際際滷

際際滷Share a Scribd company logo

Guitar Hero: 10 years playing science

Roger Tavares
Roger Tavares

A presentation about the relationship between the Guitar Hero game and scientific studies, literature and projects with it.

1 of 43
Download to read offline
G U ITA R H ER O : 1 0 YEA R S PLA YI N G SC I EN C E R O G E R TA VA R ES
P r o fe s s o r d e A r t e Te c n o l o g i a n o D e p a r t a m e n t o d e A r t e s d a U n i v e r s i d a d e F e d e ra l d o R i o G ra n d e d o N o r t e , a t u a l m e n t e e m p 坦 s - d o u t o ra d o n a U n i v e r s i d a d e d e C o i m b ra . D o u t o r e m C o m u n i c a 巽 達 o e S e m i 坦 t i c a t e m o s v i d e o g a m e s c o m o o b j e t o d e e s t u d o d e s d e 1 9 9 9 , e c o m o h o b b y d e s d e P o n g . A t u a l m e n t e j o g a F i n a l Fa n t a s y B ra v e E x v i u s I D 9 2 1 . 4 9 5 . 5 0 8 . R O G E R TA VA R ES
E s t u d o , a i n d a e m a n d a m e n t o , n o q u a l 辿 t ra t a d o o j o g o G u i t a r H e r o , q u e e m s u a c u r t a e f u l m i n a n t e d u ra 巽 達 o , d e 2 0 0 5 a 2 0 0 9 , d e s p o n t a c o m o u m g ra n d e i m p a c t o c u l t u ra l n a s o c i e d a d e , e t a m b 辿 m n a C i 棚 n c i a . S e r達 o a p r e s e n t a d o s d i v e r s o s c a s o s q u e s e u t i l i z a ra m d e s t e j o g o e m 叩 r e a s c o m o d e s i g n , s a 炭 d e e e d u c a 巽 達 o , e n t r e o u t ra s . N o c a s o d e a l g u m p a r t i c i p a n t e t ra z e r o j o g o , p o d e m o s f a z e r u m r叩 p i d o c a m p e o n a t o , e m m o d o H a r d o u E x p e r t ; - ) R O G E R TA VA R ES
D EB UT I N N O VE M B ER 2 0 0 5 I N T R O
G U ITA R CO NTR O LLER I N T R O Game controllers transmit the player intentions to the game [2] If we redesign the controllers we can endow it with speci鍖c affordances [3] [4] Through the reciprocal relations between perceiving and acting [5] the controller itself proposes its use to the player
G U ITA R CO NTR O LLER I N T R O Game controllers and their buttons A, B, X, Y, L1, L2, and so on are too binary, too gamey, too speci鍖c. [7] Bodily interfaces, or tangible interfaces, usually draws upon emotional involvement [8], being more expressive [7] This way increasing the individual expressive response [9] Body movement positively affects player engagement when using a guitar controller instead Dualshock controller [10]
G U ITA R CO NTR O LLER I N T R O The researcher Jesper Juul [12] believes the guitar controller was the responsible for the success of the game These interfaces puts a sense of contact to interpret the visuals and gives the interface a graspable haptic quality [13] With the addition of the drum controller, in 2008, and the keyboard in 2010, the game becomes very similar to real instruments [14]
I M M ED I A TE CO M E R C I A L SU CC ES S S U C C E S S A N D D E C L I N E The 鍖rst two versions of the video game Guitar Hero reportedly sold six million copies [16], [17] 21 million copies until 2008 [18]. In only 26 months the game gets 1 billion dollars in sales [19] and 2 billion in 2009, the third in history, after Mario and Madden, to do so [20].
A N O R D I N A RY D A I LY A C TI VITY S U C C E S S A N D D E C L I N E watching Donald Trump 鍖re people, playing Guitar Hero, and slipping our feet into big rubber Crocs [21]
C LO N ES A N D H A C K S S U C C E S S A N D D E C L I N E Competition, with successful games like MTVs Rock Band, and the open source Frets On Fire [23] Some modest clones, like Guitar Superstar and Shredmaster Jr., as well as a drum version, Drum Superstar Was one of the major pirated games in China [24] The video game modi鍖cation scene was present too, adding non-supported customized content
M U S I C STO R E S U C C E S S A N D D E C L I N E The franchise was targeted for mass-market non-gamer consumers, and goes to an interactive music store, with music creation, marketing and distribution [18] Guitar Hero III sold 5 million songs in only 10 weeks [19] The competitor Rock Band sold more than 2.5 millions of songs online in 2008 [26] Rock Band was the 鍖rst online publication for The Beatles songs
C LO S I N G STU D I O S S U C C E S S A N D D E C L I N E In 2009 the game starts to decline, maybe like a result of the expanded offering The 60 million songs sales in 2009 [27] may look good, but the publisher Activision did not meet expectations Rock Band reaches 100 million of downloads by 2011 [1] In February 2011 Activision closes Guitar Hero studios [28] [29]
N E W CO N SO LES A N D F UTU R E S U C C E S S A N D D E C L I N E With the launch of the new generation of consoles, Guitar Hero tries a new entry in the series, called Guitar Hero Live, changing the characters with music video clips, and with a new 6 button guitar January 2017, Ubisoft acquire the FreeStyleGames Studio from Activision, the developers of DJ Hero and Guitar Hero Live [30]. But the future of the Guitar Hero series, currently (Mar. 2017) is uncertain.
M ETH O D O LO GY T H E R E S E A R C H A bibliographic survey was carried out in the main scienti鍖c bases, such as SpringerLink, SAGE, IEEE, ScienceDirect, ProQuest and Scopus, among others The main focus was peer-reviewed-journals, although a few renowned magazines, books and websites were considered for documentation purposes In the future we would like to provide a similar analysis through books, but, at this moment, scienti鍖c papers was chosen for their objectivity
2 0 0 6 TO 2 0 0 7 : TH E EA R LY WO R K S T H E R E S E A R C H Guitar Hero initially starts to show up in education journals, by 2007 It is cited as an appealing activity for students: I can download my favourite tracks, and use my guitar controller to play along with my favourite riffs. [35] In the same year GH begins to appear in digital games conferences as a gestural interface [13]
2 0 0 6 TO 2 0 0 7 : TH E EA R LY WO R K S T H E R E S E A R C H Still in 2007, Guitar Hero appears cited for the 鍖rst time like a Physical Game, a genre of digital games designed for the arcades, but with home versions, with its unique spatial needs, [...] and the as the gaming circle, or players and non-players alike [36]. During these interviews, GH was a novelty, so only two participants owned the game, but most part of participants cited it.
2 0 0 6 TO 2 0 0 7 : TH E EA R LY WO R K S T H E R E S E A R C H In the Music 鍖eld the 鍖rst citation for Guitar Hero happens only in 2008, in an editorial for the Journal of Historical Research in Music Education [16] They hope future historians doesnt consider these games as a form of music education. They are not actually playing a musical instrument nor are they creating music However, the editorial sees these games as a possible recruiting tool We can t found any indexed paper in the health area about Guitar Hero in these early years
ED U CA TI O N A N D C U LTU R E T H E R E S E A R C H In 2008, the Public Libraries journal, Scorda [39], discuss the importance of gaming events in public libraries, using some Guitar Hero cases among others American Librarian Association periodic, Michael Garret [40] states Guitar Hero and Rock Band as fun and educational and they make music into a game In 2009 librarians who want to equip their libraries with video games are advised they need to be concerned about circulation and care with accessories such as the plastic guitars and other mimetic controls [41]
ED U CA TI O N A N D C U LTU R E T H E R E S E A R C H Through an extensive feminist analysis, Miller, 2009, [42] argues that Guitar Hero and Rock Band are extending human sensory perceptions into new areas, creating new modes of musicality The argument for new sonic experiences is mentioned by Ingram [14] through analyzing the drum controller The use in education for children with autism was reported in 2010 [44]: all the participants successfully learned to play GH and playing skills generalized to a song and a setting not used during training.
ED U CA TI O N A N D C U LTU R E T H E R E S E A R C H In 2010 Guitar Hero and Wii Sports are cited as a counter argument in morality issues about violent video games [43] Based on the argument that realistic video games are capable to teach a player to be a better marksman, the author argues that video games like Guitar Hero or Wii Sports, feels real, but the resemblance is super鍖cial In the transition from simulation for the actual activity, the player needs retraining
M U S I C T H E R E S E A R C H V辰kev辰 [45] suggests it is time to consider the pedagogy of popular music, in a more extensive way of practices like rock band formations have to offer Practices like Djing, remixing, mash-up creations, online collective songwriting, video producing for Youtube, and exchanging and comparing videos of live performances of Guitar Hero and Rock Band game songs, are a musical culture that differs substantially from conventional garage band practices
M U S I C T H E R E S E A R C H In disagreement with authors like Gee [47] who advocate that engaging activities like video games can provide players with learning environments better than traditional school, Gaydos [46], presents preliminary results that not recognize rhythm games like Guitar Hero be able to educate people in underlying metrical structure The author argues that new methods need to be developed to investigate and interpret player behaviors that results from play, and these rhythm games appeal only to the already inclined for music
H EA LTH T H E R E S E A R C H Armiger and Vogelstein [48] presents a Guitar Hero III controller modi鍖ed using surface electromyography (EMG) to create a novel training and evaluation device for upper-extremity amputees. Yuan and Folmer [33], made the Blind Hero replacing the guitar through a glove, to change the visual stimuli with haptic stimuli, and enable the blind to play Frets on Fire [23], an open source clone of Guitar Hero.
H EA LTH T H E R E S E A R C H EyeGuitar [50] is a system for eye tracking guitar simulation games, like Guitar Hero. The experiment used Strings on Speed [51], an open source Guitar Hero clone, like Frets on Fire [23] It is possible to play the game only with the eyes, without hands and body performance, but, a part of the gameplay is missed
H EA LTH T H E R E S E A R C H Dyson [52] observes Guitar Hero and Rock Band as a number of additional experiment for motion aftereffect (MAE) studies, and the pattern sequence design of Guitar Hero is an inspiration for dedicated applications like [53], for the perceptual-motor task design in a study with memory-impaired patients Wrist pain related to Guitar Hero were reported by Rubin [54], and became famous in 2006, with the case of Joel Zumaya, Detroit Tigers baseball star pitcher, straining his wrist playing Guitar Hero [55]
G A M E D ES I G N T H E R E S E A R C H Earlier works (2008) on psychology and game design are aimed at interfaces between the player and the game Bodily interfaces as an affective loop, involving the design of embodied interactive affective systems [8], and they increase the individual expressive response [9] The guitar controller is cited along others like steering wheels and guns to bring spatial 3d interaction [56]
G A M E D ES I G N T H E R E S E A R C H Whitson et al [57] call this trend of Neo-immersive games to distinguish them for the concept of immersion This paper aims to purpose a conceptual framework to explain how the peoples engagement is changing with these new interfaces, hardware and games
G A M E D ES I G N T H E R E S E A R C H Tannenbaum [3], demonstrates how gestural and embodied interactions can be understood with an analysis along three related dimensions: as a ludic, kinesthetic, and narrative experiences In 2010, a set of design heuristics interpersonal touch interaction in video games is presented in [58] Guitar Hero and other music-based games are the starting points for new proposals in games with real-time music analysis, like Surge [59] in 2010, possibly based in 2008s Audiosurf [60]
G A M E D ES I G N T H E R E S E A R C H About the creativity in technology subject, Guitar Hero is cited in [61], when the authors illustrates the topics of music covers and reperformances shared in Youtube so - cial network In the same way some people cover a song using keyboard, bass or guitar, some people use Guitar Hero hacks to create customized content for the game, to make your cover of the song
G A M E D ES I G N T H E R E S E A R C H Presenting a conceptual tool for analyzing video game temporality, Zagal & Mateas [62] presents the career mode on Guitar Hero, as an example of Fictive Time In this category time is established through the application of sociocultural labels to a subset of events Unlike other games as Fallout 3, where these cycles are biologic, the characters recover energy when they eat or sleep, in Guitar Hero the progression is cultural
G U ITA R H ER O A S A M ETA PH O R T H E R E S E A R C H GH is almost a synonymous for music games in several knowledge 鍖elds, as we can see in [59] [63] [64] [65] [66] [67] [68] [69], [70] , [71], [72], [73], [74], [75] This , only in 2006-2010 period
TH E G A M E ITS E LF T H E R E S E A R C H Barbancho et al [76] present an application to automate the content creation for the game Frets on Fire [23] A study for narratives in musical games, Loyer [7] argues the lack of expressiveness in Guitar Hero, since the players actions are target as hit the notes right at the right moment. The author observes there isn't a moment for the player shapes the performance
TH E G A M E ITS E LF T H E R E S E A R C H Agreeing with Loyer, the narrative in Guitar Hero is addressed by Natkin [77] as a signi鍖cant example in players engagement, but in a gameplay point of view, Guitar Hero is like a psychomotor test The author argues the main originality of a game as a media is the players engagement through a 鍖ne tuning of interactivity
FI N A L TH O U G HTS T H E R E S E A R C H This survey covers the golden era of Guitar Hero game, from years 2005 to 2009, and a plus 2010, pointed by the creation of the game and closing the studio The produced scienti鍖c literature started in 2007, goes to 2009, and starts to increase from 2010 This research continues to explore the participation of Guitar Hero in scienti鍖c circles Only in the beginning of 2017 there are more than 50 occurrences in Google Scholar to be checked
R EFER EN C ES T H E R E S E A R C H 1. Miller M (2011) The Past And Future Of Rock Band DLC - Features - www.GameInformer.- com. In: Gameinformer. http:// www.gameinformer.com/b/features/archive/2011/05/04/the-past-and-future- of-rock-band-dlc.aspx?PostPageIndex=2. Accessed 12 Feb 2017 2. Kirkpatrick G (2009) Controller, Hand, Screen: aesthetic form in the computer game. 127143. 3. Tanenbaum J, Bizzocchi J (2009) Rock Band: a case study in the design of embodied interface experience. Proc 2009 ACM SIGGRAPH ... 1:127134. doi: http://doi.acm.org.proxy.lib.sfu.ca/10.1145/1581073.1581093 4. Tobias J (2010) Designing Wonder: Complexity Made Simple or the Wii-Motes Galilean Edge. Telev New Media 11:197219.doi: 10.1177/1527476409357593 5. Gibson EJ (2000) Where Is the Information for Affordances? Ecol Psychol 12:5356. 6. Pagliarini L, Lund HH (2010) Wearing the playware. Artif Life Robot 15:381384. doi: 10.1007/s10015-010-0864-x 7. Loyer E (2010) Stories as Instruments. Telev New Media 11:180196. doi: 10.1177/1527476409357591 8. H旦旦k K (2008) Affective loop experiences - What are they? In: Lect. Notes Comput. Sci. (in- cluding Subser. Lect. Notes Artif. Intell. Lect. Notes Bioinformatics). pp 112 9. Shinkle E (2008) Video games, emotion and the six senses. Media, Cult Soc 30:907915. doi: 10.1177/0163443708096810 10. Mast D, de Vries S (2017) Cooperative Tetris: The Influence of Social Exertion Gaming on Game Experience and Social Presence. Springer, Cham, pp 115123
R EFER EN C ES T H E R E S E A R C H 11. Sarachan J (2012) BOOK REVIEW A Casual Revolution: reinventing video games and their players (Jesper Juul), reviewed Jeremy Sarachan. E-Learning Digit Media 9:127. doi: 10.2304/elea.2012.9.1.127 12. Juul J (2010) A casual revolution : reinventing video games and their players. MIT Press 13. Kayali F (2007) Gestural Interaction in Music Video Games. Digit. Games Theory Des. Conf. Brunel Univ. London, Gt. Britain, 09/14/07 14. Ingram M (2009) Guitar Hero world tour: a creator of new sonic experiences? Nebula 6:143 155. 15. Wixon D (2007) Guitar Hero: the inspirational story of an overnight success. Interactions 14:1617. doi: http:// doi.acm.org.ezproxy.sussex.ac.uk/10.1145/1242421.1242435 16. Fonder M (2008) Editorial. J Hist Res Music Educ XXIX-2:7778. 17. Parker J (2009) School of Rock - The Atlantic. In: Atl. https://www.theatlantic.com/magazine/archive/2009/03/school-of-rock/307278/. Accessed 14 Feb 2017 18. Alexander L (2008) Gamasutra - Analyst: Three Expansion Packs Possible For Next Guitar Hero. In: Gamasutra. http:// www.gamasutra.com/view/news/110633/Analyst_Three_Expansion_Packs_Possible_For_Next_Gui- tar_Hero.php. 19. Kuchera B (2008) Guitar Hero: the $1 billion game, by the numbers | Ars Technica. In: Ars Tech. https://arstechnica.com/gaming/ 2008/01/guitar-hero-the-1-billion-game-by-the-numbers/. Accessed 14 Feb 2017 20. Carless S (2009) Kotick: Guitar Hero Now $2 Billion Franchise. In: Gamasutra. http://www.gamasutra.com/view/news/114481/ Kotick_Guitar_Hero_Now_2_Billion_Franchise.php. Ac- cessed 14 Feb 2017
R EFER EN C ES T H E R E S E A R C H 21. Ho D (2010) Grateful thanks to Kerstin Thurow and Hilmar Weinmann for eight years of Liter- ature highlights. JALA - J Assoc Lab Autom 15:A6A9. doi: 10.1016/j.jala.2010.09.002 22. Fitzsimons GM, Finkel EJ (2010) Interpersonal Influences on Self-Regulation. Curr Dir Psychol Sci 19:10110523. Frets On Fire. http://fretson鍖re.sourceforge.net/. Accessed 21 Feb 2017 24. Jun-Youn K, Tae-Young P, Keun L (2013) Catch-Up By Indigenous Firms in the Software Industry and the Role of the Government in China: a Sectoral System of Innovation (Ssi) Perspective. Eurasian Bus Rev 3:100. 25. Guitar Hero 3 - Harder, Better, Faster, Stronger - Expert - 4 Stars - YouTube. https://www.y- outube.com/watch?v=BpuZKYKDfNA. Accessed 23 Feb 2017 26. Kuchera B (2008) Rock Band sells 2.5 million songs online. https://arstechnica.com/gaming/2008/01/rock-band-sells-2-5- million-songs-online/. 27. Nunneley S (2010) Acti Bliz slashes music SKUs, 60 million Guitar Hero songs downloaded ". In: VG247. http://www.vg247.com/ 2010/02/10/actibliz-full-year-鍖nancials-2009-60-million-guitar-hero- songs-download/. Accessed 14 Feb 2017 28. Glasser AJ (2010) Activision Con鍖rms Studio Layoffs, Luxoflux Closed. In: JobBank USA. http://www.jobbankusa.com/News/ Layoffs/activision_con鍖rms_studio_layoffs_luxoflux_closed.html. Accessed 14 Feb 2017 29. Yin-Poole W (2011) Activision kills Guitar Hero. http://www.eurogamer.net/articles/2011-02- 09-activision-kills-guitar-hero. 30. Makuch E (2017) Ubisoft Buys Guitar Hero Live, DJ Hero Dev From Activision - GameSpot. In: Gamespot. http:// www.gamespot.com/articles/ubisoft-buys-guitar-hero-live-dj-hero-dev-from-act/1100- 6447034/. Accessed 14 Feb 2017
R EFER EN C ES T H E R E S E A R C H 31. (2012) Rocksmith. 32. Landy GK, Mastrobattista AJ (2008) Chapter 22 - Video Games! Developing Games and Doing Deals. 587632. doi: http:// dx.doi.org/10.1016/B978-1-59749-256-0.00022-9 33. Yuan B, Folmer E (2008) Blind hero: enabling guitar hero for the visually impaired. Proc 10th Int ACM SIGACCESS Conf Comput Access 169176. doi: 10.1145/1414471.1414503 34. Johnson JD (2017) GUN HERO: assessing the role of violence in entertainment video games. NEW YORK UNIVERSITY 35. Baskin C, Taylor R (2007) Reciprocal Disconnectedness: Computer Games, Schooling and Boys at Risk. E-Learning 4:150160. doi: 10.2304/elea.2007.4.2.150 36. Sall A, Grinter RE (2007) Lets get physical! in, out and around the gaming circle of physical gaming at home. Comput Support Coop Work. doi: 10.1007/s10606-007-9047- 37. Ear Training Software and Music Theory Software - Rising Software. https://www.risingsoft- ware.com/. Accessed 23 Feb 2017 38. Rudolph TE (2010) Technology for Teaching. Music Educ J 76:63. doi: 10.2307/3400904 39. Scorda J (2008) Gaming as A library service. Public Libr 47:6774. 40. Garrett M (2008) Guitar Hero and Rock Band: Games that are Fun and Educational. Public Libr 4042.
R EFER EN C ES T H E R E S E A R C H 41. Laskowski M, Ward D (2009) Building next generation video game collections in academic li- braries. J Acad Librariansh 35:267 273. doi: 10.1016/j.acalib.2009.03.005 42. Miller K (2009) Schizophonic Performance: Guitar Hero, Rock Band, and Virtual Virtuosity. J Soc Am Music Volum 3:395429. 43. Schulzke M (2010) Defending the morality of violent video games. Ethics Inf Technol 12:127 138. doi: 10.1007/ s10676-010-9222-x 44. Blum-Dimaya A, Reeve SA, Reeve KF, et al (2010) Teaching Children with Autism to Play a Video Game Using Activity Schedules and Game-Embedded Simultaneous Video Modeling. Educ Treat Child 33:351370. doi: 10.1353/etc.0.0103 45. V辰kev辰 L (2010) Garage band or GarageBand速? Remixing musical futures. Br J Music Educ 27:5970. 46. Gaydos M (2010) Rhythm Games and Learning. ICLS 10 Proc 9th Int Conf Learn Sci 2 2:451 452. 47. Gee JP (2004) Situated language and learning : a critique of traditional schooling. Routledge 48. Armiger RS, Vogelstein RJ (2008) Air-Guitar Hero: A real-time video game interface for training and evaluation of dexterous upper-extremity neuroprosthetic control algorithms. 2008 IEEE-BIOCAS Biomed Circuits Syst Conf BIOCAS 2008 121124. doi: 10.1109/BIOCAS.2008.4696889 49. Yang L, Morland TB, Schmits K, et al (2010) A prospective study of loss of consciousness in epilepsy using virtual reality driving simulation and other video games. Epilepsy Behav 18:23846. doi: 10.1016/j.yebeh.2010.04.011 50. Vickers S, Istance H, Smalley M (2010) EyeGuitar: Making Rhythm Based Music Video Games Accessible Using Only Eye Movements. Proc 7th Int Conf Adv Comput Entertain Technol 3639. doi: 10.1145/1971630.1971641
R EFER EN C ES T H E R E S E A R C H 51. Strings on Speed. http://stringsonspeed.sourceforge.net/about.html. Accessed 21 Feb 2017 52. Dyson BJ (2010) Shes a waterfall: Motion aftereffect and perceptual design in video games involving virtual musicianship. Perception 39:131132. doi: 10.1068/p6607 53. Sanchez DJ, Gobel EW, Reber PJ (2010) Performing the unexplainable: implicit task perfor- mance reveals individually reliable sequence learning without explicit knowledge. Psychon Bull Rev 17:7906. doi: 10.3758/PBR.17.6.790 54. Rubin D (2010) Triad of spinal pain, spinal joint dysfunction, and extremity pain in 4 pediatric cases of Wii-itis: a 21st century pediatric condition. J Chiropr Med 9:8489. doi: 10.1016/j.jcm.2010.02.003 55. (2006) Joel Zumaya Puts His Life In Rocks Hands. http://deadspin.com/221791/joel-zumaya- puts-his-life-in-rocks-hands. Accessed 24 Feb 2017 56. LaViola Jr JJ (2008) Bringing VR and Spatial 3D Interaction to the Masses through Video Games. IEEE Comput Graph Appl 57. Whitson J, Eaket C, Greenspan B, et al (2008) Neo-Immersion: Awareness and Engagement in Gameplay. 2008 Conf Futur Play Res Play Share (Future Play 08) 220223. doi: 10.1145/1496984.1497028 58. Watts C, Sharlin E, Woytiuk P (2010) Helping Hands: Designing Video Games with Interper- sonal Touch Interaction. LNCS 59. Hahn C, Diefenbach P (2010) Surge: an experiment in real-time music analysis for gaming. ACM SIGGRAPH ASIA 2010 Posters 45034503. doi: 10.1145/1900354.1900371 60. Audiosurf. http://www.audio-surf.com/. Accessed 22 Feb 2017
R EFER EN C ES T H E R E S E A R C H 60. Boulaire C, Hervet G, Graf R (2010) Creativity chains and playing in the cross鍖re on the videosharing site YouTube. J Res Interact Mark. doi: 10.1108/17505931011051669 62. Zagal JP, Mateas M (2010) Time in Video Games: A Survey and Analysis. Simul Gaming 41:844868. doi: 10.1177/1046878110375594 63. Nacke LE, Grimshaw MN, Lindley CA (2010) More than a feeling: Measurement of sonic user experience and psychophysiology in a 鍖rst-person shooter game. Interact Comput 22:336343. doi: 10.1016/j.intcom.2010.04.005 64. Conway S (2010) Its in the Game and Above the Game: An Analysis of the Users of Sports Videogames. Converg Int J Res into New Media Technol 16:334354. doi: 10.1177/1354856510367560 65. Ferreira C, Tavares R (2013) Jogar, jogo e sociedade = Play, game and society. doi: 10.13140/RG.2.1.3797.1604 66. Mangold WG, Faulds DJ (2009) Social media: The new hybrid element of the promotion mix. Bus Horiz 52:357365. doi: 10.1016/j.bushor.2009.03.002 67. Duszak R (2009) Do You Really Want That Package? J Am Coll Radiol 6:78. doi: 10.1016/j. - jacr.2008.09.011 68. Ferrell J, Greer C (2009) Editorial: Global collapse and cultural possibility. Crime, Media, Cult 5:57. doi: 10.1177/1741659008102059 69. Tolles TW (2008) Practical Considerations for Facial Motion Capture. PoLAR 277289. doi: 10.1007/978-1-84628-907-1_14 70. Chen M (2008) Game Review: The Player Matters: a review of Ninja Gaiden Dragon Sword. 5:508512.
R EFER EN C ES T H E R E S E A R C H 71. Pagulayan R, Wixon D (2008) Game Usability: Advancing the Player Experience - Foreword. CRC Press 72. Steinkuehler C (2007) Massively Multiplayer Online Gaming as a Constellation of Literacy Practices. E-Learning 4:297. doi: 10.2304/elea.2007.4.3.297 73. Collins K (2009) An Introduction to Procedural Music in Video Games. Contemp Music Rev 28:515. doi: 10.1080/07494460802663983 74. Scott J, Migneco R, Morton B (2010) An Audio Processing Library for MIR Application Devel- opment in Flash. Ismir 643648. 75. Tsuda S, Scott D, Doyle J, Jones DB (2009) Surgical Skills Training and Simulation. Curr Probl Surg 46:271370. doi: 10.1067/ j.cpsurg.2008.12.003 76. Barbancho A, Barbancho I, Tard坦n L, Urdiales C (2009) Automatic Edition of Songs for Guitar Hero / Frets on Fire. 11861189. 77. Natkin S (2010) Interactivity in Games: The Players Engagement. Cult Comput IFIP Adv Inf Commun Technol 333:160168. doi: 10.1007/978-3-642-15214-6_16
R O G ERTA VA R ES @ G M A I L . CO M TH A N K S

More Related Content

Guitar Hero: 10 years playing science

  • 1. G U ITA R H ER O : 1 0 YEA R S PLA YI N G SC I EN C E R O G E R TA VA R ES
  • 2. P r o fe s s o r d e A r t e Te c n o l o g i a n o D e p a r t a m e n t o d e A r t e s d a U n i v e r s i d a d e F e d e ra l d o R i o G ra n d e d o N o r t e , a t u a l m e n t e e m p 坦 s - d o u t o ra d o n a U n i v e r s i d a d e d e C o i m b ra . D o u t o r e m C o m u n i c a 巽 達 o e S e m i 坦 t i c a t e m o s v i d e o g a m e s c o m o o b j e t o d e e s t u d o d e s d e 1 9 9 9 , e c o m o h o b b y d e s d e P o n g . A t u a l m e n t e j o g a F i n a l Fa n t a s y B ra v e E x v i u s I D 9 2 1 . 4 9 5 . 5 0 8 . R O G E R TA VA R ES
  • 3. E s t u d o , a i n d a e m a n d a m e n t o , n o q u a l 辿 t ra t a d o o j o g o G u i t a r H e r o , q u e e m s u a c u r t a e f u l m i n a n t e d u ra 巽 達 o , d e 2 0 0 5 a 2 0 0 9 , d e s p o n t a c o m o u m g ra n d e i m p a c t o c u l t u ra l n a s o c i e d a d e , e t a m b 辿 m n a C i 棚 n c i a . S e r達 o a p r e s e n t a d o s d i v e r s o s c a s o s q u e s e u t i l i z a ra m d e s t e j o g o e m 叩 r e a s c o m o d e s i g n , s a 炭 d e e e d u c a 巽 達 o , e n t r e o u t ra s . N o c a s o d e a l g u m p a r t i c i p a n t e t ra z e r o j o g o , p o d e m o s f a z e r u m r叩 p i d o c a m p e o n a t o , e m m o d o H a r d o u E x p e r t ; - ) R O G E R TA VA R ES
  • 4. D EB UT I N N O VE M B ER 2 0 0 5 I N T R O
  • 5. G U ITA R CO NTR O LLER I N T R O Game controllers transmit the player intentions to the game [2] If we redesign the controllers we can endow it with speci鍖c affordances [3] [4] Through the reciprocal relations between perceiving and acting [5] the controller itself proposes its use to the player
  • 6. G U ITA R CO NTR O LLER I N T R O Game controllers and their buttons A, B, X, Y, L1, L2, and so on are too binary, too gamey, too speci鍖c. [7] Bodily interfaces, or tangible interfaces, usually draws upon emotional involvement [8], being more expressive [7] This way increasing the individual expressive response [9] Body movement positively affects player engagement when using a guitar controller instead Dualshock controller [10]
  • 7. G U ITA R CO NTR O LLER I N T R O The researcher Jesper Juul [12] believes the guitar controller was the responsible for the success of the game These interfaces puts a sense of contact to interpret the visuals and gives the interface a graspable haptic quality [13] With the addition of the drum controller, in 2008, and the keyboard in 2010, the game becomes very similar to real instruments [14]
  • 8. I M M ED I A TE CO M E R C I A L SU CC ES S S U C C E S S A N D D E C L I N E The 鍖rst two versions of the video game Guitar Hero reportedly sold six million copies [16], [17] 21 million copies until 2008 [18]. In only 26 months the game gets 1 billion dollars in sales [19] and 2 billion in 2009, the third in history, after Mario and Madden, to do so [20].
  • 9. A N O R D I N A RY D A I LY A C TI VITY S U C C E S S A N D D E C L I N E watching Donald Trump 鍖re people, playing Guitar Hero, and slipping our feet into big rubber Crocs [21]
  • 10. C LO N ES A N D H A C K S S U C C E S S A N D D E C L I N E Competition, with successful games like MTVs Rock Band, and the open source Frets On Fire [23] Some modest clones, like Guitar Superstar and Shredmaster Jr., as well as a drum version, Drum Superstar Was one of the major pirated games in China [24] The video game modi鍖cation scene was present too, adding non-supported customized content
  • 11. M U S I C STO R E S U C C E S S A N D D E C L I N E The franchise was targeted for mass-market non-gamer consumers, and goes to an interactive music store, with music creation, marketing and distribution [18] Guitar Hero III sold 5 million songs in only 10 weeks [19] The competitor Rock Band sold more than 2.5 millions of songs online in 2008 [26] Rock Band was the 鍖rst online publication for The Beatles songs
  • 12. C LO S I N G STU D I O S S U C C E S S A N D D E C L I N E In 2009 the game starts to decline, maybe like a result of the expanded offering The 60 million songs sales in 2009 [27] may look good, but the publisher Activision did not meet expectations Rock Band reaches 100 million of downloads by 2011 [1] In February 2011 Activision closes Guitar Hero studios [28] [29]
  • 13. N E W CO N SO LES A N D F UTU R E S U C C E S S A N D D E C L I N E With the launch of the new generation of consoles, Guitar Hero tries a new entry in the series, called Guitar Hero Live, changing the characters with music video clips, and with a new 6 button guitar January 2017, Ubisoft acquire the FreeStyleGames Studio from Activision, the developers of DJ Hero and Guitar Hero Live [30]. But the future of the Guitar Hero series, currently (Mar. 2017) is uncertain.
  • 14. M ETH O D O LO GY T H E R E S E A R C H A bibliographic survey was carried out in the main scienti鍖c bases, such as SpringerLink, SAGE, IEEE, ScienceDirect, ProQuest and Scopus, among others The main focus was peer-reviewed-journals, although a few renowned magazines, books and websites were considered for documentation purposes In the future we would like to provide a similar analysis through books, but, at this moment, scienti鍖c papers was chosen for their objectivity
  • 15. 2 0 0 6 TO 2 0 0 7 : TH E EA R LY WO R K S T H E R E S E A R C H Guitar Hero initially starts to show up in education journals, by 2007 It is cited as an appealing activity for students: I can download my favourite tracks, and use my guitar controller to play along with my favourite riffs. [35] In the same year GH begins to appear in digital games conferences as a gestural interface [13]
  • 16. 2 0 0 6 TO 2 0 0 7 : TH E EA R LY WO R K S T H E R E S E A R C H Still in 2007, Guitar Hero appears cited for the 鍖rst time like a Physical Game, a genre of digital games designed for the arcades, but with home versions, with its unique spatial needs, [...] and the as the gaming circle, or players and non-players alike [36]. During these interviews, GH was a novelty, so only two participants owned the game, but most part of participants cited it.
  • 17. 2 0 0 6 TO 2 0 0 7 : TH E EA R LY WO R K S T H E R E S E A R C H In the Music 鍖eld the 鍖rst citation for Guitar Hero happens only in 2008, in an editorial for the Journal of Historical Research in Music Education [16] They hope future historians doesnt consider these games as a form of music education. They are not actually playing a musical instrument nor are they creating music However, the editorial sees these games as a possible recruiting tool We can t found any indexed paper in the health area about Guitar Hero in these early years
  • 18. ED U CA TI O N A N D C U LTU R E T H E R E S E A R C H In 2008, the Public Libraries journal, Scorda [39], discuss the importance of gaming events in public libraries, using some Guitar Hero cases among others American Librarian Association periodic, Michael Garret [40] states Guitar Hero and Rock Band as fun and educational and they make music into a game In 2009 librarians who want to equip their libraries with video games are advised they need to be concerned about circulation and care with accessories such as the plastic guitars and other mimetic controls [41]
  • 19. ED U CA TI O N A N D C U LTU R E T H E R E S E A R C H Through an extensive feminist analysis, Miller, 2009, [42] argues that Guitar Hero and Rock Band are extending human sensory perceptions into new areas, creating new modes of musicality The argument for new sonic experiences is mentioned by Ingram [14] through analyzing the drum controller The use in education for children with autism was reported in 2010 [44]: all the participants successfully learned to play GH and playing skills generalized to a song and a setting not used during training.
  • 20. ED U CA TI O N A N D C U LTU R E T H E R E S E A R C H In 2010 Guitar Hero and Wii Sports are cited as a counter argument in morality issues about violent video games [43] Based on the argument that realistic video games are capable to teach a player to be a better marksman, the author argues that video games like Guitar Hero or Wii Sports, feels real, but the resemblance is super鍖cial In the transition from simulation for the actual activity, the player needs retraining
  • 21. M U S I C T H E R E S E A R C H V辰kev辰 [45] suggests it is time to consider the pedagogy of popular music, in a more extensive way of practices like rock band formations have to offer Practices like Djing, remixing, mash-up creations, online collective songwriting, video producing for Youtube, and exchanging and comparing videos of live performances of Guitar Hero and Rock Band game songs, are a musical culture that differs substantially from conventional garage band practices
  • 22. M U S I C T H E R E S E A R C H In disagreement with authors like Gee [47] who advocate that engaging activities like video games can provide players with learning environments better than traditional school, Gaydos [46], presents preliminary results that not recognize rhythm games like Guitar Hero be able to educate people in underlying metrical structure The author argues that new methods need to be developed to investigate and interpret player behaviors that results from play, and these rhythm games appeal only to the already inclined for music
  • 23. H EA LTH T H E R E S E A R C H Armiger and Vogelstein [48] presents a Guitar Hero III controller modi鍖ed using surface electromyography (EMG) to create a novel training and evaluation device for upper-extremity amputees. Yuan and Folmer [33], made the Blind Hero replacing the guitar through a glove, to change the visual stimuli with haptic stimuli, and enable the blind to play Frets on Fire [23], an open source clone of Guitar Hero.
  • 24. H EA LTH T H E R E S E A R C H EyeGuitar [50] is a system for eye tracking guitar simulation games, like Guitar Hero. The experiment used Strings on Speed [51], an open source Guitar Hero clone, like Frets on Fire [23] It is possible to play the game only with the eyes, without hands and body performance, but, a part of the gameplay is missed
  • 25. H EA LTH T H E R E S E A R C H Dyson [52] observes Guitar Hero and Rock Band as a number of additional experiment for motion aftereffect (MAE) studies, and the pattern sequence design of Guitar Hero is an inspiration for dedicated applications like [53], for the perceptual-motor task design in a study with memory-impaired patients Wrist pain related to Guitar Hero were reported by Rubin [54], and became famous in 2006, with the case of Joel Zumaya, Detroit Tigers baseball star pitcher, straining his wrist playing Guitar Hero [55]
  • 26. G A M E D ES I G N T H E R E S E A R C H Earlier works (2008) on psychology and game design are aimed at interfaces between the player and the game Bodily interfaces as an affective loop, involving the design of embodied interactive affective systems [8], and they increase the individual expressive response [9] The guitar controller is cited along others like steering wheels and guns to bring spatial 3d interaction [56]
  • 27. G A M E D ES I G N T H E R E S E A R C H Whitson et al [57] call this trend of Neo-immersive games to distinguish them for the concept of immersion This paper aims to purpose a conceptual framework to explain how the peoples engagement is changing with these new interfaces, hardware and games
  • 28. G A M E D ES I G N T H E R E S E A R C H Tannenbaum [3], demonstrates how gestural and embodied interactions can be understood with an analysis along three related dimensions: as a ludic, kinesthetic, and narrative experiences In 2010, a set of design heuristics interpersonal touch interaction in video games is presented in [58] Guitar Hero and other music-based games are the starting points for new proposals in games with real-time music analysis, like Surge [59] in 2010, possibly based in 2008s Audiosurf [60]
  • 29. G A M E D ES I G N T H E R E S E A R C H About the creativity in technology subject, Guitar Hero is cited in [61], when the authors illustrates the topics of music covers and reperformances shared in Youtube so - cial network In the same way some people cover a song using keyboard, bass or guitar, some people use Guitar Hero hacks to create customized content for the game, to make your cover of the song
  • 30. G A M E D ES I G N T H E R E S E A R C H Presenting a conceptual tool for analyzing video game temporality, Zagal & Mateas [62] presents the career mode on Guitar Hero, as an example of Fictive Time In this category time is established through the application of sociocultural labels to a subset of events Unlike other games as Fallout 3, where these cycles are biologic, the characters recover energy when they eat or sleep, in Guitar Hero the progression is cultural
  • 31. G U ITA R H ER O A S A M ETA PH O R T H E R E S E A R C H GH is almost a synonymous for music games in several knowledge 鍖elds, as we can see in [59] [63] [64] [65] [66] [67] [68] [69], [70] , [71], [72], [73], [74], [75] This , only in 2006-2010 period
  • 32. TH E G A M E ITS E LF T H E R E S E A R C H Barbancho et al [76] present an application to automate the content creation for the game Frets on Fire [23] A study for narratives in musical games, Loyer [7] argues the lack of expressiveness in Guitar Hero, since the players actions are target as hit the notes right at the right moment. The author observes there isn't a moment for the player shapes the performance
  • 33. TH E G A M E ITS E LF T H E R E S E A R C H Agreeing with Loyer, the narrative in Guitar Hero is addressed by Natkin [77] as a signi鍖cant example in players engagement, but in a gameplay point of view, Guitar Hero is like a psychomotor test The author argues the main originality of a game as a media is the players engagement through a 鍖ne tuning of interactivity
  • 34. FI N A L TH O U G HTS T H E R E S E A R C H This survey covers the golden era of Guitar Hero game, from years 2005 to 2009, and a plus 2010, pointed by the creation of the game and closing the studio The produced scienti鍖c literature started in 2007, goes to 2009, and starts to increase from 2010 This research continues to explore the participation of Guitar Hero in scienti鍖c circles Only in the beginning of 2017 there are more than 50 occurrences in Google Scholar to be checked
  • 35. R EFER EN C ES T H E R E S E A R C H 1. Miller M (2011) The Past And Future Of Rock Band DLC - Features - www.GameInformer.- com. In: Gameinformer. http:// www.gameinformer.com/b/features/archive/2011/05/04/the-past-and-future- of-rock-band-dlc.aspx?PostPageIndex=2. Accessed 12 Feb 2017 2. Kirkpatrick G (2009) Controller, Hand, Screen: aesthetic form in the computer game. 127143. 3. Tanenbaum J, Bizzocchi J (2009) Rock Band: a case study in the design of embodied interface experience. Proc 2009 ACM SIGGRAPH ... 1:127134. doi: http://doi.acm.org.proxy.lib.sfu.ca/10.1145/1581073.1581093 4. Tobias J (2010) Designing Wonder: Complexity Made Simple or the Wii-Motes Galilean Edge. Telev New Media 11:197219.doi: 10.1177/1527476409357593 5. Gibson EJ (2000) Where Is the Information for Affordances? Ecol Psychol 12:5356. 6. Pagliarini L, Lund HH (2010) Wearing the playware. Artif Life Robot 15:381384. doi: 10.1007/s10015-010-0864-x 7. Loyer E (2010) Stories as Instruments. Telev New Media 11:180196. doi: 10.1177/1527476409357591 8. H旦旦k K (2008) Affective loop experiences - What are they? In: Lect. Notes Comput. Sci. (in- cluding Subser. Lect. Notes Artif. Intell. Lect. Notes Bioinformatics). pp 112 9. Shinkle E (2008) Video games, emotion and the six senses. Media, Cult Soc 30:907915. doi: 10.1177/0163443708096810 10. Mast D, de Vries S (2017) Cooperative Tetris: The Influence of Social Exertion Gaming on Game Experience and Social Presence. Springer, Cham, pp 115123
  • 36. R EFER EN C ES T H E R E S E A R C H 11. Sarachan J (2012) BOOK REVIEW A Casual Revolution: reinventing video games and their players (Jesper Juul), reviewed Jeremy Sarachan. E-Learning Digit Media 9:127. doi: 10.2304/elea.2012.9.1.127 12. Juul J (2010) A casual revolution : reinventing video games and their players. MIT Press 13. Kayali F (2007) Gestural Interaction in Music Video Games. Digit. Games Theory Des. Conf. Brunel Univ. London, Gt. Britain, 09/14/07 14. Ingram M (2009) Guitar Hero world tour: a creator of new sonic experiences? Nebula 6:143 155. 15. Wixon D (2007) Guitar Hero: the inspirational story of an overnight success. Interactions 14:1617. doi: http:// doi.acm.org.ezproxy.sussex.ac.uk/10.1145/1242421.1242435 16. Fonder M (2008) Editorial. J Hist Res Music Educ XXIX-2:7778. 17. Parker J (2009) School of Rock - The Atlantic. In: Atl. https://www.theatlantic.com/magazine/archive/2009/03/school-of-rock/307278/. Accessed 14 Feb 2017 18. Alexander L (2008) Gamasutra - Analyst: Three Expansion Packs Possible For Next Guitar Hero. In: Gamasutra. http:// www.gamasutra.com/view/news/110633/Analyst_Three_Expansion_Packs_Possible_For_Next_Gui- tar_Hero.php. 19. Kuchera B (2008) Guitar Hero: the $1 billion game, by the numbers | Ars Technica. In: Ars Tech. https://arstechnica.com/gaming/ 2008/01/guitar-hero-the-1-billion-game-by-the-numbers/. Accessed 14 Feb 2017 20. Carless S (2009) Kotick: Guitar Hero Now $2 Billion Franchise. In: Gamasutra. http://www.gamasutra.com/view/news/114481/ Kotick_Guitar_Hero_Now_2_Billion_Franchise.php. Ac- cessed 14 Feb 2017
  • 37. R EFER EN C ES T H E R E S E A R C H 21. Ho D (2010) Grateful thanks to Kerstin Thurow and Hilmar Weinmann for eight years of Liter- ature highlights. JALA - J Assoc Lab Autom 15:A6A9. doi: 10.1016/j.jala.2010.09.002 22. Fitzsimons GM, Finkel EJ (2010) Interpersonal Influences on Self-Regulation. Curr Dir Psychol Sci 19:10110523. Frets On Fire. http://fretson鍖re.sourceforge.net/. Accessed 21 Feb 2017 24. Jun-Youn K, Tae-Young P, Keun L (2013) Catch-Up By Indigenous Firms in the Software Industry and the Role of the Government in China: a Sectoral System of Innovation (Ssi) Perspective. Eurasian Bus Rev 3:100. 25. Guitar Hero 3 - Harder, Better, Faster, Stronger - Expert - 4 Stars - YouTube. https://www.y- outube.com/watch?v=BpuZKYKDfNA. Accessed 23 Feb 2017 26. Kuchera B (2008) Rock Band sells 2.5 million songs online. https://arstechnica.com/gaming/2008/01/rock-band-sells-2-5- million-songs-online/. 27. Nunneley S (2010) Acti Bliz slashes music SKUs, 60 million Guitar Hero songs downloaded ". In: VG247. http://www.vg247.com/ 2010/02/10/actibliz-full-year-鍖nancials-2009-60-million-guitar-hero- songs-download/. Accessed 14 Feb 2017 28. Glasser AJ (2010) Activision Con鍖rms Studio Layoffs, Luxoflux Closed. In: JobBank USA. http://www.jobbankusa.com/News/ Layoffs/activision_con鍖rms_studio_layoffs_luxoflux_closed.html. Accessed 14 Feb 2017 29. Yin-Poole W (2011) Activision kills Guitar Hero. http://www.eurogamer.net/articles/2011-02- 09-activision-kills-guitar-hero. 30. Makuch E (2017) Ubisoft Buys Guitar Hero Live, DJ Hero Dev From Activision - GameSpot. In: Gamespot. http:// www.gamespot.com/articles/ubisoft-buys-guitar-hero-live-dj-hero-dev-from-act/1100- 6447034/. Accessed 14 Feb 2017
  • 38. R EFER EN C ES T H E R E S E A R C H 31. (2012) Rocksmith. 32. Landy GK, Mastrobattista AJ (2008) Chapter 22 - Video Games! Developing Games and Doing Deals. 587632. doi: http:// dx.doi.org/10.1016/B978-1-59749-256-0.00022-9 33. Yuan B, Folmer E (2008) Blind hero: enabling guitar hero for the visually impaired. Proc 10th Int ACM SIGACCESS Conf Comput Access 169176. doi: 10.1145/1414471.1414503 34. Johnson JD (2017) GUN HERO: assessing the role of violence in entertainment video games. NEW YORK UNIVERSITY 35. Baskin C, Taylor R (2007) Reciprocal Disconnectedness: Computer Games, Schooling and Boys at Risk. E-Learning 4:150160. doi: 10.2304/elea.2007.4.2.150 36. Sall A, Grinter RE (2007) Lets get physical! in, out and around the gaming circle of physical gaming at home. Comput Support Coop Work. doi: 10.1007/s10606-007-9047- 37. Ear Training Software and Music Theory Software - Rising Software. https://www.risingsoft- ware.com/. Accessed 23 Feb 2017 38. Rudolph TE (2010) Technology for Teaching. Music Educ J 76:63. doi: 10.2307/3400904 39. Scorda J (2008) Gaming as A library service. Public Libr 47:6774. 40. Garrett M (2008) Guitar Hero and Rock Band: Games that are Fun and Educational. Public Libr 4042.
  • 39. R EFER EN C ES T H E R E S E A R C H 41. Laskowski M, Ward D (2009) Building next generation video game collections in academic li- braries. J Acad Librariansh 35:267 273. doi: 10.1016/j.acalib.2009.03.005 42. Miller K (2009) Schizophonic Performance: Guitar Hero, Rock Band, and Virtual Virtuosity. J Soc Am Music Volum 3:395429. 43. Schulzke M (2010) Defending the morality of violent video games. Ethics Inf Technol 12:127 138. doi: 10.1007/ s10676-010-9222-x 44. Blum-Dimaya A, Reeve SA, Reeve KF, et al (2010) Teaching Children with Autism to Play a Video Game Using Activity Schedules and Game-Embedded Simultaneous Video Modeling. Educ Treat Child 33:351370. doi: 10.1353/etc.0.0103 45. V辰kev辰 L (2010) Garage band or GarageBand速? Remixing musical futures. Br J Music Educ 27:5970. 46. Gaydos M (2010) Rhythm Games and Learning. ICLS 10 Proc 9th Int Conf Learn Sci 2 2:451 452. 47. Gee JP (2004) Situated language and learning : a critique of traditional schooling. Routledge 48. Armiger RS, Vogelstein RJ (2008) Air-Guitar Hero: A real-time video game interface for training and evaluation of dexterous upper-extremity neuroprosthetic control algorithms. 2008 IEEE-BIOCAS Biomed Circuits Syst Conf BIOCAS 2008 121124. doi: 10.1109/BIOCAS.2008.4696889 49. Yang L, Morland TB, Schmits K, et al (2010) A prospective study of loss of consciousness in epilepsy using virtual reality driving simulation and other video games. Epilepsy Behav 18:23846. doi: 10.1016/j.yebeh.2010.04.011 50. Vickers S, Istance H, Smalley M (2010) EyeGuitar: Making Rhythm Based Music Video Games Accessible Using Only Eye Movements. Proc 7th Int Conf Adv Comput Entertain Technol 3639. doi: 10.1145/1971630.1971641
  • 40. R EFER EN C ES T H E R E S E A R C H 51. Strings on Speed. http://stringsonspeed.sourceforge.net/about.html. Accessed 21 Feb 2017 52. Dyson BJ (2010) Shes a waterfall: Motion aftereffect and perceptual design in video games involving virtual musicianship. Perception 39:131132. doi: 10.1068/p6607 53. Sanchez DJ, Gobel EW, Reber PJ (2010) Performing the unexplainable: implicit task perfor- mance reveals individually reliable sequence learning without explicit knowledge. Psychon Bull Rev 17:7906. doi: 10.3758/PBR.17.6.790 54. Rubin D (2010) Triad of spinal pain, spinal joint dysfunction, and extremity pain in 4 pediatric cases of Wii-itis: a 21st century pediatric condition. J Chiropr Med 9:8489. doi: 10.1016/j.jcm.2010.02.003 55. (2006) Joel Zumaya Puts His Life In Rocks Hands. http://deadspin.com/221791/joel-zumaya- puts-his-life-in-rocks-hands. Accessed 24 Feb 2017 56. LaViola Jr JJ (2008) Bringing VR and Spatial 3D Interaction to the Masses through Video Games. IEEE Comput Graph Appl 57. Whitson J, Eaket C, Greenspan B, et al (2008) Neo-Immersion: Awareness and Engagement in Gameplay. 2008 Conf Futur Play Res Play Share (Future Play 08) 220223. doi: 10.1145/1496984.1497028 58. Watts C, Sharlin E, Woytiuk P (2010) Helping Hands: Designing Video Games with Interper- sonal Touch Interaction. LNCS 59. Hahn C, Diefenbach P (2010) Surge: an experiment in real-time music analysis for gaming. ACM SIGGRAPH ASIA 2010 Posters 45034503. doi: 10.1145/1900354.1900371 60. Audiosurf. http://www.audio-surf.com/. Accessed 22 Feb 2017
  • 41. R EFER EN C ES T H E R E S E A R C H 60. Boulaire C, Hervet G, Graf R (2010) Creativity chains and playing in the cross鍖re on the videosharing site YouTube. J Res Interact Mark. doi: 10.1108/17505931011051669 62. Zagal JP, Mateas M (2010) Time in Video Games: A Survey and Analysis. Simul Gaming 41:844868. doi: 10.1177/1046878110375594 63. Nacke LE, Grimshaw MN, Lindley CA (2010) More than a feeling: Measurement of sonic user experience and psychophysiology in a 鍖rst-person shooter game. Interact Comput 22:336343. doi: 10.1016/j.intcom.2010.04.005 64. Conway S (2010) Its in the Game and Above the Game: An Analysis of the Users of Sports Videogames. Converg Int J Res into New Media Technol 16:334354. doi: 10.1177/1354856510367560 65. Ferreira C, Tavares R (2013) Jogar, jogo e sociedade = Play, game and society. doi: 10.13140/RG.2.1.3797.1604 66. Mangold WG, Faulds DJ (2009) Social media: The new hybrid element of the promotion mix. Bus Horiz 52:357365. doi: 10.1016/j.bushor.2009.03.002 67. Duszak R (2009) Do You Really Want That Package? J Am Coll Radiol 6:78. doi: 10.1016/j. - jacr.2008.09.011 68. Ferrell J, Greer C (2009) Editorial: Global collapse and cultural possibility. Crime, Media, Cult 5:57. doi: 10.1177/1741659008102059 69. Tolles TW (2008) Practical Considerations for Facial Motion Capture. PoLAR 277289. doi: 10.1007/978-1-84628-907-1_14 70. Chen M (2008) Game Review: The Player Matters: a review of Ninja Gaiden Dragon Sword. 5:508512.
  • 42. R EFER EN C ES T H E R E S E A R C H 71. Pagulayan R, Wixon D (2008) Game Usability: Advancing the Player Experience - Foreword. CRC Press 72. Steinkuehler C (2007) Massively Multiplayer Online Gaming as a Constellation of Literacy Practices. E-Learning 4:297. doi: 10.2304/elea.2007.4.3.297 73. Collins K (2009) An Introduction to Procedural Music in Video Games. Contemp Music Rev 28:515. doi: 10.1080/07494460802663983 74. Scott J, Migneco R, Morton B (2010) An Audio Processing Library for MIR Application Devel- opment in Flash. Ismir 643648. 75. Tsuda S, Scott D, Doyle J, Jones DB (2009) Surgical Skills Training and Simulation. Curr Probl Surg 46:271370. doi: 10.1067/ j.cpsurg.2008.12.003 76. Barbancho A, Barbancho I, Tard坦n L, Urdiales C (2009) Automatic Edition of Songs for Guitar Hero / Frets on Fire. 11861189. 77. Natkin S (2010) Interactivity in Games: The Players Engagement. Cult Comput IFIP Adv Inf Commun Technol 333:160168. doi: 10.1007/978-3-642-15214-6_16
  • 43. R O G ERTA VA R ES @ G M A I L . CO M TH A N K S