying ‘looooooook’ when I passed
a painting…I scared the hell out of me” (Radion56)
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Constantly hearing voices
“I constantly heard someone whispering 'Death' in the
background. After I played Black and White for a many
hours. It lasted a few days” (Zullo)
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Conclusions
What sounds –
Bullets, screams, lasers, music,
coins, breathing, and percussive
sounds, swords, etc.
Circumstances-The auditory
experiences occurred when
doing automatic activities and
when trying to sleep.
Sometimes trigger and regulated
by activities in RL
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General characteristics
Video game habits-
Of those who reported how long
they play, the majority of the
experiences happened when
playing long or very long sessions.
No player indicated that the GTP-
AU experiences occurred when
playing short sessions.
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Appraisal of the experiences
Positive, neutral or negative.
More negative expressions.
The findings may suggest that re-
experiencing auditory cues from
the game have additional
psychological implications.
But why?
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There is a difference between
simpely listening to music than
to actually interact with sound
In-game sounds are embedded
with a purpose
(positive/aversive)
The sounds are presented in
parallel with events and the use
of video game elements
Why may hearing sounds after playing
have further consequences?
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Conclusions
In some cases auditory replays
from the game elicit thoughts,
emotions, irrational thoughts
and false expectations.
Objects simulated in the game
have become in “evocative
objects”
I speculated that objects
associated with the game trigger
the activation of the auditory
cortex leading to “ghost sounds”
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Conclusions
Developing games:
it is important what and how auditory cues are
embedded in games
How we can take the best advantage of
associations between sounds and events
Consequences prolonged exposure to certain
sounds
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“It puts the words
and phrases you
need on the tip of
your tongue, but
also transports them
deep into your long-
term memory”
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Conclusions
“It’s important to help gamers
understand their experiences since
re-experiencing sounds and voices
may provoke distress, especially
when associated with dangerous
situations in the game.”
Aversive properties: Bullets, screams,
explosions.
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References
• Anderson, D. B., & Casey, M. A. (1997). The sound dimension. Spectrum, IEEE, 34(3), 46-50.
• Eui Jun, J., Bohil, C. J., & Biocca, F. A. (2011). Brand logo placement in violent games.
[Article]. Journal of Advertising, 40(3), 59-72.
• Flannery, K. A., & Walles, R. (2003). How Does Schema Theory Apply to Real versus Virtual
Memories? [Article]. Cyberpsychology & Behavior, 6(2), 151-159
• Freeman, D., Pugh, K., Antley, A., Slater, M., Bebbington, P., Gittins, M., . . . Garety, P. (2008).
Virtual reality study of paranoid thinking in the general population. British Journal of
Psychiatry, 192(4), 258-263.
• Ortiz de Gortari, A.B., The Real life effect of virtual interaction: Game Transfer Phenomena in
video game players. (Unpublished PhD dissertation). Nottingham Trent University: UK
• Ortiz de Gortari, A. B., & Griffiths, M.D. (2014). Auditory experiences in Game Transfer
Phenomena: An empirical self-report study. International Journal of Cyber Behavior,
Psychology and Learning (IJCBPL), 4(1), 59-75.
• Hebert, S., Beland, R., Dionne-Fournelle, O., Crete, M., & Lupien, S. J. (2005). Physiological
stress response to video-game playing: the contribution of built-in music. Life sciences,
76(20), 2371-2380.
• Hendrix, C., & Barfield, W. (1995). Presence in virtual environments as a function of visual
and auditory cues. Paper presented at the Virtual Reality Annual International Symposium,
1995. Proceedings.
• Västfjäll, D. (2003). The subjective sense of presence, emotion recognition and experienced
emotions in auditory virtual environments. Cyberpsychology & Behavior, 6(2), 181-188.
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Haptic Gaming Vest
KOR-fx
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“ Feel the sound rather than hear it … it turns
the body into a sub-woofer”
Gamin accessory: Immerz KOR-fx
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