Emotions, Technology, and Digital Games explores the need for people to experience enjoyment, excitement, anxiety, anger, frustration, and many other emotions. The book provides essential information on why it is necessary to have a greater understanding of the power these emotions have on players, and how they affect players during, and after, a game. This book takes this understanding and shows how it can be used in practical ways, including the design of video games for teaching and learning, creating tools to measure social and emotional development of children, determining how empathy-related thought processes affect ethical decision-making, and examining how the fictional world of game play can influence and shape real-life experiences. - Details how games affect emotions—both during and after play - Describes how we can manage a player's affective reactions - Applies the emotional affect to making games more immersive - Examines game-based learning and education - Identifies which components of online games support socio-emotional development - Discusses the impact of game-based emotions beyond the context of games

The core message of this book is: computer games best realise affective interaction. This book brings together contributions from specialists in affective computing, game studies, game artificial intelligence, user experience research, sensor technology, multi-modal interfaces and psychology that will advance the state-of-the-art in player experience research; affect modelling, induction, and sensing; affect-driven game adaptation and game-based learning and assessment. In 3 parts the books covers Theory, Emotion Modelling and Affect-Driven Adaptation, and Applications. This book will be of interest to researchers and scholars in the fields of game research, affective computing, human computer interaction, and artificial intelligence.

An engaging examination of how video game design can create strong, positive emotional experiences for players—with examples from popular, indie, and art games. This is a renaissance moment for video games—in the variety of genres they represent, and the range of emotional territory they cover. But how do games create emotion? In How Games Move Us, Katherine Isbister takes the reader on a timely and novel exploration of the design techniques that evoke strong emotions for players. She counters arguments that games are creating a generation of isolated, emotionally numb, antisocial loners. Games, Isbister shows us, can actually play a powerful role in creating empathy and other strong, positive emotional experiences; they reveal these qualities over time, through the act of playing. She offers a nuanced, systematic examination of exactly how games can influence emotion and social connection, with examples—drawn from popular, indie, and art games—that unpack the gamer’s experience. Isbister describes choice and flow, two qualities that distinguish games from other media, and explains how game developers build upon these qualities using avatars, non-player characters, and character customization, in both solo and social play. She shows how designers use physical movement to enhance players’ emotional experience, and examines long-distance networked play. She illustrates the use of these design methods with examples that range from Sony’s Little Big Planet to the much-praised indie game Journey to art games like Brenda Romero’s Train. Isbister’s analysis shows us a new way to think about games, helping us appreciate them as an innovative and powerful medium for doing what film, literature, and other creative media do: helping us to understand ourselves and what it means to be human.

Emotional design explicitly addresses the emotional relationship between the objects and the subjects of design—in this book, the objects are technologies, and the subjects are technology users. The first section delves into the philosophy and theory of emotional design to provide a foundation for the rest of the book, which goes on to discuss emotional design principles, the design and use of emoticons, and then intelligent agents in a variety of settings. A conclusion chapter covers future research and directions. Emotions, Technology, and Design provides a thorough look at how technology design affects emotions and how to use that understanding to in practical applications. - Discusses the role of culture, trust, and identity in empathetic technology - Presents a framework for using sound to elicit positive emotional responses - Details the emotional use of color in design - Explores the use of emoticons, earcons, and tactons - Addresses the emotional design specific to agent-based environments

The learning process can be seen as an emotional and personal experience that is addictive and motivates learners to proactive behavior. Divided in three parts, this title discusses major topics such as: emotions, motivation, games, and game-experience.

In an engaging and readable tone, Farber explores key research about games and SEL. Teachers, game designers, and experts from CASEL, the Fred Rogers Center, Greater Good in Education, iThrive Games, Minecraft Education, UNESCO MGIEP, Harvard's EASEL Lab, and more share advice.

How gaming intersects with systems like history, bodies, and code Why do we so compulsively play video games? Might it have something to do with how gaming affects our emotions? In Playing with Feelings, scholar Aubrey Anable applies affect theory to game studies, arguing that video games let us “rehearse” feelings, states, and emotions that give new tones and textures to our everyday lives and interactions with digital devices. Rather than thinking about video games as an escape from reality, Anable demonstrates how video games—their narratives, aesthetics, and histories—have been intimately tied to our emotional landscape since the emergence of digital computers. Looking at a wide variety of video games—including mobile games, indie games, art games, and games that have been traditionally neglected by academia—Anable expands our understanding of the ways in which these games and game studies can participate in feminist and queer interventions in digital media culture. She gives a new account of the touchscreen and intimacy with our mobile devices, asking what it means to touch and be touched by a game. She also examines how games played casually throughout the day create meaningful interludes that give us new ways of relating to work in our lives. And Anable reflects on how games allow us to feel differently about what it means to fail. Playing with Feelings offers provocative arguments for why video games should be seen as the most significant art form of the twenty-first century and gives the humanities passionate, incisive, and daring arguments for why games matter.