<p>    </p> <p>Lam, Luchcha. M.S., Purdue University, May 2023. Believe in the Sound You See: The Effects of Body Type and Voice Pitch on the Perceived Audio-Visual Correspondence and Believability of Virtual Characters. Major Professor: Nicoletta Adamo. </p> <p>We examined the effects of body type and voice pitch of virtual characters’ on perceived audio-visual correspondence and believability. For our within-group study, we developed nine experimental conditions using a 3 (body type: ectomorph vs. mesomorph vs. endo- morph body types) × 3 (voice pitch: low vs. medium vs. high fundamental frequency [F0]). We found significant main effects from voice pitch and significant interaction effects between a character’s body type and voice pitch on both the level of perceived audio-visual correspondence and believability of female and male characters. For female characters, we also observed an additional significant main effect from body type and a significant interac- tion effect between the participant’s biological sex and the character’s voice pitch on both perceived audio-visual correspondence and believability. Moreover, the results show that perceived believability is highly correlated to perceived audio-visual correspondence. Our findings have important practical implications in applications where the character is meant to be an emotional or informational guide that requires some level of believability, as the findings suggest that it is possible to enhance the believability of the characters by generating appropriate voices through pitch manipulation of existing voices. </p>

<p>This paper is a qualitative study that utilizes game players to learn more about the impact of game narrative, and to use this information to understand more of its role in the production of<br> games. Initial research into the topic revealed that many competing interests drive game production, but that if narrative was “down-prioritized” in production, a game was more likely to suffer compounding issues that could result in a poor end-product and launch. This nets monetary consequences for a studio, but also severely impacts the team of developers. As the game industry already faces widespread issues with crunch, long work hours over long periods of time, any additional strain on production exacerbates existing issues. Game production documentation is often held privately as the trade secrets of a given studio, so the most feasible way to address these questions is to seek a successful game with amble published documentation and compare those resources to the experiences players themselves have with the title. The Legend of Zelda: Breath of the Wild was the game chosen.<br> A sample of 18 students from Purdue University completed an initial interest survey and provided demographic information. Of those who played games regularly, 4 participants were randomly selected to move forward with an audio and video recorded gameplay session that utilized a think-aloud protocol to capture moment-to-moment experience, and then an audio recorded interview about their experiences. These methods were employed to generate transcripts of their thoughts and experiences where the researcher conducted a thematic analysis of the content. Fifteen codes were synthesized from these transcripts and found that through the context of narrative, participants expressed that gameplay, aesthetics, and critical paths in a game facilitated their experiences with narrative. Participants approached the game and spoke about narrative in a variety of ways during the game session, but all came away with similar conclusions when interviewed. This suggests that game elements that convey narrative are highly effective and opens questions into how changes to those elements can sway interpretation and if that can be controlled for. Further, studying the patterns between these elements and determining what creates the most meaning for players could open new avenues for efficient game design. </p>

<p>Upon introducing semi- and fully automated vehicles on the road, drivers will be reluctant to focus on the traffic interaction and rely on the vehicles' decision-making. However, encountering pedestrians still poses a significant difficulty for modern automated driving technologies. Considering the high-level complexity in human behavior modeling to solve a real-world problem, deep-learning algorithms trained from naturalistic data have become promising solutions. Nevertheless, although developing such algorithms is achievable based on scene data collection and driver knowledge extraction, evaluation remains challenging due to the potential crash risks and limitations in acquiring ground-truth intention changes. </p> <p><br></p> <p>This study proposes a VR-based testing bed to evaluate real-time pedestrian intention algorithms as VR simulators are recognized for their affordability and adaptability in producing a variety of traffic situations, and it is more reliable to conduct human-factor research in autonomous cars. The pedestrian wears the head-mounted headset or uses the keyboard input and makes decisions in accordance with the circumstances. The simulator has added a credible and robust experience, essential for exhibiting the real-time behavior of the pedestrian. While crossing the road, there exists uncertainty associated with pedestrian intention. Our simulator will anticipate the crossing intention with consideration of the ambiguity of the pedestrian behavior. The case study has been performed over multiple subjects in several crossing conditions based on day-to-day life activities. It can be inferred from the study outcomes that the pedestrian intention can be precisely inferred using this VR-based simulator. However, depending on the speed of the car and the distance between the vehicle and the pedestrian, the accuracy of the prediction can differ considerably in some cases.</p>

<p dir="ltr">In this paper, we address the gap in people's perceptions of using artificial intelligence (AI) in animation, mainly focusing on AI-based motion capture. We aimed to understand how individuals perceived animations created by AI, manual, and AI with manual cleanup methods. We presented our participants with short, full-body animation clips created using the three methods. Participants rated the appeal and naturalness of the animations, and we asked them to discern the creation method. Results revealed differences in perceived appeal and naturalness between manually created animations and those generated through AI-involved methods, with manual animations consistently rated higher. However, participants were unable to discern creation methods regardless of animation experience level, demonstrating an accuracy equivalent to random guessing. Moreover, the qualitative analysis highlighted diverse perspectives with negative and positive views on AI use, with the most mentioned theme being the importance of quality regardless of creation method. The overwhelming majority of participants asserted that the degree of automatization would influence their perceived value and effort put into an animation. Still, this group didn't show divergent ratings, nor did it affect their overall agreeableness towards using AI in creative fields. This study contributes valuable insights into the intersection of animation and AI, informing creators about the effect of different creation methods on audience perceptions.</p>

<p dir="ltr">This study provides insights into the right combination of devices in a co-design task, in this case, at designing a game level. The cross-reality systems enable users to connect and collaborate across the Reality-Virtuality continuum i.e., PC/Desktop, augmented reality (AR), mixed reality (MR) and virtual reality (VR). Co-design involves two or more users coming together to ideate a clear objective, and build using the appropriate tools for collaboration, design, testing, and refinement for the masses. It also considers the time and resources used throughout the process with constant and open communication. The simulation design is based on developing an application that allows two users to connect in a pairwise modality (Desktop-Desktop, VR-VR or Desktop-VR) and use the assets provided to design a game level. The users were given a layout of the level and factors based on which the level will be designed. The results are discussed, and future work and conclusions are provided based on them.</p>

This study examines how professional social workers relate to problematic computer and video gaming as an addiction. It is a qualitative interview study aimed to describe and analyze how professional social workers, who in some way work with problematic computer gaming, relate to the player’s problems in terms of a concept of dependency. The theoretical approach is based on social constructivist theories of discourses, normality, the definition of dependency and diagnoses. The study was conducted through five qualitative half structured definition interviews with professional social workers that work directly or comes in contact with problematic computer gaming. The results portray a consistent, yet fragmented understanding of the problem. Daily life is described as "reality" and the problematic computer gaming as "escapism". The player can’t meet the normative requirements of its surroundings and is classified as addicted. The informants describe similar problems related to computer gaming, but have different ideas on how the problems arise. The study concludes that professionals specifically describing problematic gaming as an addiction explain their clients in terminology comparable to substance abuse. Those who don’t relate to the concept of dependence as firmly describe the problematic gaming as more of a consequence of the interaction between the player and its surroundings.

<p dir="ltr">Since the Electronic Software Association (ESA) began reporting data for the video game industry in 2002, women have represented nearly half of the game playing population. However, despite this stable statistic, the industry’s ideal “Gamer” is consistently depicted as a young, white, cisgender, heterosexual, able-bodied male, and the games industry frequently targets this idealized identity through advertising and game design. This has resulted in a culture that is notably toxic towards women and marginalized players, built on an assumption of meritocracy within games—or the expectation that every player begins each game with the same advantages, disadvantages, and skills as every other player. While the construction of gamer identity has received extensive scholarly attention, gaming peripherals—such as video game controllers—are either minimized or left entirely out of the conversation. This dissertation, informed by feminist methodologies in technical communication and game studies, uses a mixed-methods approach involving archival research, visual analysis, surveys, and interviews to understand the intersections of video game controllers and gamer identity. Using Microsoft’s Xbox as a case study, the findings demonstrate how a dominant narrative has controlled controller design decisions through iterative processes. This has resulted in controllers that are more uncomfortable, more unusable, and more frustrating for and viewed more negatively by women and marginalized players. For each controller iteration, women and marginalized participants rated controllers significantly lower. Though the total improvement score (TIS) from first iteration to current iteration were similar between women and marginalized participants and cismale participants, the lower starting point for women and marginalized participants resulted in a lower ending point. Design decisions across controller iterations privilege cismale experiences, reifying gamer identity through controller design and resulting in not just an ideal gamer identity, but an ideal gamer body. </p>

<p>External representations (ERs) used in science education are multimodal ensembles consisting of design elements to convey educational meanings to the audience. As an example of a dynamic ER, an animation presenting its content features (i.e., scientific concepts) via varying the feature’s depiction over time. A production team invited the dissertation author to inspect their creation of a biochemistry animation about the role of the actin cytoskeleton in cell motility and the animation’s implication on learning. To address this, the author developed a four-step methodology entitled the Multimodal Variation Analysis of Dynamic External Representations (MVADER) that deconstructs the animation’s content and design to inspect how each content feature is conveyed via the animation’s design elements.</p><p><br></p><p> </p><p>This dissertation research investigated the actin animation’s educational value and the MVADER’s utility in animation evaluation. The research design was guided by descriptive case study methodology and an integrated framework consisting of the variation theory, multimodal analysis, and visual analytics. As stated above, the animation was analyzed using MVADER. The development of the actin animation and the content features the production team members intended to convey via the animation were studied by analyzing the communication records between the members, observing the team meetings, and interviewing the members individually. Furthermore, students’ learning experiences from watching the animation were examined via semi-structured interviews coupled with post- storyboarding. Moreover, the instructions of MVADER and its applications in studying the actin animation were reviewed to determine the MVADER’s usefulness as an animation evaluation tool.</p><p><br></p><p> </p><p>Findings of this research indicate that the three educators in the production team intended the actin animation to convey forty-three content features to the undergraduate biology students. At least 50% of the student who participated in this thesis learned thirty-five of these forty-three (> 80%) features. Evidence suggests that the animation’s effectiveness to convey its features was associated with the features’ depiction time, the number of identified design elements applied to depict the features, and the features’ variation of depiction over time.</p><p><br></p><p>Additionally, one-third of the student participants made similar mistakes regarding two content features after watching the actin animation: the F-actin elongation and the F-actin crosslink structure in lamellipodia. The analysis reveals the animation’s potential design flaws that might have contributed to these common misconceptions. Furthermore, two disruptors to the creation process and the educational value of the actin animation were identified: the vagueness of the learning goals and the designer’s placement of the animation’s beauty over its reach to the learning goals. The vagueness of the learning goals hampered the narration scripting process. On the other hand, the designer’s prioritization of the animation’s aesthetic led to the inclusion of a “beauty shot” in the animation that caused students’ confusion.</p><p><br></p><p> </p><p>MVADER was used to examine the content, design, and their relationships in the actin animation at multiple aspects and granularities. The result of MVADER was compared with the students’ learning outcomes from watching the animation to identify the characteristics of content’s depiction that were constructive and disruptive to learning. These findings led to several practical recommendations to teach using the actin animation and create educational ERs.</p><p><br></p><p> </p><p>To conclude, this dissertation discloses the connections between the creation process, the content and design, and the educational implication of a biochemistry animation. It also introduces MVADER as a novel ER analysis tool to the education research and visualization communities. MVADER can be applied in various formats of static and dynamic ERs and beyond the disciplines of biology and chemistry.</p>