To types, genres, and production year of games. Meet the player object definition, which reveals general trends and patterns according The first was a broad analysis of the 78 of the 99 games in the sample that ![]() To illustrate the applicability of the PO-VE model, two levels of application wereĮmployed. The iterative data collection and coding process, which resembled to someĮxtent that of grounded theory, was finally conceptualised into the PO-VE framework, consisting of a general theory of virtual environments as relational systems, a terminology of player objects in virtual environments, and an analysis model thatĬonsists of seven categories related to different aspects of PO-VE relations. Results from observational data iteratively translated into codes from games published between 19, across 32 different platforms, developed in 17 different countries. The games were chosen using a purposive sampling method guided by a pre-conceptualisation of what constitutes an avatar-based game (the initial focus of the study), popular game examples from game studies literature, and certain diversity labels: year of publication, platform, and country of origin. The PO-VE framework results from an analysis and iterative coding process of 99 digital games. In most cases, player objects are dynamic (i.e., their attributes and affordances are altered over time) they can not only move along a single axis, but also be used for navigating the virtual environment along multiple axes and they have some sort of visual presentation, which varies according to the specific visual framing of the player object and the virtual environment. As integrated and movable objects, they consist of attributes (properties such as health, speed, and size) and affordances (possible actions such as running, shooting, and jumping). Within the virtual environment, player objects constitute the player’s point of control. Based on a relational and functional approach, objects are conceived of as integrated in the virtualĮnvironment by being spatially and functionally related to other objects within it, thus emphasising the virtual environment’s relational system-structure. The PO-VE framework encompasses a general theory, a dedicated terminology, and anĪ virtual environment is a navigable geometry and a computational, relational model that represents the relative positions and functions of objects within it. For example, digital games opting for a non-traditional user interface where information is displayed on or in the direct vicinity of the character should take this effect into account when choosing which information to present where (i.e., present the most crucial piece of information close to the self-center of the avatar).īased on a qualitative analysis of 99 different digital games, this study develops a framework for understanding the functionality and relationships between player objectsĪnd virtual environments, explored in what has been named the PO-VE framework. Beyond a theoretical level, this also has implications for practical use. This implies that attention is not equally distributed across the avatar. Taken together, the results showed that (i) people indeed show enhanced processing for self-avatar-related stimuli and (ii) that self-associations are stronger if the to-be-associated stimuli are closer to the avatar’s upper torso-suggesting some kind of a projected location of the self in the avatar. We investigated this in two studies with N = 33 and N = 39 young, healthy adults, respectively. We were interested in whether the same mechanism can be found when people transfer their “Self” into a static avatar. In addition, people have an understanding of what they consider their “Self” and where it is located, namely near the head and upper torso-further boosting the processing of self-related stimuli if they are presented near the felt location of the self. Rich body of research suggests that self-associated stimuli are preferentially processed and therefore responses to such stimuli are typically faster and more accurate.
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