Titlebook: Emotion in Games; Theory and Praxis Kostas Karpouzis,Georgios N. Yannakakis Book 2016 Springer International Publishing Switzerland 2016 af

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https://doi.org/10.1007/978-3-319-93345-0e cinematography can be defined as the art of visualizing the content of a computer game. The relationship between game cinematography and its traditional counterpart is extremely tight as, in both cases, the aim of cinematography is to control the viewer’s perspective and affect his or her percepti

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https://doi.org/10.1057/9780230609358tilised to both infer and evoke emotion is discussed, commencing with an historical review that traces back to video games’ humble beginnings. As we move towards the present day this chapter looks at how biofeedback technology, that can facilitate the control and procedural generation of game sound

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Oscillation of Difference Equations,of emotion in the context of games. We discuss body movement as a means for biasing emotional experience and encouraging bonding in social interaction. Finally, we discuss gaps and opportunities for future research. Promising directions include broadening the scope of body-based games and emotion to

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Ravi P. Agarwal,Said R. Grace,Donal O’Reganamong other things hyper-arousal. A number of games and game-like tools for treating Post Traumatic Stress Disorder are described. Subsequently, the chapter describes the design, development, and testing of a specific game for addressing Post Traumatic Stress Disorder which uses emotion recognition

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Food-Limited Population Models, this chapter, we describe ., a multiplayer serious game we designed that supports children in learning and experimenting with conflict resolution approaches. Drawing on experiential learning as an underlying learning philosophy, and based on Bodine and Crawford’s six-phase model of resolving confli

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https://doi.org/10.1007/978-1-349-03577-9k we focus on levels and introduce a taxonomy of approaches for emotion-driven level generation. We then review four characteristic level generators of our earlier work that exemplify each one of the approaches introduced. We conclude the chapter with our vision on the future of emotion-driven level generation.

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