The dependent variables in this research are the various dimensions of gameplay experience and knowledge gain. The dimensions of gameplay experience are specified in the Game Experience Questionnaire (GEQ) (Poels et al., 2012)(W. Ijsselsteijn et al., 2008)(Kent, 2013). Competence, challenge, flow, immersion, positive affect, negative affect and tension make up the game experience dimensions.
4.8.1 Competence
In the context of games, competence can be categorized into two groups – Motor competence and cognitive competence.
4.8.1.1 Motor Competence:
This subdivides into motor skills and motor knowledge (Kretschmann, 2010). “Game play competence involves the ability to (1) decode the audio‐visual sensory and perceptual information delivered by the game media (e.g., the computer screen and speakers) into the apprehension of a local situation within the synthesized game world (or game space); (2) evaluate this understanding of the local in‐game situation in terms of the overall objectives of play, current goals and tasks, the state of the player character within the game (e.g., capabilities, health, and other statistics), and anticipation of various rewards of playing the game; (3) make decisions about which in‐game tactics and action(s) to perform next, based upon the perceived situation and its evaluation; and (4) perform action(s) based upon competence in interaction mechanics and semantics.” (Lindley & Sennersten, 2008)
According to Kretschmann (2010), motor skills include eye-hand and eye-foot co-ordination. While Eye-hand coordination includes screen action in coordination with mouse/keyboard/joypad/steering wheel (Kretschmann, 2010), Eye-foot/ eye-leg coordination includes dance mats and acceleration pedals (Kretschmann, 2010). In addition to eye-hand and eye-foot coordination, there is the gross motor skill. Gross motor skills are associated with imitation/ copying of movements of controlled character(s) on the screen (Kretschmann, 2010).
Motor knowledge is required in improving motor skills. Motor knowledge could mean knowing technical equipment dealing with the game and platform e.g. special joypads (Kretschmann, 2010). Selecting mouse and keyboards for particular games also require motor knowledge (Kretschmann, 2010).
4.8.1.2 Cognitive Competence
In the context of games, cognitive competence is associated to metacognition. According to Kretschmann (2010), this is the player’s awareness of audio visual information transmitted by the game media (screen and speakers) in addition to an awareness of various in-game situations as it relates to the overall game objective. These awareness would enable the player strategize and employ different tactics in the course of gameplay.
4.8.2 Immersion
“Immersion is mostly used to refer to the degree of involvement or engagement one experiences with a game” (Wijnand Ijsselsteijn et al., 2007, p.3). According to Ermi & Mayra, (2005b), Immersion can be sensory-based, challenge-based or imaginative-based. They stated that Sensory immersion is related to the audio-visual execution of the game; imaginative being an area in the game where the player is offered a chance to use his/her imagination to empathise with the characters, or just enjoy the fantasy of the game; and challenge-based immersion is the feeling of immersion that is at its most powerful when one is able to achieve a satisfying balance of challenges and abilities. According to L.
E. Nacke & Lindley(2010), challenge-based immersion is very close to what Csikszentmihalyi describes as flow experience. “Challenge-based immersion describes the emergent gameplay experience of a player balancing his abilities against the challenges of the game in so far as gameplay is related to motor and mental skills.” (L. E. Nacke & Lindley, 2010, p.2).
Brown and Cairns (2004) identified three levels of immersion – Engagement, Engrossment and Total immersion. Engagement they referred to as the point the player is investing time, effort and attention in overcoming barriers, such as learning the controls and understanding the game environment. Engrossment they referred to as the point the game captures the player’s attention with the player becoming emotionally invested. At the point of total immersion, the player experiences presence – they are totally absorbed (E. Brown & Cairns, 2004).
4.8.3 Flow
“This is an optimal state of enjoyment where people are completely absorbed in the activity” (Wijnand Ijsselsteijn et al., 2007). “Flow may gradually increase over the course of the game in a homeostatic positive feedback loop, until either the challenge becomes too great (frustration) or the player’s skill outpaces the challenges the game can offer (boredom)” (Wijnand Ijsselsteijn et al., 2007, p.2). Games generally aim at keeping the player in a flow state for as long as possible. This according to Wijnand Ijsselsteijn et al.(2007) is often achieved by creating difficulty levels and advancement models. “Descriptions of Flow experience are identical to what players experience when immersed in games, losing track of time and external pressure, along with other interests” (J. Chen, 2007, p.32).
“Most flow experiences occur with activities that are goal-directed, bounded by rules, and require mental energy and appropriate skills” (Sweetser & Wyeth, 2005, p.3).
“Concerning video games, different players have different skills and expect different challenges” (J. Chen, 2007 p.33). Heeter, Lee, Magerko, & Medler (2010) stated that tuning optimal levels of challenge is a big deal for game design and thus could be of necessity in games. “As skill increases, the optimal amount of challenge goes up” (Heeter et al., 2010, p.7). “Optimal levels of challenge (not too hard, not too easy) are likely to be associated with the experience with flow during gameplay and with learning” (Heeter et al., 2010, p.7). According to Heeter et al. (2010), players who feel the game is pleasantly challenging are more likely to acquire the intended impacts of a serious/ serious game.
4.8.5 Tension
“Tension and release form a cornerstone in all branches of art. Whether we're making movies, buildings, stories, songs, or games, these concepts are two sides of the same important coin. Creators use them to engage us in both obvious and subliminal ways, absorbing us emotionally” (Rose, 2016a)
“Tension is present in forms of art as a means for creating emotional hooks and games are especially good at delivering that feeling of being on edge” (Alexiou, Schippers, & Oshri, 2012). Players are emotionally attached to “tension and release” in games (Rose, 2016b), thus it is highly desirable (Rose, 2016b). Game developers only need to manage this phenomenon in games (Alexiou et al., 2012). “A game’s goal propel the player through tension; the game’s mechanics are the source of its release” (Rose, 2016b). The tension in games can be influenced by players and released through the
“No matter what arena you choose, tension is the state of mental or emotional strain. Conflict, stress, pressure, and anxiety are all ways to describe this very animal emotion. It usually has a negative connotation -- people generally try to keep their tension at a minimum. Paradoxically, tension is a must-have in any artistic experience. People absolutely need it in order to enjoy a movie, book, or game. We all know that icky feeling at the end of a movie's second act, when everything is going great but we know something bad has to happen. Deep down we need that horrible thing to happen; we need our character to overcome it. It's the same with the rest of art -- tension is crucial”. (Rose, 2016b)
game mechanics. In most games, a period of particularly high tension often precedes a heightened feeling of triumph (Rose, 2016b).