Probing the impact of video game storytelling on players
- He randomly thinks about what happened a year ago.
彼がふと一年前の事を考える - I want to foster her sociability.
私は彼女の社会性を養いたい。 - Please evaluate this material at your facility.
この材料をあなたの設備で評価して下さい。 - That will complete soon.
それはもうすぐ完成する。 - The action is characteristic of the man.
彼のやりそうなことだ - The execution seldom corresponds with the conception.
思う半分も言えぬ - The narrative was interlaced with anecdotes.
その物語には逸話が織り交ぜてあった. - The satisfaction of hunger requires food.
飢えをいやすには食物が必要だ. - We enhanced safety when search errors appear.
検索エラー発生時のセーフティ機能を強化しました - We must assess our own physical condition accurately.
私たちは自分の体調を正確に把握すべきである - Will computers depersonalize human interactions?
コンピュータは、人間の交流から個性を奪うか? - You can see the colors of the spectrum in a rainbow.
虹の中にスペクトルの色を見る事が出来る。
As Bormann explained in a statement, “The motivation to engage in and enjoy video games corresponds with principals that apply to human motivation in general... [and] successful game franchises offer players a spectrum of meaningful choices to shape the game's narrative and environment, provide carefully balanced challenges, or encourage players to experience social connectedness and meaningful social interactions.”
In addition, previous research has indicated that satisfying those needs leads to an increase in the motivation to continue playing, as well as enhanced well-being and a more immersive experience overall. The authors set out to further investigate by determining whether or not storytelling was able to foster immersion and change how players could assess the mental states of others.
In order to test if storytelling in games could create the type of emotional bond characteristic of immersion, Bormann and Greitemeyer randomly assigned study participants to play one of two different titles. In the first, Gone Home, the gamer plays as a female US student who has just returned after spending a year overseas and must find out why her family vanishes. In the other title, Against the Wall, players climb an infinite wall and little narrative is involved.
For Gone Home, one group of players were given the game developer’s instructions and another was told to register, memorize, and evaluate various properties of the game. After 20 minutes of play, all participants were told to complete a task in which they assessed facial emotions, as well as to complete a survey to assess their sense of immersion and the level of need satisfaction that they experienced during their gaming sessions.