Skin Games: Fragrant Play, Scented Media and the Stench of Digital Games

Simon Niedenthal
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引用次数: 10

Abstract

@font-face { font-family: "Arial"; }@font-face { font-family: "Arial"; }@font-face { font-family: "Cambria"; }@font-face { font-family: "MS Mincho"; }p.MsoNormal, li.MsoNormal, div.MsoNormal { margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria; }.MsoChpDefault { font-size: 10pt; font-family: Cambria; }div.WordSection1 { page: WordSection1; } This study presents an argument in favor of using multiple theory triangulation (Mäyrä 2009) as a means of generating design heuristics and gameplay scenarios for engaging the sense of smell in games. The disciplines that are drawn upon include sensory psychology, sensory anthropology, literature, interaction design and HCI research, and game studies. The physical and historical context of smell in games is sketched by considering the challenges of designing for the sense of smell, examining how different cultures have integrated smell into their lives and entertainment, analyzing the failures of scented filmic media, and surveying games in which smell has played a role: Leather Goddesses of Phobos (Infocom Inc. 1986) and Leisure Suit Larry 7: Love for Sail! (Sierra On-Line Inc. 1996). Rather than naïve immersion, in which smell merely confirms what is seen onscreen, this study seeks to root the future development of scented gameplay in Ermi and Mäyrä’s SCI model of immersion (2007), and draws upon design discourses related to the bodily and spatial uses of scent: perfume and incense. We can learn about how to effectively engage smell in games by examining the ways in which people have organized play around perfume and incense, from games that incorporate perfume themes (ranging from board games to Axe cologne advergames), to the playful behaviors of an online fragrance community (Basenotes.net). The results of this study include general design heuristics for smell in games, as well as specific gameplay concepts for an existing digital game genre (survival horror), and a physical Scratch-and-sniff party game.
皮肤游戏:芬芳的游戏、芬芳的媒体和数字游戏的恶臭
@font-face {font-family: Arial";}@font-face {font-family: "Arial";}@font-face {font-family: "Cambria";}@font-face {font-family: "MS Mincho";} p。MsoNormal,李。MsoNormal, div.MsoNormal{边距:0cm 0cm 0.0001pt;字体大小:12 pt;字体类型:威尔士;}。MsoChpDefault {font-size: 10pt;字体类型:威尔士;} div。WordSection1{页面:WordSection1;这项研究提出了一种支持使用多重理论三角测量法(Mäyrä 2009)作为生成设计启发式和游戏玩法场景的方法,以便在游戏中融入嗅觉。所涉及的学科包括感觉心理学、感觉人类学、文学、交互设计和人机交互研究以及游戏研究。通过考虑嗅觉设计的挑战,研究不同文化如何将嗅觉融入生活和娱乐,分析嗅觉电影媒体的失败,并调查嗅觉发挥作用的游戏(游戏邦注:如Infocom Inc. 1986年发行的《Leather Goddesses of Phobos》和《Leisure Suit Larry 7: Love for Sail!》),我们概述了嗅觉在游戏中的物理和历史背景。(Sierra在线公司,1996)。与naïve沉浸游戏不同的是,在这种沉浸游戏中,气味仅仅证实了屏幕上看到的东西,本研究试图将气味游戏的未来发展根植于Ermi和Mäyrä的SCI沉浸模式(2007)中,并借鉴了与气味的身体和空间使用相关的设计话语:香水和熏香。我们可以通过研究人们围绕香水和熏香组织游戏的方式来了解如何有效地将气味融入游戏中,从包含香水主题的游戏(从桌面游戏到Axe古龙水广告游戏)到在线香水社区(Basenotes.net)的有趣行为。这项研究的结果包括游戏中气味的一般设计启发,以及现有数字游戏类型(生存恐怖)的特定游戏玩法概念,以及物理刮刮派对游戏。
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