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Cover PageArticle Title: Using Reflexive Photography to Investigate Design Affordances for Creativity in Digital Entertainment GamesAuthors:Corresponding Author: Johanna Halla Ursula Sticklerb Christothea Herodotoua Ioanna Iacovidesc Affiliationsa Institute of Educational Technology, The Open University, Walton Hall, Milton Keynes MK7 6AA, UKb School of Languages and Applied Linguistics, The Open University, Walton Hall, Milton Keynes MK7 6AA, UKc Department of Computer Science, University of York, Deramore Lane, York YO10 5GH, UKDeclarations of Interest: None.Acknowledgements: This research was funded by the Leverhulme Trust.Using Reflexive Photography to Investigate Design Affordances for Creativity in Digital Entertainment GamesAbstractThis article aims to provide an account of the use of reflexive photography in capturing player creativity in practice and present a guide to how game design can support player creativity. While previous literature has examined some aspects of player creativity in digital games, there remains a dearth of work which examines how design elements of games contribute to creative behaviour. Using a reflexive photography method with photo-elicitation interviews, this study identifies eight design affordances for player creativity in digital games and outlines the effectiveness of the reflexive photography method within the context of digital games. The identified design affordances related to the degree of flexibility of the game structure (e.g. open versus linear), narrative exploration, extent and diversity of game variables, opportunities for content creation, environmental interaction and exploration, avatar customisation, progression and replayability. Implications for the design of games that support creativity are discussed.IntroductionCreativity has been widely investigated across domains such as education, the workplace and the creative arts and is said to provide a number of benefits such as positive psychological health ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"DOI":"10.1037/11595-001","ISBN":"9780979212574\\r097921257X","PMID":"14683369","abstract":"If most people know intuitively what their everyday creativity is, then why does our creativity not get more attention? Are we just so accustomed to it that our everyday creativity provides a backdrop whose presence is assumed and then quickly forgotten? This chapter suggests there is even more to it. Our everyday creativity may often be overlooked-either consciously or unconsciously, for a purpose. In this chapter, we look first at some background on the nature of everyday creativity, including reasons why some of its health benefits may not be well known. Next we consider obstacles which can get in the way of our creative impulses and expression, including both conscious and unconscious factors within ourselves and out in the world, individually and together. Here, the discussion includes one unconventional example of creative discovery, intended to challenge one's open-mindedness, while raising experientially the issue of these outside obstacles to innovation. Next, the chapter considers the benefits of everyday creativity that we may forfeit if we are too readily deterred, including advantages for our physical and psychological health, our well-being, and the ability to appreciate the creativity of others.","author":[{"dropping-particle":"","family":"Richards","given":"Ruth","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Everyday creativity and new views of human nature: Psychological, social, and spiritual perspectives.","id":"ITEM-1","issued":{"date-parts":[["2007"]]},"page":"25-54","title":"Everyday Creativity: Our Hidden Potential","type":"article-journal"},"uris":[""]}],"mendeley":{"formattedCitation":"(Richards, 2007)","plainTextFormattedCitation":"(Richards, 2007)","previouslyFormattedCitation":"(Richards, 2007)"},"properties":{"noteIndex":0},"schema":""}(Richards, 2007), increased cognitive flexibility ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"DOI":"10.3389/fpsyg.2014.00613","ISSN":"16641078","abstract":"The article discusses the therapeutic benefits of creativity associated with the psychopathology. Topics discussed include disorders beneficial for the creative cognition, openness of hypomania in the bipolar disorder and rumination that is happens in depression. Also discussed is that the overlapping of symptoms and at a high rate of comorbidity between the psychological disorders and research in future can investigate the effects of creative work on well-being in fields other than art.","author":[{"dropping-particle":"","family":"Forgeard","given":"Marie J.C.","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Elstein","given":"Jeanette G.","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Frontiers in Psychology","id":"ITEM-1","issue":"JUN","issued":{"date-parts":[["2014"]]},"page":"1-4","title":"Advancing the clinical science of creativity","type":"article-journal","volume":"5"},"uris":[""]}],"mendeley":{"formattedCitation":"(Forgeard & Elstein, 2014)","plainTextFormattedCitation":"(Forgeard & Elstein, 2014)","previouslyFormattedCitation":"(Forgeard & Elstein, 2014)"},"properties":{"noteIndex":0},"schema":""}(Forgeard & Elstein, 2014), adaptive thinking ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"DOI":"10.1016/j.cpr.2010.03.001","ISSN":"18737811","abstract":"Traditionally, positive emotions and thoughts, strengths, and the satisfaction of basic psychological needs for belonging, competence, and autonomy have been seen as the cornerstones of psychological health. Without disputing their importance, these foci fail to capture many of the fluctuating, conflicting forces that are readily apparent when people navigate the environment and social world. In this paper, we review literature to offer evidence for the prominence of psychological flexibility in understanding psychological health. Thus far, the importance of psychological flexibility has been obscured by the isolation and disconnection of research conducted on this topic. Psychological flexibility spans a wide range of human abilities to: recognize and adapt to various situational demands; shift mindsets or behavioral repertoires when these strategies compromise personal or social functioning; maintain balance among important life domains; and be aware, open, and committed to behaviors that are congruent with deeply held values. In many forms of psychopathology, these flexibility processes are absent. In hopes of creating a more coherent understanding, we synthesize work in emotion regulation, mindfulness and acceptance, social and personality psychology, and neuropsychology. Basic research findings provide insight into the nature, correlates, and consequences of psychological flexibility and applied research provides details on promising interventions. Throughout, we emphasize dynamic approaches that might capture this fluid construct in the real-world. ? 2010 Elsevier Ltd.","author":[{"dropping-particle":"","family":"Kashdan","given":"Todd B.","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Rottenberg","given":"Jonathan","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Clinical Psychology Review","id":"ITEM-1","issue":"4","issued":{"date-parts":[["2010"]]},"page":"865-878","title":"Psychological flexibility as a fundamental aspect of health","type":"article-journal","volume":"30"},"uris":[""]}],"mendeley":{"formattedCitation":"(Kashdan & Rottenberg, 2010)","plainTextFormattedCitation":"(Kashdan & Rottenberg, 2010)","previouslyFormattedCitation":"(Kashdan & Rottenberg, 2010)"},"properties":{"noteIndex":0},"schema":""}(Kashdan & Rottenberg, 2010) and an increase in happiness ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"DOI":"10.1037/a0035722","ISBN":"1931-3896\\n1931-390X","ISSN":"1931390X","abstract":"Richards proposed that everyday creativity—creative actions that are common among ordinary people in daily life, such as drawing, making recipes, writing, and any activity done with the purpose of being creative—both fosters and reflects psychological health. To explore when people are more likely to do something creative during the day, and to see who tends to act more creatively, we conducted a week-long experience-sampling study with a sample of young adults. Throughout the day, people’s actions and feelings were randomly sampled, with an emphasis on whether people were doing something creative. Consistent with the notion of everyday creativity as a psychological strength, within-person models showed that people who reported feeling happy and active were more likely to be doing something creative at the time. Between-person models found that openness to experience and conscientiousness had large effects on whether people spent their time on creative pursuits. Neither negative states (e.g., momentary feelings of anger, stress, and self-consciousness) nor traits (e.g., neuroticism) significantly predicted creative activity. The findings support Richards’s theorizing about everyday creative behavior as a cause and effect of positive psychological processes, and they illustrate the value of experience sampling for uncovering what creativity looks like in people’s idiosyncratic environments. (PsycINFO Database Record (c) 2014 APA, all rights reserved). (journal abstract) TS - RIS","author":[{"dropping-particle":"","family":"Silvia","given":"Paul J.","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Beaty","given":"Roger E.","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Nusbaum","given":"Emily C.","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Eddington","given":"Kari M.","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Levin-Aspenson","given":"Holly","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Kwapil","given":"Thomas R.","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Psychology of Aesthetics, Creativity, and the Arts","id":"ITEM-1","issue":"2","issued":{"date-parts":[["2014"]]},"page":"183-188","title":"Everyday creativity in daily life: An experience-sampling study of \"little c\" creativity","type":"article-journal","volume":"8"},"uris":[""]}],"mendeley":{"formattedCitation":"(Silvia et al., 2014)","plainTextFormattedCitation":"(Silvia et al., 2014)","previouslyFormattedCitation":"(Silvia et al., 2014)"},"properties":{"noteIndex":0},"schema":""}(Silvia et al., 2014). Games are one medium which provides creative opportunities for those who play them ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"author":[{"dropping-particle":"","family":"Blascovich","given":"J.","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Bailenson","given":"J.","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["2011"]]},"publisher":"Harper Collins","publisher-place":"New York","title":"Infinite reality: The hidden blueprint of our virtual lives","type":"book"},"uris":[""]},{"id":"ITEM-2","itemData":{"DOI":"10.1007/s11031-012-9284-7","ISSN":"01467239","abstract":"Although a considerable amount of attention has examined potential positive and negative consequences of video game play in children, relatively little research has examined children’s motivations for using games. The current study hopes to address this gap in the literature by examining children’s motivations for video game play in a large sample of youth (n = 1254). Results indicated that video game use was common, and often a social activity. Social play was mainly predicted by motivations related to socialization, fun/challenge and current stress level. Pref- erence for violent games was more common in males and predicted by fun/challenge motivations and beliefs such games could be cathartic for stress. Children with clinically elevated levels of depressive and ADHD symptoms did not play more games, or more violent games, but were more inclined to endorse catharsis motivations for video game use. Results from this study provide understanding of what motivates children to use games, and how the motivations of children with symptoms of psychosocial problems (as identified via subscales of the Pediatric Symptom Check- list) may differ from others.","author":[{"dropping-particle":"","family":"Ferguson","given":"C. J.","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Olson","given":"Cheryl K.","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Motivation and Emotion","id":"ITEM-2","issue":"1","issued":{"date-parts":[["2013"]]},"page":"154-164","title":"Friends, fun, frustration and fantasy: Child motivations for video game play","type":"article-journal","volume":"37"},"uris":[""]}],"mendeley":{"formattedCitation":"(Blascovich & Bailenson, 2011; Ferguson & Olson, 2013)","plainTextFormattedCitation":"(Blascovich & Bailenson, 2011; Ferguson & Olson, 2013)","previouslyFormattedCitation":"(Blascovich & Bailenson, 2011; Ferguson & Olson, 2013)"},"properties":{"noteIndex":0},"schema":""}(Blascovich & Bailenson, 2011; Ferguson & Olson, 2013). They can include ill-defined challenges which players can complete in numerous ways ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"DOI":"10.1016/j.iheduc.2004.12.001","ISBN":"1096-7516","ISSN":"10967516","abstract":"Online games satisfy the basic requirements of learning environments and can provide engaging learning experiences for students. However, a model that successfully integrates educational theory and game design aspects do not exist. Thus, in this paper an experiential gaming model that is based on experiential learning theory, flow theory and game design is presented. The model stresses the importance of providing the player with immediate feedback, clear goals and challenges that are matched to his/her skill level. The flow theory is used as a framework to facilitate positive user experience in order to maximize the impact of educational games. Especially, the factors that contribute to flow experience are discussed. The experiential gaming model can be used to design and analyse educational computer games. However, the model works only as a link between educational theory and game design and does not provide the means to a whole game design project. ? 2005 Elsevier Inc. All rights reserved.","author":[{"dropping-particle":"","family":"Kiili","given":"Kristian","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Internet and Higher Education","id":"ITEM-1","issue":"1","issued":{"date-parts":[["2005"]]},"page":"13-24","title":"Digital game-based learning: Towards an experiential gaming model","type":"article-journal","volume":"8"},"uris":[""]},{"id":"ITEM-2","itemData":{"DOI":"10.1007/s11423-013-9312-7","ISBN":"1042-1629, 1556-6501","ISSN":"15566501","abstract":"Over the past decade research has recognised the learning potential of mas- sively multiplayer online games (MMOGs). MMOGs can be used by the technology- enhanced learning research community to study and identify good educational practices that may inspire engaging, creative and motivating approaches for education and learning. To this end, in this research paper, we aim to explore the learning outcomes and processes emerging in the environment of MMOGs by initially studying the relevant perceptions of the players. Based on a theoretical framework referring to the cognitive, the social, and the affective aspects of a technology-supported learning environment, and through a mixed- method research and the analysis of qualitative data from 22 individual and group inter- views, and quantitative data from a wider survey (minimum N = 221), we map and examine the cognitive, the skill-based, the social, and the affective potential impact of MMOGs. More specifically this study presents the perceptions of players on the learning impact of MMOGs, the potential transfer of skills to other domains, the learning practices they employ, and elements of the design of the environment that may present positive conditions for learning. We attempt to contribute to the research field and also provide insights for the design of technology-enhanced learning environments, by examining and mapping elements of MMOGs from the perspective of the design of an effective learning environment and based on empirical data.","author":[{"dropping-particle":"","family":"Voulgari","given":"Iro","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Komis","given":"Vassilis","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Sampson","given":"Demetrios G.","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Educational Technology Research and Development","id":"ITEM-2","issue":"2","issued":{"date-parts":[["2014"]]},"page":"245-270","title":"Learning outcomes and processes in massively multiplayer online games: Exploring the perceptions of players","type":"article-journal","volume":"62"},"uris":[""]}],"mendeley":{"formattedCitation":"(Kiili, 2005; Voulgari et al., 2014)","plainTextFormattedCitation":"(Kiili, 2005; Voulgari et al., 2014)","previouslyFormattedCitation":"(Kiili, 2005; Voulgari et al., 2014)"},"properties":{"noteIndex":0},"schema":""}(Kiili, 2005; Voulgari et al., 2014), opportunities to create game content ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"abstract":"Virtual worlds have moved from being a geek topic to one of mainstream academic interest. This transition is contingent not only on the augmented economic, societal and cultural value of these virtual realities and their effect upon real life but also on their convenience as fields for experimentation, for testing models and paradigms. User creation is however not something that has been transplanted from the real to the virtual world but a phenomenon and a dynamic process that happens from within and is defined through complex relationships between commercial and non-commercial, commodified and not commodified, individual and of the community, amateur and professional, art and not art. Accounting for this complex environment, the present paper explores user created content in virtual worlds, its dimensions and value and above all, its constraints by code and law. It puts forward suggestions for better understanding and harnessing this creativity.","author":[{"dropping-particle":"","family":"Burri","given":"Mira","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"International Journal of Communications Law & Policy","id":"ITEM-1","issue":"March","issued":{"date-parts":[["2011"]]},"page":"1-28","title":"Misunderstanding Creativity: User Created Content in Virtual Worlds and Its Constraints by Code and Law","type":"article-journal","volume":"14"},"uris":[""]},{"id":"ITEM-2","itemData":{"abstract":"The paper takes a look at player agency within the players of the console game LittleBigPlanet (Media Molecule, 2008). The concept of LBP is inherently dependent on player production and the players are in various ways encouraged to contribute to the game by creating and sharing levels of their own. The special focus is in analysing the technical and economic strategies the game and the console environment uses to position the productive activities of players. To what extent does LBP challenge Zittrain’s much cited argument about tethered appliances? Secondly, the paper aims to describe the limits of player agency available for LBP players. If the game from the start invites players to co-design the game itself how much room there is for resistance and transformation? Based on the observations there are reasons to argue that the recent developments in the console market have turned the latest generation consoles into an increasingly inviting platform for different forms of player production. At the same time the article highlight how the new options available for players do not automatically make all of them active participants but instead, a variety of different roles can be identified. It is further argued that while LBP does not allow radical reprogramming of the console environment it does support more subtle ways of repurposing the console.","author":[{"dropping-particle":"","family":"Sotamaa","given":"Olli","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"The Fibreculture Journal","id":"ITEM-2","issued":{"date-parts":[["2010"]]},"publisher":"The Fibreculture Journal","title":"Play, Create, Share? Console Gaming, Player Production and Agency","type":"article-journal","volume":"16"},"uris":[""]}],"mendeley":{"formattedCitation":"(Burri, 2011; Sotamaa, 2010)","plainTextFormattedCitation":"(Burri, 2011; Sotamaa, 2010)","previouslyFormattedCitation":"(Burri, 2011; Sotamaa, 2010)"},"properties":{"noteIndex":0},"schema":""}(Burri, 2011; Sotamaa, 2010) and emotionally challenging game narratives that can instigate reflection ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"ISBN":"9781450356244","author":[{"dropping-particle":"","family":"Mekler","given":"Elisa D","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Iacovides","given":"Ioanna","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Bopp","given":"Julia Ayumi","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"CHI PLAY '18 Proceedings of the 2018 Annual Symposium on Computer-Human Interaction in Play","id":"ITEM-1","issued":{"date-parts":[["2018"]]},"page":"315-327","publisher-place":"Melbourne, Australia","title":"“ A Game that Makes You Question ...” Exploring the Role of Reflection for the Player Experience","type":"paper-conference"},"uris":[""]},{"id":"ITEM-2","itemData":{"DOI":"10.1145/3311350.3347192","ISBN":"9781450366885","abstract":"\"One of the baddies all along\" : Moments that challenge a player's perspective. ABSTRACT Reflection has become a core interest for game designers. However, empirical research into the kinds and causes for reflection within games is scarce. We therefore conducted an on-line questionnaire where participants (n=101) openly reported perspective-challenging moments within games, their causes, experience, and impact. Where past work has emphasised transformative reflection that changes player's views and behaviour outside the game, we found that players report predominantly moments of 'endo'-transformative reflection, which is focused on players' game-related behaviour and concepts. We further identify some causes of perspective-challenging moments relating to narrative, game systems, game-external sources, and player expectations. Narrative reveals emerge as a key cause of perspective challenge.","author":[{"dropping-particle":"","family":"Whitby","given":"Matthew Alexander","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Deterding","given":"Sebastian","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Iacovides","given":"Ioanna","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"CHI PLAY 2019, 22-25 Oct 2019","id":"ITEM-2","issued":{"date-parts":[["2019"]]},"page":"339-350","publisher":"Association for Computing Machinery, Inc , ESP","title":"\"One of the baddies all along\": Moments that Challenge a Player's Perspective","type":"paper-conference"},"uris":[""]}],"mendeley":{"formattedCitation":"(Mekler et al., 2018; Whitby et al., 2019)","plainTextFormattedCitation":"(Mekler et al., 2018; Whitby et al., 2019)","previouslyFormattedCitation":"(Mekler et al., 2018; Whitby et al., 2019)"},"properties":{"noteIndex":0},"schema":""}(Mekler et al., 2018; Whitby et al., 2019). Although games may be an apt conduit for creativity, this phenomenon has largely been omitted from work regarding player experience, with studies which have granted focus on creativity usually only providing an account of one aspect of this multi-faceted construct. In particular, previous work has looked at discrete aspects of creativity such as social innovations ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"DOI":"10.1016/j.tsc.2011.07.001","abstract":"a b s t r a c t Virtual worlds open new possibilities for learners, prompting a reconsideration of how learning takes place, and setting education in a context of playfulness, delight and cre-ativity. They provide environments in which it is not only possible but also necessary to generate and try out ideas. They therefore offer opportunities to explore new possibilities related to teaching and learning about creativity and to challenge assumptions about the creative capabilities of young learners. The research reported here focuses on a group of teenaged learners who worked together online in the virtual world of Second Life?, as well as using other online tools. It applies thematic analysis to a 120-post forum discussion carried out over two weeks, in which 19 learners and educators debated how to develop their virtual island, and sets this discussion in the context of ongoing interaction within this group. Their focus widened from building plans to cover the creation and maintenance of a community, creatively synthesising considerations relating to environment, ethics, gover-nance, aesthetics and purpose. The teenagers' creativity when dealing with this authentic problem extended well beyond the elements identified by England's National Curriculum, and was supported by staff's active and supportive engagement in the debate.","author":[{"dropping-particle":"","family":"Ferguson","given":"Rebecca","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Thinking Skills and Creativity","id":"ITEM-1","issued":{"date-parts":[["2011"]]},"page":"169-178","title":"Meaningful learning and creativity in virtual worlds","type":"article-journal","volume":"6"},"uris":[""]},{"id":"ITEM-2","itemData":{"author":[{"dropping-particle":"","family":"Wright","given":"Talmadge","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Boria","given":"Eric","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Breidenbach","given":"Paul","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Game Studies","id":"ITEM-2","issued":{"date-parts":[["2002"]]},"title":"Creative Player Actions in FPS Online Video Games Playing Counter-Strike","type":"article-journal","volume":"2"},"uris":[""]}],"mendeley":{"formattedCitation":"(Ferguson, 2011; Wright et al., 2002)","plainTextFormattedCitation":"(Ferguson, 2011; Wright et al., 2002)","previouslyFormattedCitation":"(Ferguson, 2011; Wright et al., 2002)"},"properties":{"noteIndex":0},"schema":""}(Ferguson, 2011; Wright et al., 2002), user-created content ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"abstract":"Virtual worlds have moved from being a geek topic to one of mainstream academic interest. This transition is contingent not only on the augmented economic, societal and cultural value of these virtual realities and their effect upon real life but also on their convenience as fields for experimentation, for testing models and paradigms. User creation is however not something that has been transplanted from the real to the virtual world but a phenomenon and a dynamic process that happens from within and is defined through complex relationships between commercial and non-commercial, commodified and not commodified, individual and of the community, amateur and professional, art and not art. Accounting for this complex environment, the present paper explores user created content in virtual worlds, its dimensions and value and above all, its constraints by code and law. It puts forward suggestions for better understanding and harnessing this creativity.","author":[{"dropping-particle":"","family":"Burri","given":"Mira","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"International Journal of Communications Law & Policy","id":"ITEM-1","issue":"March","issued":{"date-parts":[["2011"]]},"page":"1-28","title":"Misunderstanding Creativity: User Created Content in Virtual Worlds and Its Constraints by Code and Law","type":"article-journal","volume":"14"},"uris":[""]}],"mendeley":{"formattedCitation":"(Burri, 2011)","plainTextFormattedCitation":"(Burri, 2011)","previouslyFormattedCitation":"(Burri, 2011)"},"properties":{"noteIndex":0},"schema":""}(Burri, 2011) and appropriating forms of play ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"abstract":"The role of playful innovations in the Multiplayer Online Battle Arena (MOBA) genre has become a hugely important, contested and under studied activity. Through a case study of the 'fountain hook' and an exploration of exploitative and emergent notions of play, this paper explores how the dynamics of co-creativity function in online play spaces such as the MOBA genre. In what ways these co-creative dynamics impact different stakeholders of the play space and open up critical questions similar to that of wider participatory platforms is a particular focus here. Informed by online ethnographic research that forms part of a wider PhD project this paper also touches upon specific themes related to the unexplored genre of MOBAs such as why they are so appealing and what it is that makes them so challenging to study.","author":[{"dropping-particle":"","family":"Jarrett","given":"Josh","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Videogame Cultures and the Future of Interactive Entertainment 6th Global Conference, July 19th 2014","id":"ITEM-1","issued":{"date-parts":[["2014"]]},"publisher-place":"Oxford","title":"Fountain Hooks, Emergent Exploits and the Playful Co-Creativity of MOBAs","type":"paper-conference"},"uris":[""]},{"id":"ITEM-2","itemData":{"abstract":"This paper gives close attention to the term 'Multiplayer Online Battle Arena' (MOBA), establishing what it implies in popular discourses as a term with specific generic connotations and more critically, what its short but eventful history represents alongside wider participatory trends across the Internet. Despite its far reaching influence and now commonplace usage, MOBA is not a neutral term and it signals a precise transitional moment towards a new normalisation of playful, cultural and economic control for the genre. Through adapting Foucault's term of the 'dispositif' and applying a genealogical approach towards mapping the transition from the mod of Defense of the Ancients (DotA) to the genre of MOBA, this paper argues that MOBAs continue to be laced in significant bottom-up movements and characteristics. It is these lingering characteristics of playful and participatory residue that many of the genres most notable game design and paratextual aspects can be found. However, it is also here that critical questions surrounding the platformed state of these relations also make themselves evident.","author":[{"dropping-particle":"","family":"Jarrett","given":"Josh","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-2","issued":{"date-parts":[["2016"]]},"page":"1-16","title":"Critically Approaching the Playful and Participatory Genealogy of MOBAs","type":"article-journal"},"uris":[""]},{"id":"ITEM-3","itemData":{"author":[{"dropping-particle":"","family":"Aarseth","given":"E.","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Situated Play, Proceedings of DiGRA 2007 Conference","id":"ITEM-3","issued":{"date-parts":[["2007"]]},"title":"I Fought the Law: Transgressive Play and The Implied Player","type":"paper-conference"},"uris":[""]},{"id":"ITEM-4","itemData":{"DOI":"10.1177/1354856507081961","ISSN":"13548565","abstract":"/ This article examines the contested issue of player productivity, with a focus on the multifaceted relations between players and the game industry. These relations are explored using the movie studio simulation The Movies (Lionhead Studios, 2005) as a case study. Firstly, through an examination of the game, some of the prevailing game industry's practices, and their relations to the ones applied amongst other creative industries (particularly the film industry) are introduced. Secondly, the game, and especially the accompanying moviemaking editor, is analysed from the perspective of `transformative play'. Further, the reasons behind, and consequences of, allowing the players to make and distribute short movies of their own are contemplated. Finally the article addresses the mechanisms of control and reward that are applied by the corporate actors in relation to The Movies. The article suggests that in the age of commodified play, players face trade-offs all the time. Therefore, the study of rules that has become central in game studies has to be expanded to the `out-game rules' defined by the corporate players.","author":[{"dropping-particle":"","family":"Sotamaa","given":"Olli","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Convergence","id":"ITEM-4","issue":"4","issued":{"date-parts":[["2007"]]},"page":"383-401","title":"Let me take you to the movies: Productive players, commodification and transformative play","type":"article-journal","volume":"13"},"uris":[""]}],"mendeley":{"formattedCitation":"(Aarseth, 2007; Jarrett, 2014, 2016; Sotamaa, 2007)","plainTextFormattedCitation":"(Aarseth, 2007; Jarrett, 2014, 2016; Sotamaa, 2007)","previouslyFormattedCitation":"(Aarseth, 2007; Jarrett, 2014, 2016; Sotamaa, 2007)"},"properties":{"noteIndex":0},"schema":""}(Aarseth, 2007; Jarrett, 2014, 2016; Sotamaa, 2007). Problem-solving has also been considered, with work such as Iacovides et al. ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"DOI":"10.1145/2658537.2658697","ISBN":"9781450330145","abstract":"Challenge is considered to be one of the key components of game-play, where game designers face the tricky task of getting the balance right so that game-play is neither too easy nor too difficult. Through attempting in-game challenges, players experience cycles of breakdown and breakthrough, where breakthroughs involve moments of insight in which learning occurs. However, little attention has been given to how players actually overcome challenges to progress during game-play. Across two studies, we explore the ways in which players attempt to achieve breakthroughs in relation to single-player and co-located multiplayer games. We identified a number of strategies that are used by players, which illustrate how learning occurs during play. For instance, while \"Experiment\" involves forming an informal hypothesis, \"Trial & error\" occurs when the player tries to find out what, if anything, will happen when they carry out an action. These strategies are considered in relation to supporting player progress and engaging game-play when designing commercial and educational games.","author":[{"dropping-particle":"","family":"Iacovides","given":"Ioanna","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Cox","given":"Anna L.","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Avakian","given":"Ara","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Knoll","given":"Thomas","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Proceedings of the first ACM SIGCHI annual symposium on Computer-human interaction in play - CHI PLAY '14","id":"ITEM-1","issued":{"date-parts":[["2014"]]},"page":"131-140","title":"Player Strategies: Achieving Breakthroughs and Progressing in Single-Player and Cooperative Games","type":"article-journal"},"suppress-author":1,"uris":[""]}],"mendeley":{"formattedCitation":"(2014)","plainTextFormattedCitation":"(2014)","previouslyFormattedCitation":"(2014)"},"properties":{"noteIndex":0},"schema":""}(2014) identifying a number of creative strategies players use to navigate gameplay breakdowns. Other work has examined the ways in which games may prompt players reflect on, question and/or alter existing perceptions and views through emotionally challenging narrative and gameplay ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"DOI":"10.1145/3173574.3173615","abstract":"Recent work introduced the notion of emotional challenge as a means to afford more unique and diverse gaming experien-ces. However, players' experience of emotional challenge has received little empirical attention. It remains unclear whether players enjoy it and what exactly constitutes the challenge thereof. We surveyed 171 players about a challenging or an emotionally challenging experience, and analyzed their re-sponses with regards to what made the experience challen-ging, their emotional response, and the relation to core play-er experience constructs. We found that emotional challen-ge manifested itself in different ways, by confronting play-ers with difficult themes or decisions, as well as having them deal with intense emotions. In contrast to more 'conventio-nal' challenge, emotional challenge evoked a wider range of negative emotions and was appreciated significantly more by players. Our findings showcase the appeal of uncomfortable gaming experiences, and extend current conceptualizations of challenge in games.","author":[{"dropping-particle":"","family":"Bopp","given":"Julia Ayumi","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Opwis","given":"Klaus","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Mekler","given":"Elisa D","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"CHI 2018 April 21-26","id":"ITEM-1","issued":{"date-parts":[["2018"]]},"publisher-place":"Montreal","title":"An Odd Kind of Pleasure: Differentiating Emotional Challenge in Digital Games","type":"paper-conference"},"uris":[""]},{"id":"ITEM-2","itemData":{"ISBN":"9781450356244","author":[{"dropping-particle":"","family":"Mekler","given":"Elisa D","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Iacovides","given":"Ioanna","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Bopp","given":"Julia Ayumi","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"CHI PLAY '18 Proceedings of the 2018 Annual Symposium on Computer-Human Interaction in Play","id":"ITEM-2","issued":{"date-parts":[["2018"]]},"page":"315-327","publisher-place":"Melbourne, Australia","title":"“ A Game that Makes You Question ...” Exploring the Role of Reflection for the Player Experience","type":"paper-conference"},"uris":[""]},{"id":"ITEM-3","itemData":{"DOI":"10.1145/3311350.3347192","ISBN":"9781450366885","abstract":"\"One of the baddies all along\" : Moments that challenge a player's perspective. ABSTRACT Reflection has become a core interest for game designers. However, empirical research into the kinds and causes for reflection within games is scarce. We therefore conducted an on-line questionnaire where participants (n=101) openly reported perspective-challenging moments within games, their causes, experience, and impact. Where past work has emphasised transformative reflection that changes player's views and behaviour outside the game, we found that players report predominantly moments of 'endo'-transformative reflection, which is focused on players' game-related behaviour and concepts. We further identify some causes of perspective-challenging moments relating to narrative, game systems, game-external sources, and player expectations. Narrative reveals emerge as a key cause of perspective challenge.","author":[{"dropping-particle":"","family":"Whitby","given":"Matthew Alexander","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Deterding","given":"Sebastian","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Iacovides","given":"Ioanna","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"CHI PLAY 2019, 22-25 Oct 2019","id":"ITEM-3","issued":{"date-parts":[["2019"]]},"page":"339-350","publisher":"Association for Computing Machinery, Inc , ESP","title":"\"One of the baddies all along\": Moments that Challenge a Player's Perspective","type":"paper-conference"},"uris":[""]}],"mendeley":{"formattedCitation":"(Bopp et al., 2018; Mekler et al., 2018; Whitby et al., 2019)","manualFormatting":"(e.g. Bopp et al., 2018; Mekler et al., 2018; Whitby et al., 2019)","plainTextFormattedCitation":"(Bopp et al., 2018; Mekler et al., 2018; Whitby et al., 2019)","previouslyFormattedCitation":"(Bopp et al., 2018; Mekler et al., 2018; Whitby et al., 2019)"},"properties":{"noteIndex":0},"schema":""}(e.g. Bopp et al., 2018; Mekler et al., 2018; Whitby et al., 2019). Furthermore, the design elements of games which give rise to the different forms of creative expression remain largely under-investigated. Drawing from a previous study by Author A. (2020) which identified three unique expressions of player creativity in digital games along with six associated design considerations, this study aims to provide a fuller and more detailed account of the game design considerations which contribute to player creativity in practice. As such, this article aims to address the following research question: What specific game design considerations contribute to player creativity?By providing an account of how player creativity can be facilitated by various design considerations, this article aims to increase our understanding of creativity in this context and provide guidance to designers who want to build creativity into their games. By implementing the considerations outlined in this paper, designers can select aspects which support different expressions of player creativity. To answer the research question, in-depth and qualitative data is needed. Therefore, this article aims to provide evidence of the use of the reflexive photography method within the field of player experience as an appropriate research tool to investigate player experience of creativity, and hopes to pave the way for further studies to use this method within a digital gaming context. 1.1 CreativityCreativity incorporates an amalgam of different processes, outcomes and traits. For example, creativity has been argued to comprise of a number of different cognitive processes ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"author":[{"dropping-particle":"","family":"Finke","given":"R.A.","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Ward","given":"T.B.","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Smith","given":"S.M.","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["1992"]]},"publisher":"MIT Press","publisher-place":"Cambridge, MA","title":"Creative Cognition: Theory, Research and Applications","type":"book"},"uris":[""]}],"mendeley":{"formattedCitation":"(Finke et al., 1992)","plainTextFormattedCitation":"(Finke et al., 1992)","previouslyFormattedCitation":"(Finke et al., 1992)"},"properties":{"noteIndex":0},"schema":""}(Finke et al., 1992) such as analogical transfer ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"author":[{"dropping-particle":"","family":"Gentner","given":"D.","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Similarity and Analogical Reasoning","editor":[{"dropping-particle":"","family":"Vosniadou","given":"S.","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Ortony","given":"O.","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["1989"]]},"publisher":"Cambridge University Press","publisher-place":"Cambridge, UK","title":"The Mechanisms of Analogical Learning","type":"chapter"},"uris":[""]}],"mendeley":{"formattedCitation":"(Gentner, 1989)","manualFormatting":"(e.g. Gentner, 1989)","plainTextFormattedCitation":"(Gentner, 1989)","previouslyFormattedCitation":"(Gentner, 1989)"},"properties":{"noteIndex":0},"schema":""}(e.g. Gentner, 1989), information synthesis ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"DOI":"10.1037/0096-1523.4.2.244","ISSN":"1939-1277","author":[{"dropping-particle":"","family":"Thompson","given":"Andrea L.","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Klatzky","given":"Roberta L.","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Journal of Experimental Psychology: Human Perception and Performance","id":"ITEM-1","issue":"2","issued":{"date-parts":[["1978"]]},"page":"244-263","title":"Studies of visual synthesis: Integration of fragments into forms.","type":"article-journal","volume":"4"},"uris":[""]}],"mendeley":{"formattedCitation":"(Thompson & Klatzky, 1978)","manualFormatting":"(e.g. Thompson & Klatzky, 1978)","plainTextFormattedCitation":"(Thompson & Klatzky, 1978)","previouslyFormattedCitation":"(Thompson & Klatzky, 1978)"},"properties":{"noteIndex":0},"schema":""}(e.g. Thompson & Klatzky, 1978) and problem-solving ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"ISSN":"1040-726X","abstract":"Creative Problem Solving (CPS) is a framework which individuals or groups can use to: formulate problems, opportunities, or challenges; generate and analyze many, varied, and novel options; and plan for effective implementation of new solutions or courses of action. Today's CPS framework builds on more than four decades of theory, research, and application in a variety of contexts. CPS involves the integration of both creative and critical thinking skills. Using CPS effectively also requires drawing upon several metacognitive and task appraisal skills. Current research and applications focus on flexible, dynamic, descriptive uses of CPS, moving away from traditional linear, prescriptive step- or stage-sequential models. CPS offers a powerful set of tools for productive thinking; these can be learned and used successfully by children, adolescents, and","author":[{"dropping-particle":"","family":"Treffinger","given":"Donald J.","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Educational Psychology Review","id":"ITEM-1","issued":{"date-parts":[["1995"]]},"page":"301-312","title":"Creative problem solving: Overview and educational implications","type":"article-journal","volume":"7"},"uris":[""]}],"mendeley":{"formattedCitation":"(Treffinger, 1995)","manualFormatting":"(e.g. Treffinger, 1995)","plainTextFormattedCitation":"(Treffinger, 1995)","previouslyFormattedCitation":"(Treffinger, 1995)"},"properties":{"noteIndex":0},"schema":""}(e.g. Treffinger, 1995). Creativity has also been viewed in terms of Big C creativity ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"DOI":"10.1037/e586602011-001","ISBN":"0060928204","ISSN":"60928204","PMID":"3522993","abstract":"Creativity: Flow and the Psychology of Discovery and Invention, by Mihaly Csikszentmihalyi, is reviewed","author":[{"dropping-particle":"","family":"Csikszentmihalyi","given":"M.","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["1996"]]},"publisher":"Harper Perennial","publisher-place":"New York","title":"Creativity: Flow and the Psychology of Discovery and Invention","type":"book"},"uris":[""]}],"mendeley":{"formattedCitation":"(Csikszentmihalyi, 1996)","manualFormatting":"(e.g. Csikszentmilhalyi, 1996)","plainTextFormattedCitation":"(Csikszentmihalyi, 1996)","previouslyFormattedCitation":"(Csikszentmihalyi, 1996)"},"properties":{"noteIndex":0},"schema":""}(e.g. Csikszentmilhalyi, 1996) relating to outputs of creative eminence and Little C or everyday creativity ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"DOI":"10.1037//0022-3514.54.3.476","ISBN":"00223514 (ISSN)","ISSN":"0022-3514","abstract":"A new research tool, the Lifetime Creativity Scales (LCS), is presented, along with validation evi- dence based on three personally interviewed,independent samples totalling 541 subjects. The LCS provide broad-based assessment of original activity at work and leisure, without the requirement that activities be socially recognized or limited to particular fields of endeavor. The LCS therefore allow study of everyday creativity in unselected populations, and they open up new research possibili- ties. The scales show high intcrraler reliability and multiple indications of construct validity. Find- ings with the validation samples raise interesting questions, including the relationship between voca- tional and avocational creativity.","author":[{"dropping-particle":"","family":"Richards","given":"Ruth","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Kinney","given":"Dennis K.","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Benet","given":"Maria","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Merzel","given":"Ann P.","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Journal of Personality and Social Psychology","id":"ITEM-1","issue":"3","issued":{"date-parts":[["1988"]]},"page":"476-485","title":"Assessing everyday creativity: Characteristics of the Lifetime Creativity Scales and validation with three large samples.","type":"article-journal","volume":"54"},"uris":[""]}],"mendeley":{"formattedCitation":"(Richards et al., 1988)","manualFormatting":"(e.g. Richards et al., 1988)","plainTextFormattedCitation":"(Richards et al., 1988)","previouslyFormattedCitation":"(Richards et al., 1988)"},"properties":{"noteIndex":0},"schema":""}(e.g. Richards et al., 1988) relating to the smaller everyday accomplishments of normal individuals. To account for the levels of creativity in between Big and Little C, Kaufman and Beghetto ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"DOI":"10.1037/a0013688","ISBN":"1089-2680\\r1939-1552","ISSN":"1089-2680","PMID":"20854159","abstract":"Most investigations of creativity tend to take one of two directions: everyday creativity (also called “little-c”), which can be found in nearly all people, and eminent creativity (also called “Big-C”), which is reserved for the great. In this paper, the authors propose a Four C model of creativity that expands this dichotomy. Specifically, the authors add the idea of “mini-c,” creativity inherent in the learning process, and Pro-c, the developmental and effortful progression beyond little-c that represents professional-level expertise in any creative area. The authors include different transitions and gradations of these four dimensions of creativity, and then discuss advantages and examples of the Four C Model. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (journal abstract)","author":[{"dropping-particle":"","family":"Kaufman","given":"James C.","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Beghetto","given":"Ronald a.","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Review of General Psychology","id":"ITEM-1","issue":"1","issued":{"date-parts":[["2009"]]},"page":"1-12","title":"Beyond Big and Little: The Four C Model of Creativity.","type":"article-journal","volume":"13"},"uris":[""]}],"mendeley":{"formattedCitation":"(Kaufman & Beghetto, 2009)","plainTextFormattedCitation":"(Kaufman & Beghetto, 2009)","previouslyFormattedCitation":"(Kaufman & Beghetto, 2009)"},"properties":{"noteIndex":0},"schema":""}(Kaufman & Beghetto, 2009) created the Four C Model of Creativity. In addition to Big and Little C, they identified Mini C which relates to personally meaningful interpretations and insights which can instigate changes in viewpoints and perspectives, and Pro C which refers to those who are professional creators but not yet reached eminent status. Finally, factors such as intrinsic motivation ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"author":[{"dropping-particle":"","family":"Amabile","given":"Teresa M.","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Theories of Creativity","editor":[{"dropping-particle":"","family":"Runco","given":"M. A.","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Albert","given":"R.S.","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["1990"]]},"publisher":"Sage Publications","publisher-place":"Newbury Park, CA","title":"Within you, without you: The social psychology of creativity, and beyond","type":"chapter"},"uris":[""]},{"id":"ITEM-2","itemData":{"DOI":"10.1080/10400419209534438","ISBN":"1040-0419\\r1532-6934","ISSN":"15326934","abstract":"Compared the responses of 6 fine artists in fluid careers with 6 applied artists in stable careers regarding whether and why they produce art (at the start of mid-life). Both groups were queried 18–20 yrs after attending art school together. A content analysis and chi-square test revealed that the fine artists were significantly more likely than the applied artists to offer intrinsic motives as an explanation for why they produced art. Theories of intrinsic motivation were utilized to account for the sustained activity. (PsycINFO Database Record (c) 2010 APA, all rights reserved)","author":[{"dropping-particle":"","family":"Stohs","given":"Joanne Hoven","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Creativity Research Journal","id":"ITEM-2","issue":"3","issued":{"date-parts":[["1992"]]},"page":"245-252","title":"Intrinsic Motivation and Sustained Art Activity Among Male Fine and Applied Artists","type":"article-journal","volume":"5"},"uris":[""]}],"mendeley":{"formattedCitation":"(Amabile, 1990; Stohs, 1992)","plainTextFormattedCitation":"(Amabile, 1990; Stohs, 1992)","previouslyFormattedCitation":"(Amabile, 1990; Stohs, 1992)"},"properties":{"noteIndex":0},"schema":""}(Amabile, 1990; Stohs, 1992) and risk taking ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"DOI":"10.1017/S0265051704005984","ISBN":"0265-0517","ISSN":"0265-0517","PMID":"200959724","abstract":"This study investigated modes of communication adopted by six student jazz musicians during rehearsal and performance. Six one-hour rehearsal sessions and a performance were observed and videotaped for analysis. Results revealed six modes of communication that formed two main categories, verbal and non-verbal, each containing three distinct modes of communication: instruction, cooperation and collaboration. Non-verbal collaborative\\r\\nmode displayed empathetic attunement, which is a vehicle for empathetic creativity. Empathetic creativity is a theoretical concept proposed by the author based on the concept of empathetic intelligence (Arnold, 2003, 2004). Practical applications of empathetic creativity are discussed with reference to music education, focusing on evaluation of individual contribution to group creative performances.","author":[{"dropping-particle":"","family":"Seddon","given":"Frederick","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"British Journal of Music Education","id":"ITEM-1","issue":"1","issued":{"date-parts":[["2005"]]},"page":"47-61","publisher":"Open University Library","title":"Modes of communication during jazz improvisation","type":"article-journal","volume":"22"},"uris":[""]},{"id":"ITEM-2","itemData":{"DOI":"10.1080/03004279.2012.656671","ISSN":"0300-4279","abstract":"The authors have, for some years, studied the concept of ‘possibility thinking’ (PT), or ‘what if’ and ‘as if’ thinking in children aged 3–11, which generates novelty – and the pedagogical strategies which foster it. They have argued, on the basis of previous qualitative studies, that ‘PT’ is at the core of creativity in education. Having begun as a conceptual study for 7 years, this team has undertaken empirical studies of PT in classrooms. This paper discusses findings from the third phase of empirical work focusing on 9- to 11-year olds. The particular research question addressed here is ‘What characterises possibility thinking as manifest in the learning engagement of children aged 9–11?’. In a small-scale qualitative study, involving co-participation with teachers, the paper features episode analysis of naturalistic video data featuring children aged 9–11 in two schools. It focuses on PT evidenced by children engaged in a range of classroom activities, some established as individual activities and ot...","author":[{"dropping-particle":"","family":"Craft","given":"A.","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Cremin","given":"T.","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Burnard","given":"P.","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Dragovic","given":"T.","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Chappell","given":"K.","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Education 3-13","id":"ITEM-2","issue":"5","issued":{"date-parts":[["2013","10"]]},"page":"538-556","publisher":"Routledge","title":"Possibility thinking: culminative studies of an evidence-based concept driving creativity?","type":"article-journal","volume":"41"},"uris":[""]},{"id":"ITEM-3","itemData":{"DOI":"10.1037/e586602011-001","ISBN":"0060928204","ISSN":"60928204","PMID":"3522993","abstract":"Creativity: Flow and the Psychology of Discovery and Invention, by Mihaly Csikszentmihalyi, is reviewed","author":[{"dropping-particle":"","family":"Csikszentmihalyi","given":"M.","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-3","issued":{"date-parts":[["1996"]]},"publisher":"Harper Perennial","publisher-place":"New York","title":"Creativity: Flow and the Psychology of Discovery and Invention","type":"book"},"uris":[""]}],"mendeley":{"formattedCitation":"(Craft et al., 2013; Csikszentmihalyi, 1996; Seddon, 2005)","plainTextFormattedCitation":"(Craft et al., 2013; Csikszentmihalyi, 1996; Seddon, 2005)","previouslyFormattedCitation":"(Craft et al., 2013; Csikszentmihalyi, 1996; Seddon, 2005)"},"properties":{"noteIndex":0},"schema":""}(Craft et al., 2013; Csikszentmihalyi, 1996; Seddon, 2005) have been cited as playing a major role in the creative personality. Digital games have been argued to be an apt medium to foster creativity by allowing players to engage in challenging situations free from external constraints and actively promoting experimentation with different solutions and approaches ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"DOI":"10.1016/pedu.2010.05.011","abstract":"a b s t r a c t Nurturing children into thinking creatively needs to take account of what interest them. Therefore, the study conducted engaged students with computer games development as it corresponded with the young generation's habits and interests. This was done with the purpose to enhance the creative process experienced by students. It involved 69 Malaysian form one (grade seven) students, aged 13–14 year-old. Appreciative learning approach, which consisted of discover, dream, design and destiny stages, was applied in treatment group whiles control group applied self-paced learning, followed by do-it-yourself session. Findings showed students in treatment group gained accelerated mean score in creative process experienced on the second week and stabilized thereafter for the following weeks. These mean scores were significantly higher than control group, throughout the study. Although students in control group exhibited significantly lower mean scores in creative process, yet these mean scores gradually getting higher and higher each week significantly. As a conclusion, appreciative learning approach contributes significantly on the level of creative process experienced by students. However, creative process expe-rienced did not happen in a clear-cut order of inspiration, clarification, evaluation, distillation, incuba-tion, perspiration (ICEDIP). In addition, it is not true that without appreciative learning approach, students will not experience any creative process. Creative process happens all the time when the mind is active but the level can be accelerated by appropriate pedagogical approach. Caution is warranted, as this article is just part of the action research being carried out in applying appreciative learning approach as a teaching practice in computer games development class.","author":[{"dropping-particle":"","family":"Leng","given":"Eow Yee","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Zah","given":"Wan","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Ali","given":"Wan","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Mahmud","given":"Rosnaini Bt","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Baki","given":"Roselan","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Computers & Education","id":"ITEM-1","issued":{"date-parts":[["2010"]]},"page":"1131-1144","title":"Computer games development experience and appreciative learning approach for creative process enhancement","type":"article-journal","volume":"55"},"uris":[""]}],"mendeley":{"formattedCitation":"(Leng et al., 2010)","plainTextFormattedCitation":"(Leng et al., 2010)","previouslyFormattedCitation":"(Leng et al., 2010)"},"properties":{"noteIndex":0},"schema":""}(Leng et al., 2010). Ill-structured challenges (i.e. challenges which can be solved in numerous ways) have been argued to be inherent in the majority of games, promoting creativity and fostering intrinsically motivating flow experiences ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"DOI":"10.1016/j.iheduc.2004.12.001","ISBN":"1096-7516","ISSN":"10967516","abstract":"Online games satisfy the basic requirements of learning environments and can provide engaging learning experiences for students. However, a model that successfully integrates educational theory and game design aspects do not exist. Thus, in this paper an experiential gaming model that is based on experiential learning theory, flow theory and game design is presented. The model stresses the importance of providing the player with immediate feedback, clear goals and challenges that are matched to his/her skill level. The flow theory is used as a framework to facilitate positive user experience in order to maximize the impact of educational games. Especially, the factors that contribute to flow experience are discussed. The experiential gaming model can be used to design and analyse educational computer games. However, the model works only as a link between educational theory and game design and does not provide the means to a whole game design project. ? 2005 Elsevier Inc. All rights reserved.","author":[{"dropping-particle":"","family":"Kiili","given":"Kristian","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Internet and Higher Education","id":"ITEM-1","issue":"1","issued":{"date-parts":[["2005"]]},"page":"13-24","title":"Digital game-based learning: Towards an experiential gaming model","type":"article-journal","volume":"8"},"uris":[""]}],"mendeley":{"formattedCitation":"(Kiili, 2005)","plainTextFormattedCitation":"(Kiili, 2005)","previouslyFormattedCitation":"(Kiili, 2005)"},"properties":{"noteIndex":0},"schema":""}(Kiili, 2005). Furthermore, studies by Moffat et al. ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"author":[{"dropping-particle":"","family":"Moffat","given":"D.C","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Crombie","given":"W.","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Shabalina","given":"O.","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"International Journal of Game-Based Learning (IJGBL)","id":"ITEM-1","issue":"2","issued":{"date-parts":[["2017"]]},"title":"Some Video Games Can Increase the Player's Creativity","type":"article-journal","volume":"7"},"suppress-author":1,"uris":[""]}],"mendeley":{"formattedCitation":"(2017)","plainTextFormattedCitation":"(2017)","previouslyFormattedCitation":"(2017)"},"properties":{"noteIndex":0},"schema":""}(2017) found that gameplay contributes to a more creative state of mind, and Blanco-Herrera et al. ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"DOI":"10.1080/10400419.2019.1594524","author":[{"dropping-particle":"","family":"Blanco-Herrera","given":"Jorge A","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Gentile","given":"Douglas A","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Rokkum","given":"Jeffrey N","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Creativity Research Journal","id":"ITEM-1","issue":"2","issued":{"date-parts":[["2019"]]},"page":"119-131","title":"Video Games can Increase Creativity, but with Caveats","type":"article-journal","volume":"31"},"suppress-author":1,"uris":[""]}],"mendeley":{"formattedCitation":"(2019)","plainTextFormattedCitation":"(2019)","previouslyFormattedCitation":"(2019)"},"properties":{"noteIndex":0},"schema":""}(2019) identified a positive correlation between gameplay exposure and trait creativity scores. Author A. (2020) classified the different forms of creative expression common in digital games into three main categories. The first category of “creativity as problem-solving” is synonymous with Little C creativity ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"DOI":"10.1037/11595-001","ISBN":"9780979212574\\r097921257X","PMID":"14683369","abstract":"If most people know intuitively what their everyday creativity is, then why does our creativity not get more attention? Are we just so accustomed to it that our everyday creativity provides a backdrop whose presence is assumed and then quickly forgotten? This chapter suggests there is even more to it. Our everyday creativity may often be overlooked-either consciously or unconsciously, for a purpose. In this chapter, we look first at some background on the nature of everyday creativity, including reasons why some of its health benefits may not be well known. Next we consider obstacles which can get in the way of our creative impulses and expression, including both conscious and unconscious factors within ourselves and out in the world, individually and together. Here, the discussion includes one unconventional example of creative discovery, intended to challenge one's open-mindedness, while raising experientially the issue of these outside obstacles to innovation. Next, the chapter considers the benefits of everyday creativity that we may forfeit if we are too readily deterred, including advantages for our physical and psychological health, our well-being, and the ability to appreciate the creativity of others.","author":[{"dropping-particle":"","family":"Richards","given":"Ruth","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Everyday creativity and new views of human nature: Psychological, social, and spiritual perspectives.","id":"ITEM-1","issued":{"date-parts":[["2007"]]},"page":"25-54","title":"Everyday Creativity: Our Hidden Potential","type":"article-journal"},"uris":[""]}],"mendeley":{"formattedCitation":"(Richards, 2007)","plainTextFormattedCitation":"(Richards, 2007)","previouslyFormattedCitation":"(Richards, 2007)"},"properties":{"noteIndex":0},"schema":""}(Richards, 2007) and manifests as personally unique solutions to challenges and approaches to gameplay. This includes the experiential process whereby players are constantly testing and refining their strategies and ideas ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"DOI":"10.1016/j.iheduc.2004.12.001","ISBN":"1096-7516","ISSN":"10967516","abstract":"Online games satisfy the basic requirements of learning environments and can provide engaging learning experiences for students. However, a model that successfully integrates educational theory and game design aspects do not exist. Thus, in this paper an experiential gaming model that is based on experiential learning theory, flow theory and game design is presented. The model stresses the importance of providing the player with immediate feedback, clear goals and challenges that are matched to his/her skill level. The flow theory is used as a framework to facilitate positive user experience in order to maximize the impact of educational games. Especially, the factors that contribute to flow experience are discussed. The experiential gaming model can be used to design and analyse educational computer games. However, the model works only as a link between educational theory and game design and does not provide the means to a whole game design project. ? 2005 Elsevier Inc. All rights reserved.","author":[{"dropping-particle":"","family":"Kiili","given":"Kristian","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Internet and Higher Education","id":"ITEM-1","issue":"1","issued":{"date-parts":[["2005"]]},"page":"13-24","title":"Digital game-based learning: Towards an experiential gaming model","type":"article-journal","volume":"8"},"uris":[""]}],"mendeley":{"formattedCitation":"(Kiili, 2005)","plainTextFormattedCitation":"(Kiili, 2005)","previouslyFormattedCitation":"(Kiili, 2005)"},"properties":{"noteIndex":0},"schema":""}(Kiili, 2005), and the many methods which players devise to get around gaming breakdowns (e.g. where gameplay is disrupted) ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"DOI":"10.1145/2658537.2658697","ISBN":"9781450330145","abstract":"Challenge is considered to be one of the key components of game-play, where game designers face the tricky task of getting the balance right so that game-play is neither too easy nor too difficult. Through attempting in-game challenges, players experience cycles of breakdown and breakthrough, where breakthroughs involve moments of insight in which learning occurs. However, little attention has been given to how players actually overcome challenges to progress during game-play. Across two studies, we explore the ways in which players attempt to achieve breakthroughs in relation to single-player and co-located multiplayer games. We identified a number of strategies that are used by players, which illustrate how learning occurs during play. For instance, while \"Experiment\" involves forming an informal hypothesis, \"Trial & error\" occurs when the player tries to find out what, if anything, will happen when they carry out an action. These strategies are considered in relation to supporting player progress and engaging game-play when designing commercial and educational games.","author":[{"dropping-particle":"","family":"Iacovides","given":"Ioanna","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Cox","given":"Anna L.","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Avakian","given":"Ara","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Knoll","given":"Thomas","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Proceedings of the first ACM SIGCHI annual symposium on Computer-human interaction in play - CHI PLAY '14","id":"ITEM-1","issued":{"date-parts":[["2014"]]},"page":"131-140","title":"Player Strategies: Achieving Breakthroughs and Progressing in Single-Player and Cooperative Games","type":"article-journal"},"uris":[""]}],"mendeley":{"formattedCitation":"(Iacovides et al., 2014)","plainTextFormattedCitation":"(Iacovides et al., 2014)","previouslyFormattedCitation":"(Iacovides et al., 2014)"},"properties":{"noteIndex":0},"schema":""}(Iacovides et al., 2014). The second category of “creativity as appropriation” involves the ways in which players can go above and beyond what is expected by developers, personalising the gameplay experience ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"DOI":"10.1080/10447318.2011.566108","ISSN":"1044-7318","abstract":"Game appropriation is currently not well conceptualized.What literature does exists (Griffiths & Light, 2008; Lowood, 2005; Postigo, 2008; Stalker, 2005) uses the term primarily to denote gamers’ practices beyond the designers’ original intentions, for instance, game content modifications. This article frames game appropriation in a different manner; unlike existing appropriation models, game appropriation is conceptualized as a motivational process underpinned by three primary factors: game design char- acteristics, social interaction, and the psychological characteristics of the gamer. The main contribution of this article is the develop- ment of the firstmodel of game appropriation, the game appropri- ation model (GAM). GAM explains the process of digital games’ incorporation into gamers’ daily practices as well as the nature of their gameplay. Game appropriation recognizes the online–offline continuity; it contributes to understating gameplay as a long-term, dynamic activity, directly interrelated with a gamers’ everyday life rather than a set of defined moments of participation.","author":[{"dropping-particle":"","family":"Herodotou","given":"C.","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Winters","given":"N.","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Kambouri","given":"M.","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"International Journal of Human-Computer Interaction","id":"ITEM-1","issue":"1","issued":{"date-parts":[["2012"]]},"page":"34-47","title":"A Motivationally Oriented Approach to Understanding Game Appropriation","type":"article-journal","volume":"28"},"uris":[""]}],"mendeley":{"formattedCitation":"(Herodotou et al., 2012)","plainTextFormattedCitation":"(Herodotou et al., 2012)","previouslyFormattedCitation":"(Herodotou, 2009)"},"properties":{"noteIndex":0},"schema":""}(Herodotou et al., 2012). This includes emergent ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"abstract":"The role of playful innovations in the Multiplayer Online Battle Arena (MOBA) genre has become a hugely important, contested and under studied activity. Through a case study of the 'fountain hook' and an exploration of exploitative and emergent notions of play, this paper explores how the dynamics of co-creativity function in online play spaces such as the MOBA genre. In what ways these co-creative dynamics impact different stakeholders of the play space and open up critical questions similar to that of wider participatory platforms is a particular focus here. Informed by online ethnographic research that forms part of a wider PhD project this paper also touches upon specific themes related to the unexplored genre of MOBAs such as why they are so appealing and what it is that makes them so challenging to study.","author":[{"dropping-particle":"","family":"Jarrett","given":"Josh","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Videogame Cultures and the Future of Interactive Entertainment 6th Global Conference, July 19th 2014","id":"ITEM-1","issued":{"date-parts":[["2014"]]},"publisher-place":"Oxford","title":"Fountain Hooks, Emergent Exploits and the Playful Co-Creativity of MOBAs","type":"paper-conference"},"uris":[""]}],"mendeley":{"formattedCitation":"(Jarrett, 2014)","plainTextFormattedCitation":"(Jarrett, 2014)","previouslyFormattedCitation":"(Jarrett, 2014)"},"properties":{"noteIndex":0},"schema":""}(Jarrett, 2014) and transgressive ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"author":[{"dropping-particle":"","family":"Aarseth","given":"E.","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Situated Play, Proceedings of DiGRA 2007 Conference","id":"ITEM-1","issued":{"date-parts":[["2007"]]},"title":"I Fought the Law: Transgressive Play and The Implied Player","type":"paper-conference"},"uris":[""]}],"mendeley":{"formattedCitation":"(Aarseth, 2007)","plainTextFormattedCitation":"(Aarseth, 2007)","previouslyFormattedCitation":"(Aarseth, 2007)"},"properties":{"noteIndex":0},"schema":""}(Aarseth, 2007) forms of play such as combining game variables in ways unforeseen by game developers or finding new goals within the game (other than those intended by developers) such as speedrunning. Appropriation also includes transformative play ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"DOI":"10.1177/1354856507081961","ISSN":"13548565","abstract":"/ This article examines the contested issue of player productivity, with a focus on the multifaceted relations between players and the game industry. These relations are explored using the movie studio simulation The Movies (Lionhead Studios, 2005) as a case study. Firstly, through an examination of the game, some of the prevailing game industry's practices, and their relations to the ones applied amongst other creative industries (particularly the film industry) are introduced. Secondly, the game, and especially the accompanying moviemaking editor, is analysed from the perspective of `transformative play'. Further, the reasons behind, and consequences of, allowing the players to make and distribute short movies of their own are contemplated. Finally the article addresses the mechanisms of control and reward that are applied by the corporate actors in relation to The Movies. The article suggests that in the age of commodified play, players face trade-offs all the time. Therefore, the study of rules that has become central in game studies has to be expanded to the `out-game rules' defined by the corporate players.","author":[{"dropping-particle":"","family":"Sotamaa","given":"Olli","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Convergence","id":"ITEM-1","issue":"4","issued":{"date-parts":[["2007"]]},"page":"383-401","title":"Let me take you to the movies: Productive players, commodification and transformative play","type":"article-journal","volume":"13"},"uris":[""]}],"mendeley":{"formattedCitation":"(Sotamaa, 2007)","plainTextFormattedCitation":"(Sotamaa, 2007)","previouslyFormattedCitation":"(Sotamaa, 2007)"},"properties":{"noteIndex":0},"schema":""}(Sotamaa, 2007) where players can create modifications and other user-created content (UCC) ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"abstract":"Virtual worlds have moved from being a geek topic to one of mainstream academic interest. This transition is contingent not only on the augmented economic, societal and cultural value of these virtual realities and their effect upon real life but also on their convenience as fields for experimentation, for testing models and paradigms. User creation is however not something that has been transplanted from the real to the virtual world but a phenomenon and a dynamic process that happens from within and is defined through complex relationships between commercial and non-commercial, commodified and not commodified, individual and of the community, amateur and professional, art and not art. Accounting for this complex environment, the present paper explores user created content in virtual worlds, its dimensions and value and above all, its constraints by code and law. It puts forward suggestions for better understanding and harnessing this creativity.","author":[{"dropping-particle":"","family":"Burri","given":"Mira","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"International Journal of Communications Law & Policy","id":"ITEM-1","issue":"March","issued":{"date-parts":[["2011"]]},"page":"1-28","title":"Misunderstanding Creativity: User Created Content in Virtual Worlds and Its Constraints by Code and Law","type":"article-journal","volume":"14"},"uris":[""]}],"mendeley":{"formattedCitation":"(Burri, 2011)","plainTextFormattedCitation":"(Burri, 2011)","previouslyFormattedCitation":"(Burri, 2011)"},"properties":{"noteIndex":0},"schema":""}(Burri, 2011) within and around the game. Finally, the third category of “creativity as affective change” is aligned with the concept of Mini C creativity ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"DOI":"10.1037/a0013688","ISBN":"1089-2680\\r1939-1552","ISSN":"1089-2680","PMID":"20854159","abstract":"Most investigations of creativity tend to take one of two directions: everyday creativity (also called “little-c”), which can be found in nearly all people, and eminent creativity (also called “Big-C”), which is reserved for the great. In this paper, the authors propose a Four C model of creativity that expands this dichotomy. Specifically, the authors add the idea of “mini-c,” creativity inherent in the learning process, and Pro-c, the developmental and effortful progression beyond little-c that represents professional-level expertise in any creative area. The authors include different transitions and gradations of these four dimensions of creativity, and then discuss advantages and examples of the Four C Model. (PsycINFO Database Record (c) 2012 APA, all rights reserved). (journal abstract)","author":[{"dropping-particle":"","family":"Kaufman","given":"James C.","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Beghetto","given":"Ronald a.","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Review of General Psychology","id":"ITEM-1","issue":"1","issued":{"date-parts":[["2009"]]},"page":"1-12","title":"Beyond Big and Little: The Four C Model of Creativity.","type":"article-journal","volume":"13"},"uris":[""]},{"id":"ITEM-2","itemData":{"DOI":"10.1037/1931-3896.1.2.73","ISSN":"1931-390X","abstract":"Produsage as a model of describing user-led content creation enviroments; four characteristic of produsage (from professional to amateur-connect this with CI)","author":[{"dropping-particle":"","family":"Beghetto","given":"Ronald A.","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Kaufman","given":"James C.","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Psychology of Aesthetics, Creativity, and the Arts","id":"ITEM-2","issue":"2","issued":{"date-parts":[["2007"]]},"page":"73-79","title":"Toward a broader conception of creativity: A case for \"mini-c\" creativity.","type":"article-journal","volume":"1"},"uris":[""]}],"mendeley":{"formattedCitation":"(Beghetto & Kaufman, 2007; Kaufman & Beghetto, 2009)","plainTextFormattedCitation":"(Beghetto & Kaufman, 2007; Kaufman & Beghetto, 2009)","previouslyFormattedCitation":"(Beghetto & Kaufman, 2007; Kaufman & Beghetto, 2009)"},"properties":{"noteIndex":0},"schema":""}(Beghetto & Kaufman, 2007; Kaufman & Beghetto, 2009) and manifests as unique interpretations of gameplay and game narrative, including players’ reflection and alterations of their perceptions and worldviews. Affective change is often instigated by emotional challenges ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"DOI":"10.1145/2793107.2793147","ISBN":"9781450334662","abstract":"Digital games are a wide, diverse and fast developing art form, and it is important to analyse games that are pushing the medium forward to see what design lessons can be learned. However, there are no established criteria to determine which games show these more progressive qualities. Grounded theory methodology was used to analyse language used in games reviews by critics of both 'core gamer' titles and those titles with more avant-garde properties. This showed there were two kinds of challenge being discussed-emotional and functional which appear to be, at least partially, mutually exclusive. Reviews of 'core' and 'avant-garde' games had different measures of purchase value, primary emotions, and modalities of language used to discuss the role of audiovisual qualities. Emotional challenge, ambiguity and solitude are suggested as useful devices for eliciting emotion from the player and for use in developing more 'avant-garde' games, as well as providing a basis for further lines of inquiry.","author":[{"dropping-particle":"","family":"Cole","given":"Tom","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Cairns","given":"Paul","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Gillies","given":"Marco","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"CHI Play 2015 October 3-7","id":"ITEM-1","issued":{"date-parts":[["2015"]]},"publisher-place":"London, UK","title":"Emotional and Functional Challenge in Core and Avant-garde Games","type":"paper-conference"},"uris":[""]},{"id":"ITEM-2","itemData":{"DOI":"10.1145/3173574.3173615","abstract":"Recent work introduced the notion of emotional challenge as a means to afford more unique and diverse gaming experien-ces. However, players' experience of emotional challenge has received little empirical attention. It remains unclear whether players enjoy it and what exactly constitutes the challenge thereof. We surveyed 171 players about a challenging or an emotionally challenging experience, and analyzed their re-sponses with regards to what made the experience challen-ging, their emotional response, and the relation to core play-er experience constructs. We found that emotional challen-ge manifested itself in different ways, by confronting play-ers with difficult themes or decisions, as well as having them deal with intense emotions. In contrast to more 'conventio-nal' challenge, emotional challenge evoked a wider range of negative emotions and was appreciated significantly more by players. Our findings showcase the appeal of uncomfortable gaming experiences, and extend current conceptualizations of challenge in games.","author":[{"dropping-particle":"","family":"Bopp","given":"Julia Ayumi","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Opwis","given":"Klaus","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Mekler","given":"Elisa D","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"CHI 2018 April 21-26","id":"ITEM-2","issued":{"date-parts":[["2018"]]},"publisher-place":"Montreal","title":"An Odd Kind of Pleasure: Differentiating Emotional Challenge in Digital Games","type":"paper-conference"},"uris":[""]}],"mendeley":{"formattedCitation":"(Bopp et al., 2018; Cole et al., 2015)","plainTextFormattedCitation":"(Bopp et al., 2018; Cole et al., 2015)","previouslyFormattedCitation":"(Bopp et al., 2018; Cole et al., 2015)"},"properties":{"noteIndex":0},"schema":""}(Bopp et al., 2018; Cole et al., 2015) which are presented through emotionally difficult themes (e.g. death, choices, fear), challenging choice-based dialogues and ambiguous storytelling. Emotional challenges can lead to reflection on gameplay and narrative and are most poignant when such challenges mirror those experienced by players in their own lives ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"ISBN":"9781450356244","author":[{"dropping-particle":"","family":"Mekler","given":"Elisa D","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Iacovides","given":"Ioanna","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Bopp","given":"Julia Ayumi","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"CHI PLAY '18 Proceedings of the 2018 Annual Symposium on Computer-Human Interaction in Play","id":"ITEM-1","issued":{"date-parts":[["2018"]]},"page":"315-327","publisher-place":"Melbourne, Australia","title":"“ A Game that Makes You Question ...” Exploring the Role of Reflection for the Player Experience","type":"paper-conference"},"uris":[""]}],"mendeley":{"formattedCitation":"(Mekler et al., 2018)","plainTextFormattedCitation":"(Mekler et al., 2018)","previouslyFormattedCitation":"(Mekler et al., 2018)"},"properties":{"noteIndex":0},"schema":""}(Mekler et al., 2018).In essence, there is growing evidence to suggest that digital games support creativity on a variety of levels, with several works focusing on specific aspects of player creativity such as appropriation ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"abstract":"The role of playful innovations in the Multiplayer Online Battle Arena (MOBA) genre has become a hugely important, contested and under studied activity. Through a case study of the 'fountain hook' and an exploration of exploitative and emergent notions of play, this paper explores how the dynamics of co-creativity function in online play spaces such as the MOBA genre. In what ways these co-creative dynamics impact different stakeholders of the play space and open up critical questions similar to that of wider participatory platforms is a particular focus here. Informed by online ethnographic research that forms part of a wider PhD project this paper also touches upon specific themes related to the unexplored genre of MOBAs such as why they are so appealing and what it is that makes them so challenging to study.","author":[{"dropping-particle":"","family":"Jarrett","given":"Josh","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Videogame Cultures and the Future of Interactive Entertainment 6th Global Conference, July 19th 2014","id":"ITEM-1","issued":{"date-parts":[["2014"]]},"publisher-place":"Oxford","title":"Fountain Hooks, Emergent Exploits and the Playful Co-Creativity of MOBAs","type":"paper-conference"},"uris":[""]},{"id":"ITEM-2","itemData":{"author":[{"dropping-particle":"","family":"Aarseth","given":"E.","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Situated Play, Proceedings of DiGRA 2007 Conference","id":"ITEM-2","issued":{"date-parts":[["2007"]]},"title":"I Fought the Law: Transgressive Play and The Implied Player","type":"paper-conference"},"uris":[""]}],"mendeley":{"formattedCitation":"(Aarseth, 2007; Jarrett, 2014)","manualFormatting":"(e.g. Aarseth, 2007; Jarrett, 2014)","plainTextFormattedCitation":"(Aarseth, 2007; Jarrett, 2014)","previouslyFormattedCitation":"(Aarseth, 2007; Jarrett, 2014)"},"properties":{"noteIndex":0},"schema":""}(e.g. Aarseth, 2007; Jarrett, 2014) and affective change ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"DOI":"10.1145/3173574.3173615","abstract":"Recent work introduced the notion of emotional challenge as a means to afford more unique and diverse gaming experien-ces. However, players' experience of emotional challenge has received little empirical attention. It remains unclear whether players enjoy it and what exactly constitutes the challenge thereof. We surveyed 171 players about a challenging or an emotionally challenging experience, and analyzed their re-sponses with regards to what made the experience challen-ging, their emotional response, and the relation to core play-er experience constructs. We found that emotional challen-ge manifested itself in different ways, by confronting play-ers with difficult themes or decisions, as well as having them deal with intense emotions. In contrast to more 'conventio-nal' challenge, emotional challenge evoked a wider range of negative emotions and was appreciated significantly more by players. Our findings showcase the appeal of uncomfortable gaming experiences, and extend current conceptualizations of challenge in games.","author":[{"dropping-particle":"","family":"Bopp","given":"Julia Ayumi","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Opwis","given":"Klaus","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Mekler","given":"Elisa D","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"CHI 2018 April 21-26","id":"ITEM-1","issued":{"date-parts":[["2018"]]},"publisher-place":"Montreal","title":"An Odd Kind of Pleasure: Differentiating Emotional Challenge in Digital Games","type":"paper-conference"},"uris":[""]},{"id":"ITEM-2","itemData":{"ISBN":"9781450356244","author":[{"dropping-particle":"","family":"Mekler","given":"Elisa D","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Iacovides","given":"Ioanna","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Bopp","given":"Julia Ayumi","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"CHI PLAY '18 Proceedings of the 2018 Annual Symposium on Computer-Human Interaction in Play","id":"ITEM-2","issued":{"date-parts":[["2018"]]},"page":"315-327","publisher-place":"Melbourne, Australia","title":"“ A Game that Makes You Question ...” Exploring the Role of Reflection for the Player Experience","type":"paper-conference"},"uris":[""]}],"mendeley":{"formattedCitation":"(Bopp et al., 2018; Mekler et al., 2018)","manualFormatting":"(e.g. Bopp et al., 2018; Mekler et al., 2018)","plainTextFormattedCitation":"(Bopp et al., 2018; Mekler et al., 2018)","previouslyFormattedCitation":"(Bopp et al., 2018; Mekler et al., 2018)"},"properties":{"noteIndex":0},"schema":""}(e.g. Bopp et al., 2018; Mekler et al., 2018). While studies such as Author A.’s (2020) provide a wider account of the different forms of creativity by players, questions remain around what particular affordances of digital entertainment games support the different forms of player creativity. 1.2 Affordances for Creativity in Digital GamesThere have been numerous definitions of affordances – from Gibson’s ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"author":[{"dropping-particle":"","family":"Gibson","given":"J.J.","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Perceiving, Acting and Knowing","editor":[{"dropping-particle":"","family":"Shaw","given":"R.","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Bransford","given":"John","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["1977"]]},"publisher":"Erlbaum","publisher-place":"Hillsdale, NJ","title":"The theory of affordances","type":"chapter"},"suppress-author":1,"uris":[""]}],"mendeley":{"formattedCitation":"(1977)","plainTextFormattedCitation":"(1977)","previouslyFormattedCitation":"(1977)"},"properties":{"noteIndex":0},"schema":""}(1977) original concept of actional properties of an environment, to the broader definition of opportunities for action ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"abstract":"Affordances, broadly construed as opportunities for action, have been used to explain game-related phenomena in a variety of different contexts. This paper presents a cognitivist theory of affordances, which is general enough that it subsumes several related theories, yet precise enough that it provides a useful lens through which to view games. The framework is a re-contextualization of older work that unifies approaches taken in the fields of ecological psychology, interaction design, and human-computer interaction. The Cognitivist Theory of Affordances in Games is thus a theoretical contribution, which synthesizes several views by presenting three independent manipulable entities that are relevant to the study of games: 1) real affordances, what actions are possible in a game, 2) perceived affordances, what actions players perceive possible in a game, and 3) feedback, perceptual information introduced in the game by its designers to advertise real affordances in the hopes of eliciting accurate perceived affordances.","author":[{"dropping-particle":"","family":"Cardona-Rivera","given":"R.E.","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Young","given":"R.M.","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Proceedings of DiGRA 2013","id":"ITEM-1","issued":{"date-parts":[["2013"]]},"title":"A Cognitivist Theory of Affordances for Games","type":"paper-conference"},"uris":[""]}],"mendeley":{"formattedCitation":"(Cardona-Rivera & Young, 2013)","plainTextFormattedCitation":"(Cardona-Rivera & Young, 2013)","previouslyFormattedCitation":"(Cardona-Rivera & Young, 2013)"},"properties":{"noteIndex":0},"schema":""}(Cardona-Rivera & Young, 2013), opportunities for a certain behaviour ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"DOI":"10.1016/B978-0-12-801462-2.00005-9","ISBN":"9780128014622","abstract":"Many games offer players opportunities to express their creativity, from posting their clever solutions in online forums, to beating particular boss levels, to creating their own levels using built-in level editors. Yet there is scant evidence supporting the link between video games and creativity. This is partially due to the difficulty of measuring creativity. In this chapter, we will (a) review the current literature on creativity, (b) discuss affordances of video games for creativity development using popular commercial games as examples, and (c) illustrate how one can assess and support creativity using creativity assessments in our game, Physics Playground (formerly known as Newton's Playground), as an example.","author":[{"dropping-particle":"","family":"Kim","given":"Yoon J.","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Shute","given":"Valerie J.","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Video Games and Creativity","id":"ITEM-1","issued":{"date-parts":[["2015"]]},"number-of-pages":"99-117","publisher":"Elsevier Inc.","title":"Opportunities and Challenges in Assessing and Supporting Creativity in Video Games","type":"book"},"uris":[""]}],"mendeley":{"formattedCitation":"(Kim & Shute, 2015)","plainTextFormattedCitation":"(Kim & Shute, 2015)","previouslyFormattedCitation":"(Kim & Shute, 2015)"},"properties":{"noteIndex":0},"schema":""}(Kim & Shute, 2015) or “environmental properties that create consequences for individual behaviour” ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"DOI":"10.4101/jvwr.v7i3.7062","ISSN":"1941-8477","abstract":"This article addresses the potential of virtual worlds as a platform for creative team collaboration. The proliferation of geographically distributed teams, striving towards innovative results, calls for ICT that support team creativity. Three-dimensional virtual worlds represent such an emergent and rapidly developing collaboration tool. A systematic literature review was conducted to reveal the affordances of virtual worlds contributing towards team creativity.The results of the literature review reveal eight proposed affordances relevant for virtual worlds to foster team level creativity. Avatars (1) allow the team members to express themselves and their insights and point out information to others. Changing the users’ frame of reference (2) embraces the virtual world’s potential as a context for creative action. Perceived feeling of co-presence (3) within the team members, and user’s own experience of immersion (4), contributes towards engaging creative team collaboration. Multimodality (5) and rich visual information (6) facilitate communication between team members. Finally, virtual worlds allow teams to modify the collaboration environment to simulate a new kind of reality (7), and offer a selection of supporting tools (8) that can be utilized in the creative collaboration.Departures for further research efforts and insights for practitioners engaged in virtual world collaboration are presented.","author":[{"dropping-particle":"","family":"Alahuhta","given":"Pekka","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Nordb?ck","given":"Emma","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Sivunen","given":"Anu","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Surakka","given":"Teemu","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Journal For Virtual Worlds Research","id":"ITEM-1","issue":"3","issued":{"date-parts":[["2014"]]},"title":"Fostering Team Creativity in Virtual Worlds","type":"article-journal","volume":"7"},"locator":"3","uris":[""]}],"mendeley":{"formattedCitation":"(Alahuhta et al., 2014, p. 3)","plainTextFormattedCitation":"(Alahuhta et al., 2014, p. 3)","previouslyFormattedCitation":"(Alahuhta et al., 2014, p. 3)"},"properties":{"noteIndex":0},"schema":""}(Alahuhta et al., 2014, p. 3). In the context of this article, a wider definition of affordances will be used; namely one that views affordances as opportunities provided by the game for creative actions, behaviours or thoughts.Affordances have been argued to play a key role in creative behaviour, where creativity is enhanced through interaction with the environment ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"author":[{"dropping-particle":"","family":"Amabile","given":"Teresa M.","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["1996"]]},"publisher":"Westview Press","publisher-place":"Boulder, CO","title":"Creativity in context","type":"book"},"uris":[""]}],"mendeley":{"formattedCitation":"(Amabile, 1996)","plainTextFormattedCitation":"(Amabile, 1996)","previouslyFormattedCitation":"(Amabile, 1996)"},"properties":{"noteIndex":0},"schema":""}(Amabile, 1996). Glǎveanu ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"DOI":"10.1037/a0029528","ISSN":"10892680","abstract":"For the past 5 decades the psychology of creativity has been influenced by what is known as the 4 P's of creative expression: person, process, product, and press. This conceptual schema, initially proposed by Rhodes (1961), helped researchers structure their thinking about the phenomenon. However, it also supported an individualistic, static, and oftentimes disjointed vision of creativity. The present article aims to rewrite this fundamental language of the discipline by using terms that explicitly endorse a systemic, contextual, and dynamic approach. The 5 A's framework-actor, action, artifact, audience, affordances- is grounded in current literature from sociocultural and ecological psychology as well as theories of the distributed mind and tries to achieve a more comprehensive and unitary perspective on creativity. Several theoretical, methodological, and practical implications are considered. ? 2012 American Psychological Association.","author":[{"dropping-particle":"","family":"Glǎveanu","given":"V.P.","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Review of General Psychology","id":"ITEM-1","issue":"1","issued":{"date-parts":[["2013"]]},"page":"69-81","title":"Rewriting the language of creativity: The five A's framework","type":"article-journal","volume":"17"},"suppress-author":1,"uris":[""]}],"mendeley":{"formattedCitation":"(2013)","plainTextFormattedCitation":"(2013)","previouslyFormattedCitation":"(2013)"},"properties":{"noteIndex":0},"schema":""}(2013) argues that affordances can either constrain or allow creative actions, with creative individuals able to exploit affordances in innovative ways which allow them to not only to discover new affordances, but also creative affordances to achieve certain actions. Similarly, Withagen and van der Kamp ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"DOI":"10.1016/j.newideapsych.2017.11.002","ISSN":"0732118X","abstract":"Cognitive accounts of creativity generally assume that novel ideas originate in the head and precede the actual materialization of them. Over the last decades, this cognitive view has been criticized by, among others, proponents of a sociocultural perspective. In the present paper, we aim to further this critique by developing a genuine ecological approach to creativity in making. We do so by incorporating Ingold's theory of making into the ecological perspective that was initiated by Gibson. It is argued that because action is not preplanned but continuously unfolds over time, creativity is to be found in the process of making. Indeed, creativity can be conceived of as the discovery and creation of unconventional affordances (action possibilities) of objects and materials. Discussing the primacy of exploratory actions in this process, we argue that the concepts and research tools of ecological psychology may help to deepen the understanding of the creative process.","author":[{"dropping-particle":"","family":"Withagen","given":"Rob","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Kamp","given":"John","non-dropping-particle":"van der","parse-names":false,"suffix":""}],"container-title":"New Ideas in Psychology","id":"ITEM-1","issued":{"date-parts":[["2018"]]},"page":"1-6","title":"An ecological approach to creativity in making","type":"article-journal","volume":"49"},"suppress-author":1,"uris":[""]}],"mendeley":{"formattedCitation":"(2018)","plainTextFormattedCitation":"(2018)","previouslyFormattedCitation":"(2018)"},"properties":{"noteIndex":0},"schema":""}(2018) argue that creative individuals are also able to use existing affordances in unconventional ways. In this way, affordances do not relate to one specific action or behaviour but can realise multiple uses from the conventional to the highly creative ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"DOI":"10.1037/a0029528","ISSN":"10892680","abstract":"For the past 5 decades the psychology of creativity has been influenced by what is known as the 4 P's of creative expression: person, process, product, and press. This conceptual schema, initially proposed by Rhodes (1961), helped researchers structure their thinking about the phenomenon. However, it also supported an individualistic, static, and oftentimes disjointed vision of creativity. The present article aims to rewrite this fundamental language of the discipline by using terms that explicitly endorse a systemic, contextual, and dynamic approach. The 5 A's framework-actor, action, artifact, audience, affordances- is grounded in current literature from sociocultural and ecological psychology as well as theories of the distributed mind and tries to achieve a more comprehensive and unitary perspective on creativity. Several theoretical, methodological, and practical implications are considered. ? 2012 American Psychological Association.","author":[{"dropping-particle":"","family":"Glǎveanu","given":"V.P.","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Review of General Psychology","id":"ITEM-1","issue":"1","issued":{"date-parts":[["2013"]]},"page":"69-81","title":"Rewriting the language of creativity: The five A's framework","type":"article-journal","volume":"17"},"uris":[""]}],"mendeley":{"formattedCitation":"(Glǎveanu, 2013)","plainTextFormattedCitation":"(Glǎveanu, 2013)","previouslyFormattedCitation":"(Glǎveanu, 2013)"},"properties":{"noteIndex":0},"schema":""}(Glǎveanu, 2013).In his ecological approach to gameplay, Linderoth ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"author":[{"dropping-particle":"","family":"Linderoth","given":"Jonas","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Transactions of the Digital Games Research Association","id":"ITEM-1","issue":"1","issued":{"date-parts":[["2013"]]},"title":"Beyond the digital divide: An ecological approach to gameplay","type":"article-journal","volume":"1"},"suppress-author":1,"uris":[""]}],"mendeley":{"formattedCitation":"(2013)","plainTextFormattedCitation":"(2013)","previouslyFormattedCitation":"(2013)"},"properties":{"noteIndex":0},"schema":""}(2013) argues progression through a game is facilitated by exploratory and performatory affordances. The former provide knowledge about available affordances (e.g. identifying items by colour) and the latter realise these affordances (e.g. using these items in the creation of potions). In this way, the player associates certain objects with their in-game function. However, the role of player cognition is largely neglected – for example some cognitive processes must occur such as understanding the mechanics of the game and comprehending and following the game narrative. In order to take into account cognitive processes, Cardona-Rivera and Young ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"abstract":"Affordances, broadly construed as opportunities for action, have been used to explain game-related phenomena in a variety of different contexts. This paper presents a cognitivist theory of affordances, which is general enough that it subsumes several related theories, yet precise enough that it provides a useful lens through which to view games. The framework is a re-contextualization of older work that unifies approaches taken in the fields of ecological psychology, interaction design, and human-computer interaction. The Cognitivist Theory of Affordances in Games is thus a theoretical contribution, which synthesizes several views by presenting three independent manipulable entities that are relevant to the study of games: 1) real affordances, what actions are possible in a game, 2) perceived affordances, what actions players perceive possible in a game, and 3) feedback, perceptual information introduced in the game by its designers to advertise real affordances in the hopes of eliciting accurate perceived affordances.","author":[{"dropping-particle":"","family":"Cardona-Rivera","given":"R.E.","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Young","given":"R.M.","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Proceedings of DiGRA 2013","id":"ITEM-1","issued":{"date-parts":[["2013"]]},"title":"A Cognitivist Theory of Affordances for Games","type":"paper-conference"},"suppress-author":1,"uris":[""]}],"mendeley":{"formattedCitation":"(2013)","plainTextFormattedCitation":"(2013)","previouslyFormattedCitation":"(2013)"},"properties":{"noteIndex":0},"schema":""}(2013) proposed a cognitive theory of affordances for games which takes into account other factors such as personal experience and gaming history. Cardona-River and Young (2013) identified three types of affordances common in games: “real affordances” (relating to affordances for actual game actions), “perceived affordances” (affordances relating to what a player perceives as possible) and feedback affordances (relating to the perceptual information targeted at promoting real affordances). Wider factors such as player experience, history and personal beliefs play a crucial role in how players perceive affordances – for example, those who have played certain genres of games before will be able to identify more perceived affordances in similar games than those who have no previous experience with that genre of games.While theories such as Linderoth’s ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"author":[{"dropping-particle":"","family":"Linderoth","given":"Jonas","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Transactions of the Digital Games Research Association","id":"ITEM-1","issue":"1","issued":{"date-parts":[["2013"]]},"title":"Beyond the digital divide: An ecological approach to gameplay","type":"article-journal","volume":"1"},"suppress-author":1,"uris":[""]}],"mendeley":{"formattedCitation":"(2013)","plainTextFormattedCitation":"(2013)","previouslyFormattedCitation":"(2013)"},"properties":{"noteIndex":0},"schema":""}(2013) and Cardona-Rivera and Young’s ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"abstract":"Affordances, broadly construed as opportunities for action, have been used to explain game-related phenomena in a variety of different contexts. This paper presents a cognitivist theory of affordances, which is general enough that it subsumes several related theories, yet precise enough that it provides a useful lens through which to view games. The framework is a re-contextualization of older work that unifies approaches taken in the fields of ecological psychology, interaction design, and human-computer interaction. The Cognitivist Theory of Affordances in Games is thus a theoretical contribution, which synthesizes several views by presenting three independent manipulable entities that are relevant to the study of games: 1) real affordances, what actions are possible in a game, 2) perceived affordances, what actions players perceive possible in a game, and 3) feedback, perceptual information introduced in the game by its designers to advertise real affordances in the hopes of eliciting accurate perceived affordances.","author":[{"dropping-particle":"","family":"Cardona-Rivera","given":"R.E.","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Young","given":"R.M.","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Proceedings of DiGRA 2013","id":"ITEM-1","issued":{"date-parts":[["2013"]]},"title":"A Cognitivist Theory of Affordances for Games","type":"paper-conference"},"suppress-author":1,"uris":[""]}],"mendeley":{"formattedCitation":"(2013)","plainTextFormattedCitation":"(2013)","previouslyFormattedCitation":"(2013)"},"properties":{"noteIndex":0},"schema":""}(2013) provide an overview of the main types of affordances in games, they do little in the way of linking affordances to player creativity. In relation to how games can be designed to support player creativity, there remains a limited amount of literature. Unlike traditional media, digital games afford players a high level of interactivity where they can customise and manipulate elements such as content, storyline and meaning ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"ISBN":"1135667543","PMID":"2838302","abstract":"This collection represents a systematic exploration of media entertainment from an academic perspective. Editors Zillmann and Vorderer have assembled scholars from psychology, sociology, and communication to provide a broad examination of the primary function of media entertainment--the attainment of gratification. Chapters included here address vital aspects of media entertainment and summarize pertinent findings, providing an overview of what is presently known about the appeal and function of the essential forms of media entertainment, and offering some degree of integration. Written in a clear, non-technical style, this volume provides a lively and entertaining study of media entertainment for academic study and coursework.","author":[{"dropping-particle":"","family":"Grodal","given":"Torben","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Media Entertainment: The Psychology of its Appeal","id":"ITEM-1","issued":{"date-parts":[["2000"]]},"page":"296","title":"Video Games and the Pleasures of Control","type":"chapter"},"uris":[""]},{"id":"ITEM-2","itemData":{"DOI":"10.1080/19312458.2013.873778","ISSN":"19312466","abstract":"Video games are a popular form of new media, and their use is impacting multiple fields of study within the communication discipline. For instance, research programs in mass communication, health, instructional, feminist/gender, interpersonal, and intercultural communication have all examined video games. Interactivity is the hallmark of video games and consequently is a common concept in the video game literature. While video game interactivity (VGI) is still an under-specified concept, previous research suggests that interactivity has the potential to moderate both positive and negative effects of video games, and therefore it is crucial for understanding general video game effects. We developed a theoretical model of video game interactivity and tested a multidimensional scale to assess video game interactivity across five studies using six independent samples. Exploratory and confirmatory factor analyses as well as item analyses revealed a reliable and valid metric consisting of six dimensions of video game interactivity.","author":[{"dropping-particle":"","family":"Weber","given":"René","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Behr","given":"Katharina Maria","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"DeMartino","given":"Cynthia","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Communication Methods and Measures","id":"ITEM-2","issue":"2","issued":{"date-parts":[["2014"]]},"page":"79-115","title":"Measuring Interactivity in Video Games","type":"article-journal","volume":"8"},"uris":[""]}],"mendeley":{"formattedCitation":"(Grodal, 2000; Weber et al., 2014)","plainTextFormattedCitation":"(Grodal, 2000; Weber et al., 2014)","previouslyFormattedCitation":"(Grodal, 2000; Weber et al., 2014)"},"properties":{"noteIndex":0},"schema":""}(Grodal, 2000; Weber et al., 2014). J?rvinen’s ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"ISBN":"9789514472527","author":[{"dropping-particle":"","family":"J?rvinen","given":"Aki","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["2008"]]},"publisher":"University of Tampere, Finland","title":"Games without Frontiers: Theories and Methods for Game Studies and Design","type":"thesis"},"uris":[""]}],"mendeley":{"formattedCitation":"(J?rvinen, 2008)","manualFormatting":"(2008)","plainTextFormattedCitation":"(J?rvinen, 2008)","previouslyFormattedCitation":"(J?rvinen, 2008)"},"properties":{"noteIndex":0},"schema":""}(2008) concept of the possibility space could be used to illustrate how games can support player creativity through starting in a well-defined state (e.g. a fairly linear path) before branching out and allowing the player to reach the end of that path in a multitude of ways, such as through different routes or using different tactics. Essentially, the larger the possibility space, the greater the scope for player creativity and imagination ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"ISBN":"9789514472527","author":[{"dropping-particle":"","family":"J?rvinen","given":"Aki","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["2008"]]},"publisher":"University of Tampere, Finland","title":"Games without Frontiers: Theories and Methods for Game Studies and Design","type":"thesis"},"uris":[""]}],"mendeley":{"formattedCitation":"(J?rvinen, 2008)","plainTextFormattedCitation":"(J?rvinen, 2008)","previouslyFormattedCitation":"(J?rvinen, 2008)"},"properties":{"noteIndex":0},"schema":""}(J?rvinen, 2008). On a similar note, Aarseth ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"DOI":"10.1145/2282338.2282365","ISBN":"9781450313339","abstract":"This paper presents a narrative theory of games, building on standard narratology, as a solution to the conundrum that has haunted computer game studies from the start: How to approach software that combines games and stories?","author":[{"dropping-particle":"","family":"Aarseth","given":"E.","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"FDG'12 May 29-June 1","id":"ITEM-1","issued":{"date-parts":[["2012"]]},"publisher-place":"Raleigh, NC, USA","title":"A Narrative Theory of Games","type":"paper-conference"},"suppress-author":1,"uris":[""]}],"mendeley":{"formattedCitation":"(2012)","plainTextFormattedCitation":"(2012)","previouslyFormattedCitation":"(2012)"},"properties":{"noteIndex":0},"schema":""}(2012) differentiates between ludic space and extra-ludic space, where the former relates to the area which is playable and the latter relates to the surrounding non-explorable space. Different types of games have differing levels of ludic and extra-ludic space – for example, an open-world game such as The Elder Scrolls: Skyrim ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"author":[{"dropping-particle":"","family":"Bethesda Game Studios","given":"","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["2011"]]},"publisher":"Bethesda Softworks","title":"The Elder Scrolls V: Skyrim","type":"book"},"uris":[""]}],"mendeley":{"formattedCitation":"(Bethesda Game Studios, 2011)","plainTextFormattedCitation":"(Bethesda Game Studios, 2011)","previouslyFormattedCitation":"(Bethesda Game Studios, 2011)"},"properties":{"noteIndex":0},"schema":""}(Bethesda Game Studios, 2011) contain a large ludic space explorable to the player, whereas the narrative driven game of Life is Strange ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"author":[{"dropping-particle":"","family":"DONTNOD Entertainment","given":"","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["2015"]]},"publisher":"Square Enix","title":"Life is Strange","type":"book"},"uris":[""]}],"mendeley":{"formattedCitation":"(DONTNOD Entertainment, 2015)","plainTextFormattedCitation":"(DONTNOD Entertainment, 2015)","previouslyFormattedCitation":"(DONTNOD Entertainment, 2015)"},"properties":{"noteIndex":0},"schema":""}(DONTNOD Entertainment, 2015) contains a smaller ludic area.Another aspect of games which offer players opportunities in terms of creativity is narrative. Narrative has been argued to play a major role in player experience ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"DOI":"10.1145/2793107.2793147","ISBN":"9781450334662","abstract":"Digital games are a wide, diverse and fast developing art form, and it is important to analyse games that are pushing the medium forward to see what design lessons can be learned. However, there are no established criteria to determine which games show these more progressive qualities. Grounded theory methodology was used to analyse language used in games reviews by critics of both 'core gamer' titles and those titles with more avant-garde properties. This showed there were two kinds of challenge being discussed-emotional and functional which appear to be, at least partially, mutually exclusive. Reviews of 'core' and 'avant-garde' games had different measures of purchase value, primary emotions, and modalities of language used to discuss the role of audiovisual qualities. Emotional challenge, ambiguity and solitude are suggested as useful devices for eliciting emotion from the player and for use in developing more 'avant-garde' games, as well as providing a basis for further lines of inquiry.","author":[{"dropping-particle":"","family":"Cole","given":"Tom","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Cairns","given":"Paul","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Gillies","given":"Marco","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"CHI Play 2015 October 3-7","id":"ITEM-1","issued":{"date-parts":[["2015"]]},"publisher-place":"London, UK","title":"Emotional and Functional Challenge in Core and Avant-garde Games","type":"paper-conference"},"uris":[""]}],"mendeley":{"formattedCitation":"(Cole et al., 2015)","plainTextFormattedCitation":"(Cole et al., 2015)","previouslyFormattedCitation":"(Cole et al., 2015)"},"properties":{"noteIndex":0},"schema":""}(Cole et al., 2015), with many games now providing opportunities for narrative exploration through diverging storylines and choice driven dialogues. Young and Cardona-Rivera ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"abstract":"A growing body of work in games research, both generative and analytic, seeks to characterize the relationship between a player's understanding of an interactive narrative and her options for action within it. This paper provides several definitions that collectively serve as a basis for a model of the user's comprehension of an unfolding story in a game. Central to this approach, we define the notion of narrative affordance. In essence, a game provides a narrative affordance for some course of action when a player can imagine that course of action as part of a story that completes their current story experience. To define narrative affordance, we draw links from cognitive models of narrative comprehension and a range of research on affordance, which we couple with planning approaches to story and discourse generation. In our approach, we view the creation of an interactive narrative that provides a high degree of agency as a discourse generation problem. We posit that an interactive narrative system must reason about the content and organization of its communication with a player in order to prompt a player's understanding about the game's story and her role in it. This paper ends by pointing toward a research direction intended to provide insight into a range of aspects of interactive narrative, including role, genre, choice and agency.","author":[{"dropping-particle":"","family":"Young","given":"R.M.","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Cardona-Rivera","given":"R.E.","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Proceedings of the 4th Workshop on Intelligent Narrative Technologies","id":"ITEM-1","issued":{"date-parts":[["2011"]]},"page":"123-130","title":"Approaching a Player Model of Game Story Comprehension Through Affordance in Interactive Narrative","type":"paper-conference"},"suppress-author":1,"uris":[""]}],"mendeley":{"formattedCitation":"(2011)","plainTextFormattedCitation":"(2011)","previouslyFormattedCitation":"(2011)"},"properties":{"noteIndex":0},"schema":""}(2011) argue that a narrative affordance constitutes a course of action when a player can envisage the action in relation to the game’s narrative. In this way, affordances in game narrative may play an important part in affective change where players can reflect on the outcomes of their actions in relation to the story. Creativity can also manifest in terms of a player’s “alterbiography” ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"author":[{"dropping-particle":"","family":"Calleja","given":"G","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["2011"]]},"publisher":"MIT Press","title":"In-game: From immersion to incorporation","type":"book"},"uris":[""]}],"mendeley":{"formattedCitation":"(Calleja, 2011)","plainTextFormattedCitation":"(Calleja, 2011)","previouslyFormattedCitation":"(Calleja, 2011)"},"properties":{"noteIndex":0},"schema":""}(Calleja, 2011) which constitutes the personal narrative they create as they play the game, as opposed to the scripted narrative of the game. Affordances for avatar customisation play an important part in how players construct their personal narrative, especially when a game supports altering the look of their character at any given time ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"DOI":"10.1016/b978-0-12-801462-2.00014-x","ISBN":"9780128014622","abstract":"The article offers news briefs related to the digital media industry, as of March 2017. Topics include the Ultra Stretch Display launched by LG; the interactive digital technology provided by PX Group and Zytronic to Movistar, a mobile network provider in South America; and information on digital signage used by Aventura Mall is Miami, Florida .","author":[{"dropping-particle":"","family":"Behr","given":"Katharina-Marie","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Huskey","given":"Richard","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Weber","given":"René","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Video Games and Creativity","id":"ITEM-1","issued":{"date-parts":[["2016"]]},"number-of-pages":"285-299","publisher":"Elsevier Inc.","title":"Creative Interactivity","type":"book"},"uris":[""]},{"id":"ITEM-2","itemData":{"DOI":"10.1016/B978-0-12-801462-2.00006-0","ISBN":"9780128014622","abstract":"In contrast to the bulk of chapters in this volume that focus on computer- based activities that are best described as games, the present chapter is concerned with creativity in virtual settings that are not particularly game-like. Specifically, the chapter examines manifestations of creativity in 3D virtual worlds in which the primary activity is engaging in unscripted social interactions. The term Social Virtual Worlds (SVWs) is used to refer to these types of 3D environments in contrast to Gaming Virtual Worlds (GVWs), which refers to games such as World of Warcraft that generally involve clearly defined quests (. Jung, 2011). Perhaps the best known of such SVWs is Second Life, but many others exist, including There, Kaneva, InWorldz, IMVU, and ActiveWorlds.","author":[{"dropping-particle":"","family":"Ward","given":"Thomas B.","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Video Games and Creativity","editor":[{"dropping-particle":"","family":"Green","given":"Garo P.","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Kaufman","given":"James C.","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-2","issued":{"date-parts":[["2015"]]},"page":"119-136","publisher":"Academic Press","publisher-place":"London, UK","title":"Content, Collaboration, and Creativity in Virtual Worlds","type":"chapter"},"uris":[""]}],"mendeley":{"formattedCitation":"(Behr et al., 2016; Ward, 2015)","plainTextFormattedCitation":"(Behr et al., 2016; Ward, 2015)","previouslyFormattedCitation":"(Behr et al., 2016; Ward, 2015)"},"properties":{"noteIndex":0},"schema":""}(Behr et al., 2016; Ward, 2015). Further opportunities for players to be creative are evident in terms of customisation and co-creation of game content. According to Behr et al. ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"DOI":"10.1016/b978-0-12-801462-2.00014-x","ISBN":"9780128014622","abstract":"The article offers news briefs related to the digital media industry, as of March 2017. Topics include the Ultra Stretch Display launched by LG; the interactive digital technology provided by PX Group and Zytronic to Movistar, a mobile network provider in South America; and information on digital signage used by Aventura Mall is Miami, Florida .","author":[{"dropping-particle":"","family":"Behr","given":"Katharina-Marie","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Huskey","given":"Richard","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Weber","given":"René","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Video Games and Creativity","id":"ITEM-1","issued":{"date-parts":[["2016"]]},"number-of-pages":"285-299","publisher":"Elsevier Inc.","title":"Creative Interactivity","type":"book"},"suppress-author":1,"uris":[""]}],"mendeley":{"formattedCitation":"(2016)","plainTextFormattedCitation":"(2016)","previouslyFormattedCitation":"(2016)"},"properties":{"noteIndex":0},"schema":""}(2016) there exists a customisation/co-creation continuum “ranging from simple in-game options to complex modification scenarios” ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"DOI":"10.1016/b978-0-12-801462-2.00014-x","ISBN":"9780128014622","abstract":"The article offers news briefs related to the digital media industry, as of March 2017. Topics include the Ultra Stretch Display launched by LG; the interactive digital technology provided by PX Group and Zytronic to Movistar, a mobile network provider in South America; and information on digital signage used by Aventura Mall is Miami, Florida .","author":[{"dropping-particle":"","family":"Behr","given":"Katharina-Marie","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Huskey","given":"Richard","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Weber","given":"René","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Video Games and Creativity","id":"ITEM-1","issued":{"date-parts":[["2016"]]},"number-of-pages":"285-299","publisher":"Elsevier Inc.","title":"Creative Interactivity","type":"book"},"locator":"289","uris":[""]}],"mendeley":{"formattedCitation":"(Behr et al., 2016, p. 289)","plainTextFormattedCitation":"(Behr et al., 2016, p. 289)","previouslyFormattedCitation":"(Behr et al., 2016, p. 289)"},"properties":{"noteIndex":0},"schema":""}(Behr et al., 2016, p. 289). In short, affordances have been suggested to play a crucial part in creative behaviour ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"DOI":"10.1037/a0029528","ISSN":"10892680","abstract":"For the past 5 decades the psychology of creativity has been influenced by what is known as the 4 P's of creative expression: person, process, product, and press. This conceptual schema, initially proposed by Rhodes (1961), helped researchers structure their thinking about the phenomenon. However, it also supported an individualistic, static, and oftentimes disjointed vision of creativity. The present article aims to rewrite this fundamental language of the discipline by using terms that explicitly endorse a systemic, contextual, and dynamic approach. The 5 A's framework-actor, action, artifact, audience, affordances- is grounded in current literature from sociocultural and ecological psychology as well as theories of the distributed mind and tries to achieve a more comprehensive and unitary perspective on creativity. Several theoretical, methodological, and practical implications are considered. ? 2012 American Psychological Association.","author":[{"dropping-particle":"","family":"Glǎveanu","given":"V.P.","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Review of General Psychology","id":"ITEM-1","issue":"1","issued":{"date-parts":[["2013"]]},"page":"69-81","title":"Rewriting the language of creativity: The five A's framework","type":"article-journal","volume":"17"},"uris":[""]},{"id":"ITEM-2","itemData":{"DOI":"10.1016/j.newideapsych.2017.11.002","ISSN":"0732118X","abstract":"Cognitive accounts of creativity generally assume that novel ideas originate in the head and precede the actual materialization of them. Over the last decades, this cognitive view has been criticized by, among others, proponents of a sociocultural perspective. In the present paper, we aim to further this critique by developing a genuine ecological approach to creativity in making. We do so by incorporating Ingold's theory of making into the ecological perspective that was initiated by Gibson. It is argued that because action is not preplanned but continuously unfolds over time, creativity is to be found in the process of making. Indeed, creativity can be conceived of as the discovery and creation of unconventional affordances (action possibilities) of objects and materials. Discussing the primacy of exploratory actions in this process, we argue that the concepts and research tools of ecological psychology may help to deepen the understanding of the creative process.","author":[{"dropping-particle":"","family":"Withagen","given":"Rob","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Kamp","given":"John","non-dropping-particle":"van der","parse-names":false,"suffix":""}],"container-title":"New Ideas in Psychology","id":"ITEM-2","issued":{"date-parts":[["2018"]]},"page":"1-6","title":"An ecological approach to creativity in making","type":"article-journal","volume":"49"},"uris":[""]}],"mendeley":{"formattedCitation":"(Glǎveanu, 2013; Withagen & van der Kamp, 2018)","plainTextFormattedCitation":"(Glǎveanu, 2013; Withagen & van der Kamp, 2018)","previouslyFormattedCitation":"(Glǎveanu, 2013; Withagen & van der Kamp, 2018)"},"properties":{"noteIndex":0},"schema":""}(Glǎveanu, 2013; Withagen & van der Kamp, 2018). However, while work exists which suggests that there are game design elements which support player creativity, there remains a grey area as to what forms of player creativity these design elements may support. This study aims to shed light on this issue.2. Methodology 2.1 Reflexive Photography in the Context of Digital GamesReflexive photography alongside photo-elicitation interviews were chosen to provide a means of capturing creativity in practice within digital games and to illuminate the particular aspects of games which facilitated or constrained creative behaviour. While reflexive photography has not been used as an approach to investigate gaming experiences to the author’s knowledge, the method has been used to examine participant experiences in other fields such as education and sociology. Originally derived from the critical pedagogy work of Paulo Freire who used “coded situations” (e.g. sketches or images) to act as a stimulus for a group or individuals to critically analyse their own situation (Shulze, 2007), reflexive photography is grounded in individual-environmental interaction theories and symbolic interactionism – mainly that behaviour is a result of the interaction between individuals and their environment and the particular meanings that individuals ascribe to things. It has been claimed that creating photographs promotes participants to think more thoroughly about the issues under study (Wallace, 2015). For example, studies by ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"author":[{"dropping-particle":"","family":"Douglas","given":"Katie B.","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"ASHE Annual Meeting Paper","id":"ITEM-1","issued":{"date-parts":[["1998"]]},"title":"Seeing as Well as Hearing: Responses to the Use of an Alternative Form of Data Representation in a Study of Students' Environmental Perceptions.","type":"article-journal"},"uris":[""]}],"mendeley":{"formattedCitation":"(Douglas, 1998)","manualFormatting":"Douglas (1998)","plainTextFormattedCitation":"(Douglas, 1998)","previouslyFormattedCitation":"(Douglas, 1998)"},"properties":{"noteIndex":0},"schema":""}Douglas (1998) and ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"ISBN":"0267-1611","ISSN":"0267-1611","abstract":"This paper describes an empirical research study designed to explore the lived experience of mainstream secondary school for young people with a diagnosis of Autistic Spectrum Disorder (ASD). Within the existing research base, the voices of these young people have often been missing or overshadowed. This research sought to privilege the voice of young people; acknowledging them as experts in their own lives and as competent contributors to the research process. A creative approach to data collection was adopted, seeking to empower these young people to tell their stories through the provision of research tools that would facilitate their engagement with the process. The young people were tasked with taking photographs of aspects of school life that were important to them, these subsequently forming the central focus of discussions. Six young people from two mainstream secondary schools participated in the study. Data was analysed using Interpretative Phenomenological Analysis, this methodology being chosen to allow for the representation of different realities, whilst also searching for shared themes. The themes that emerged for the group were: sanctuary, anxiety and young people as active agents. The potential to incorporate the tools used in this project to facilitate person-centred planning is highlighted. (PsycINFO Database Record (c) 2014 APA, all rights reserved) (journal abstract)","author":[{"dropping-particle":"","family":"Hill","given":"Louise","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Educational and Child Psychology","id":"ITEM-1","issue":"1","issued":{"date-parts":[["2014"]]},"page":"79-89","title":"'Some of it I haven't told anybody else': Using photo elicitation to explore the experiences of secondary school education from the perspective of young people with a diagnosis of Autistic Spectrum Disorder.","type":"article-journal","volume":"31"},"uris":[""]}],"mendeley":{"formattedCitation":"(Hill, 2014)","manualFormatting":"Hill (2014)","plainTextFormattedCitation":"(Hill, 2014)","previouslyFormattedCitation":"(Hill, 2014)"},"properties":{"noteIndex":0},"schema":""}Hill (2014) reported that participants spent more time thinking about the meaning of the images they captured, how best to capture their ideas and what images they wanted to share with the researcher. In photo-elicitation interviews, the photographs serve as the central point of focus, with the interviewee interpreting the images retrospectively ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"ISBN":"0761915125 (acid free paper)","PMID":"310289505","author":[{"dropping-particle":"","family":"Harper","given":"Douglas","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Handbook of Qualitative Research","id":"ITEM-1","issued":{"date-parts":[["1994"]]},"page":"403-412","title":"On the Authority of Image - Visual Methods at the Crossroads","type":"article-journal"},"uris":[""]}],"mendeley":{"formattedCitation":"(Harper, 1994)","plainTextFormattedCitation":"(Harper, 1994)","previouslyFormattedCitation":"(Harper, 1994)"},"properties":{"noteIndex":0},"schema":""}(Harper, 1994). One way of achieving this is through autodriving, where the interview is “driven” by participants’ reflection of their own behaviour ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"DOI":"10.1086/209258","ISBN":"00935301","ISSN":"0093-5301","abstract":"This article presents a literature review that explains the antecedents and values of visual research. Then it illustrates the use of photographs and audio recordings o\\ informants to enrich interviews. The term \"autodriving\" indicates that tne interview is \"driven\" by informants who are seeing and hearing their own behavior. Autodriving addresses the obtrusiveness and reactivity inherent in consumer-behavior research by explicitly encouraging consumers to comment on their consumption behavior as the photographs and recordings represent it. Thus, the research aims for a negotiated interpretation of consumption events. The results suggest that photographs offer exciting challenges to infonmants by encouraging their need to explain themselves. Oh,","author":[{"dropping-particle":"","family":"Heisley","given":"Deborah D.","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Levy","given":"Sidney J.","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Journal of Consumer Research","id":"ITEM-1","issue":"3","issued":{"date-parts":[["1991"]]},"page":"257","title":"Autodriving: A Photoelicitation Technique","type":"article-journal","volume":"18"},"uris":[""]}],"mendeley":{"formattedCitation":"(Heisley & Levy, 1991)","plainTextFormattedCitation":"(Heisley & Levy, 1991)","previouslyFormattedCitation":"(Heisley & Levy, 1991)"},"properties":{"noteIndex":0},"schema":""}(Heisley & Levy, 1991). Using photographs in this way can illuminate participants’ experiences, attitudes and perceptions and can “carry or evoke three things – information, affect and reflection”ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"author":[{"dropping-particle":"","family":"Rose","given":"G.","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["2007"]]},"publisher":"Sage Publications","publisher-place":"Thousand Oaks, CA","title":"An Introduction to the Interpretation of Visual","type":"book"},"locator":"238","uris":[""]}],"mendeley":{"formattedCitation":"(Rose, 2007, p. 238)","plainTextFormattedCitation":"(Rose, 2007, p. 238)","previouslyFormattedCitation":"(Rose, 2007, p. 238)"},"properties":{"noteIndex":0},"schema":""}(Rose, 2007, p. 238). In previous studies which used reflexive photography (e.g. ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"abstract":"This study explores the usefulness of reflexive photography for qualitative research in the human and social sciences. The investigation was done in the context of how male academics construct their world in a university during transformation. A group of white, male academics in the human sciences were provided with a camera and were requested to take pictures of the most mean-ingful aspects of their work environment. Thereafter photo-elicitation interviews were conducted, transcribed and analysed. The study illustrates the usefulness of reflexive photography to determine human interpretation of interaction with the environment. Participants commented positively on and helped to identify the advantages and limitations of the technique. The research indicated that photographs have no intrinsic meaning but serve as symbols of meaning that participants explain during interviews. Content analysis, a second level of analysis that is based on the first level, is useful in some ways as indicated.","author":[{"dropping-particle":"","family":"Schulze","given":"S","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["2007"]]},"title":"The usefulness of reflexive photography for qualitative research: a case study in higher education","type":"article-journal"},"uris":[""]},{"id":"ITEM-2","itemData":{"DOI":"10.1558/cj.v32i3.26384","abstract":"calico journal (online) issn 2056–9017 calico journal vol 32.3 2015 449–479 ?2015, equinox publishing Article Reflexive photography, attitudes, behavior, and CALL: ITAs improving spoken English intelligibility Lara Wallace Abstract Research in the field of Computer-Assisted Language Learning (CALL) has fre-quently taken a top-down approach when investigating learners' attitudes and behavior, both in the course as well as for their personal use. Suggestions are given for use of technology, and future research (Beatty, 2010; Levy & Stockwell, 2006). One perspective that has not been examined in CALL is Reflexive Photography, a method that lends itself to rigorous and focused analysis and can illuminate the participants' experiences and perceptions in a way that the above methods cannot. In reflexive photography, participants are asked to photograph their experience of the phenom-enon in question. These photographs serve as the basis for the discussion with the researcher that follows, and help to define the scope of the particular phenomenon. Together, the participants and the researcher co-produce the information regarding the phenomenon (Jenkings, Woodward & Winter, 2008). Reflexive photography has been used to explore issues of identity and experience in other fields, although in CALL, it has been underutilized. The present study identified current uses of technol-ogy among International Teaching Assistants (ITAs) taking a course to improve their spoken English intelligibility. Midway through the term, learners photographed what they deemed to be helpful and what they felt obstructed the improvement of their oral English production. They then shared seven to ten photographs in a focus group of peers. At the end of the term, the researcher interviewed the learners regarding these experiences. The photos and the interviews were coded and the researcher exam-ined the emergent findings, using observations and electronic communication from Affiliation Ohio University (English Language Improvement Program in the Department of Linguistics). email: wallacl1@ohio.edu 450 Reflexive photography, attitudes, behavior, and CALL throughout the term to triangulate and support the data. The findings revealed valu-able insights through the eyes of the learners regarding what technology the learners found to be helpful and/or obstructive, both in the course as well as for their personal use, and suggestions for improvements in use of technology are given. Finally, future…","author":[{"dropping-particle":"","family":"Wallace","given":"Lara","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Calico Journal","id":"ITEM-2","issue":"3","issued":{"date-parts":[["2015"]]},"page":"449-479","title":"Reflexive photography, attitudes, behavior, and CALL: ITAs improving spoken English intelligibility","type":"article-journal","volume":"32"},"uris":[""]}],"mendeley":{"formattedCitation":"(Schulze, 2007; Wallace, 2015)","manualFormatting":"Schulze, 2007; Wallace, 2015)","plainTextFormattedCitation":"(Schulze, 2007; Wallace, 2015)","previouslyFormattedCitation":"(Schulze, 2007; Wallace, 2015)"},"properties":{"noteIndex":0},"schema":""}Schulze, 2007; Wallace, 2015), participants have been provided with cameras or have made use of their own smartphones to take pictures over the course of one or two weeks. In the context of this study, participants took screenshots of a gaming instance which invoked them to think creatively or led them to undertake creative action – and conversely, in instances where they felt their creativity was being restricted or inhibited. Using screenshots instead of digital photographs allowed participants to stay involved in the game with minimal disruption. This aimed to explicate the role of in-game environmental and social factors which may contribute to creativity. Additionally, it also provided a view into the subjective interpretations that individuals ascribe to scenarios which they feel induce elements of creativity. In line with previous reflexive photography studies, participants took their screenshots over a one-week period, before taking part individually in photo-elicitation interviews the following week. Participants were asked to select three screenshots for discussion in the interview. While the interview focused on the screenshots captured, a set of five questions was used to loosely guide the discussion. An additional two feedback questions were asked at the end of the interview. See Table 1 for a list of the interview prompts.Table 1: Photo-Elicitation Interview ProtocolPhoto Elicitation Questions (repeated for each of participant’s screenshots)Question No.Question TextQ1Can you tell me what was going on in the game when you took this screenshot?Q2What were you hoping the screenshot would capture?Q3How would you describe the creativity involved in this screenshot?Q4What aspects of the game enabled you to behave in this way/do X or Y?Q5Had you ever had similar gaming experiences or was this a one off?Do you feel these/this type(s) of game(s) allow for greater/lesser creativity?Concluding Questions (only asked once at the end of the interview)Question No.Question TextQ6Is there anything else you would like to add?Q7Do you have any comments or feedback on the methodology used?Do you feel the reflexive photography method worked well in capturing instances of creativity during gaming?2.2 Participants and RecruitmentA total of nine participants (6 male, 2 female, 1 non-binary) took part in the study. Ages ranged from 22 to 38 (median: 32). Participants played a range of online and offline games, with genres including role-playing, puzzle, action/adventure and sport. Participants played between 4 and 7 days a week (median: 5) across a variety of gaming medium including PC, console, handheld and mobile. Participants were asked what type of gamer they identified as, with 2 identifying as hardcore gamers, 6 as moderate gamers and 1 as a casual gamer.Participants were recruited via a wider recruitment study advertised on popular gaming forums, social media and gaming mailing lists. As the study aimed to attract a wide variety of participants who did and did not self-identify as creative, no definition of creativity was provided so participants captured instances which they personally defined as creative and ensure results were not biased in favour of a particular conceptualization. Participants were sent an information leaflet detailing the nature of the study (i.e. how digital games may support player creativity), what was required of them (i.e. to take screenshots during their regular gaming sessions), and how the interviews would be structured (i.e. questions based on their screenshots). In addition, they were sent a short guide on how to take screenshots on various popular gaming platforms. Participants were able to select a week which was convenient to them to carry out the reflexive photography task and a day during the following week to take part in the interview. They were then sent a template to copy and paste their screenshot into and add a caption and comments if they wished. To maintain as natural a setting as possible, it was stressed that participants were not required to play games any more or less frequently than what they would normally play, and that screenshots should be taken during their normal gaming activity. At the end of the reflexive photography task, participants were asked to select three screenshots to discuss and email these to the principal researcher prior to the interview. No information was recorded on the original total number of screenshots participants took prior to this. All participants sent three completed screenshot templates, with the exception being one participant who emailed eight completed screenshot templates with captions and comments, and after discussion with the principal researcher, selected three for his interview. While the additional screenshots were not discussed in the interview, they were included as illustrative examples of themes. Interviews were conducted over Skype and lasted between 29 minutes and 1 hour and 13 minutes, with the mean interview lasting 50 minutes. 2.3 Data AnalysisData analysis was carried out using Nvivo 11, where a hybrid thematic approach was adopted involving both inductive and deductive iterations ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"DOI":"10.4135/9781526435477","ISBN":"9781526435477","abstract":"currently works at University College London where he is a senior researcher and lecturer. He mainly carries out qualitative research, which has included a series of numeracy and literacy projects in the post-16 sector. He has also written many articles on boys' masculinities.","author":[{"dropping-particle":"","family":"Swain","given":"Jon","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"A Hybrid Approach to Thematic Analysis in Qualitative Research: Using a Practical Example","id":"ITEM-1","issued":{"date-parts":[["2018"]]},"title":"A Hybrid Approach to Thematic Analysis in Qualitative Research: Using a Practical Example","type":"article-journal"},"uris":[""]}],"mendeley":{"formattedCitation":"(Swain, 2018)","plainTextFormattedCitation":"(Swain, 2018)","previouslyFormattedCitation":"(Swain, 2018)"},"properties":{"noteIndex":0},"schema":""}(Swain, 2018). This approach was selected as the research question was produced from the findings of a previous study and hence, some data already existed in the form of pre-existing themes. As such, in the deductive iteration, data were analysed using the six pre-existing themes of design considerations in digital games identified by Author A. (2020). These included the themes of freedom of play, environment, replayability, tools, avatar and creation. The application of these themes allowed an initial categorisation of the data and provided a starting point for further refinement. As such, in the inductive iteration, the existing themes were refined further into sub-themes, new themes were identified. Screenshots were used to illustrate each theme; however, these were not mutually exclusive, i.e. one screenshot may include several design affordances and hence represent more than one theme. A total of 32 screenshots were included. A breakdown of screenshots by game genre is shown in table 2.Game GenreNumber of ScreenshotsMMORPG8Role Playing Game (RPG)7Puzzle5Online Battle Royale3Simulation3First-Person Shooter (FPS)2Action/Adventure2Sport2Table 2: Breakdown of Screenshots x Game GenreAfter the initial development of the themes by the principal researcher, a transcript was sent to three colleagues to code interpedently. This aided in investigator triangulation by ensuring there was researcher consensus and that the themes accurately captured the specified concepts ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"ISBN":"978-87-92964-00-7","ISSN":"8792964001","abstract":"HCI addresses problems of interaction design: delivering novel designs, evaluating existing designs, and understanding user needs for future designs. Qualitative methods have an essential role to play in this enterprise, particularly in understanding user needs and behaviours and evaluating situated use of technology. 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This resulted in renaming the themes of freedom of play and creation to degree of flexibility and content creation respectively. See Table 3 for a breakdown of the design affordance themes, including the two new themes of narrative and progression.Design Affordance Themes Main themeSub-themesDescriptorDegree of Flexibility (formerly Freedom of Play)Player TrajectoriesCreativity related to the overall game structure (e.g. open versus linear games) and scope for alternative routes of play.LinearTask FlexibilityNarrative (new theme)StoryCreative engagement with the game’s narrative – either directly within the game such as exploring dialogue choices, and around the game in terms of affective elements and the use of narrative aspects in the creation of personal narratives.ChoicesPersonal NarrativeToolsItems & AbilitiesGame variables usually directly related to gameplay progression such as items, abilities and movements. MovementContent Creation (formerly Creation)Objects, Levels & MapsCreation of game content such as objects, levels and images (usually aesthetic and not directly related to game progression). Additionally, options for playing with mods and importing own media.InterfaceModsEnvironmentExploration & InteractionEnvironmental aspects such as graphical realism, opportunities for environmental interaction, opportunities for exploration, synchronisation of sound, environment and player actions and realism of AI behaviour.Aesthetics & SoundAIAvatarAppearanceAvatar appearance and customisation of emotes and voice.Emotes & VoiceProgression (new theme)ChallengesProgression in the game such as challenge versus skill balance, pay-to-win features versus pay-to-look good features, hints at appropriate times and variety of achievements to contribute to sense of progression.Paid Features & UnlockablesReplayabilityUpdatesDeveloper EventsOpportunities for refreshing the gameplay experience such as downloadable content which adds to the existing narrative, patches and updates which remedy imbalance issues, and creative events instigated by the developers.Table 3: Design Affordances Theme OverviewFindings3.1 Degree of FlexibilityDegree of flexibility encompassed affordances in relation to autonomy over the play trajectory (i.e. different routes through the game, sidequests, different playstyles, etc). Some examples included open-world games which allowed players to create their own path through the game and define their route of play. This could be achieved through means such as altering a playable character’s abilities and statistics to enable different play styles (e.g. stealth, magic based, etc). An example was cited by one participant in relation to Fallout: New Vegas ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"author":[{"dropping-particle":"","family":"Obsidian","given":"","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["2010"]]},"publisher":"Bethesda Softworks,","title":"Fallout: New Vegas","type":"book"},"uris":[""]}],"mendeley":{"formattedCitation":"(Obsidian, 2010)","plainTextFormattedCitation":"(Obsidian, 2010)","previouslyFormattedCitation":"(Obsidian, 2010)"},"properties":{"noteIndex":0},"schema":""}(Obsidian, 2010):“The way you assign your points, gives you, lends well to different playstyles, so for example if you want to be really sneaky, or if you prefer using guns or explosives and that sort of thing. So obviously I find that to be a particularly good creative outlet in the sense that you’re not limited to one way of playing. You’re free to play in any way you like, including really weird combinations.” – Male, 28 Other references included games which supported task flexibility. In such games, players could complete challenges in different ways such as creating multiple strategies or, as one participant illustrated in her screenshot (Figure 1) of The Witcher 3: Wild Hunt ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"author":[{"dropping-particle":"","family":"CD Projekt Red","given":"","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["2015"]]},"publisher":"CD Projekt Red","title":"The Witcher 3: Wild Hunt","type":"book"},"uris":[""]}],"mendeley":{"formattedCitation":"(CD Projekt Red, 2015)","plainTextFormattedCitation":"(CD Projekt Red, 2015)","previouslyFormattedCitation":"(CD Projekt Red, 2015)"},"properties":{"noteIndex":0},"schema":""}(CD Projekt Red, 2015), finding new locations to complete achievements: Figure 1: Slide Achievement in The Witcher 3: Wild HuntWhile many references in degree of flexibility were in relation to open-world and sandbox style games, players also discussed how creativity could be constrained through a more linear game structure. However, while some suggested linear games afforded fewer opportunities to be creative, these games were still seen as being creative from a design and development standpoint.3.2 NarrativeWhile degree of flexibility related to how the overall structure of the game provided opportunities for creative gameplay and discovery, narrative encompassed opportunities for creative engagement with the game’s narrative. This included how the game story and characters could prompt emotional engagement, reflection and further exploration of challenging issues. In her screenshot of Final Fantasy XV ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"author":[{"dropping-particle":"","family":"Square Enix","given":"","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["2018"]]},"publisher":"Square Enix","title":"Final Fantasy XV","type":"book"},"uris":[""]}],"mendeley":{"formattedCitation":"(Square Enix, 2018)","plainTextFormattedCitation":"(Square Enix, 2018)","previouslyFormattedCitation":"(Square Enix, 2018)"},"properties":{"noteIndex":0},"schema":""}(Square Enix, 2018), one participant explains how a particular scene made her consider the effects games can have on people, and how she further explored such themes (Figure 2): Figure 2: Noctis Lucis Caelum (Final Fantasy XV: Royal Edition, PC Version)While the majority of references in narrative were to games with strong narratives, other examples were also discussed. ted. This included MMORPGs and non-narrated games where the story was uncovered largely through gameplay and players were able to create their own personal narrative. Games such as The Elder Scrolls V: Skyrim ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"author":[{"dropping-particle":"","family":"Bethesda","given":"","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["2011"]]},"title":"The Elder Scrolls: Skyrim","type":"motion_picture"},"uris":[""]}],"mendeley":{"formattedCitation":"(Bethesda, 2011)","plainTextFormattedCitation":"(Bethesda, 2011)","previouslyFormattedCitation":"(Bethesda, 2011)"},"properties":{"noteIndex":0},"schema":""}(Bethesda, 2011) provided more “creative room” as there was no voiced protagonist so the player needed to “bring” more to the story (male, 30). Other ways in which players could be creative in terms of narrative involved choice-based dialogues where the player is afforded opportunities to make decisions that affect the key components of the narrative. As one participant referenced in relation to The Witcher 3: Wild Hunt ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"author":[{"dropping-particle":"","family":"CD Projekt Red","given":"","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["2015"]]},"publisher":"CD Projekt Red","title":"The Witcher 3: Wild Hunt","type":"book"},"uris":[""]}],"mendeley":{"formattedCitation":"(CD Projekt Red, 2015)","plainTextFormattedCitation":"(CD Projekt Red, 2015)","previouslyFormattedCitation":"(CD Projekt Red, 2015)"},"properties":{"noteIndex":0},"schema":""}(CD Projekt Red, 2015): “The game asks you to pick from their choices and then sometimes depending on the order you do interactions or the steps you take to get there it’ll unlock new ones and it rewards you for that sort of creativity…the game already has a certain amount of encouragement in making you make your own decisions and how you want the story to play out.” – Female, 36Such games allowed players to make “meaningful choices” (male, 30) and provided opportunities for narrative exploration through diverging storylines and choice-based scenarios.3.3 ToolsTools related to the variety of items, abilities and range of movement afforded to players. This often served as a pre-cursor for task flexibility as a wide range of tools allowed situations and challenges to be completed in different ways. An example included games where players could creatively combine different game variables such as The Darkness II ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"author":[{"dropping-particle":"","family":"Digital Extremes","given":"","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["2012"]]},"publisher":"2K Games","title":"The Darkness II","type":"book"},"uris":[""]}],"mendeley":{"formattedCitation":"(Digital Extremes, 2012)","plainTextFormattedCitation":"(Digital Extremes, 2012)","previouslyFormattedCitation":"(Digital Extremes, 2012)"},"properties":{"noteIndex":0},"schema":""}(Digital Extremes, 2012)Moreover, the player’s attention was drawn to useable objects which were “highlighted in purple” (male, 35) and afforded numerous different actions such as throwing, impaling and shielding. Other examples included games such as Ring of Elysium ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"author":[{"dropping-particle":"","family":"Tencent Games","given":"","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["2018"]]},"publisher":"Tencent Games,","title":"Ring of Elysium","type":"book"},"uris":[""]}],"mendeley":{"formattedCitation":"(Tencent Games, 2018)","plainTextFormattedCitation":"(Tencent Games, 2018)","previouslyFormattedCitation":"(Tencent Games, 2018)"},"properties":{"noteIndex":0},"schema":""}(Tencent Games, 2018) where players could utilise different forms of movement to explore the world which provides “the travel ability or the extremes which I can’t try in real life [but] I can do in the game” (male, 32). Figure 3: Gliding in Ring of ElysiumBy providing alternative modes of transport such as glider (Figure 3), as well as extended ranges of movement including swimming, players are able to explore the game world in a range of ways. While the variety of different items, abilities and movements were cited as being facilitators for creativity, the rate at which they were introduced into the game was also important in sustaining player motivation. As one participant mentioned in relation to the puzzle game Thomas Was Alone ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"author":[{"dropping-particle":"","family":"Bithell Games","given":"","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["2012"]]},"publisher":"Bithell Games","title":"Thomas Was Alone","type":"book"},"uris":[""]}],"mendeley":{"formattedCitation":"(Bithell Games, 2012)","plainTextFormattedCitation":"(Bithell Games, 2012)","previouslyFormattedCitation":"(Bithell Games, 2012)"},"properties":{"noteIndex":0},"schema":""}(Bithell Games, 2012):“So you're trying to navigate these levels and as more and more of these characters are introduced, you need to combine them, make them, like you know, like in this case stack top of each other. And they interact in all sorts of other ways based on their abilities…When you start with these tools and these obstacles and [they] just like ramp it up a little bit, give you a new ability, give you new ability, give you new ability.” – Male, 35In this way, gameplay is constantly kept fresh, with the player being given new tools to creatively combine and experiment with. Finally, tools were seen as particularly important only when they had effect on gameplay. This was illustrated by one participant’s screenshot of Alien: Isolation ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"author":[{"dropping-particle":"","family":"Creative Assembly","given":"","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["2014"]]},"publisher":"Sega","title":"Alien: Isolation","type":"book"},"uris":[""]}],"mendeley":{"formattedCitation":"(Creative Assembly, 2014)","plainTextFormattedCitation":"(Creative Assembly, 2014)","previouslyFormattedCitation":"(Creative Assembly, 2014)"},"properties":{"noteIndex":0},"schema":""}(Creative Assembly, 2014): “you have all these tools, but very few of them actually work on the most dangerous thing in the game” (male, 35). Thus, it may be a combination of the variety of tools and their effectiveness that is key to facilitating creative behaviour (e.g. you can have a large amount of “gimmick” (male, 35) tools but none of them actually matter in terms of progressing in the game).3.4 EnvironmentIn environment references related to exploration and discovery of the game environment, particularly in relation to open-world games which did not restrict the player to a pre-determined path. Several participants cited freedom to explore as being one of the most creative aspects, especially when developers implemented hidden objects to be discovered. As one participant describes in relation to Ring of Elysium ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"author":[{"dropping-particle":"","family":"Tencent Games","given":"","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["2018"]]},"publisher":"Tencent Games,","title":"Ring of Elysium","type":"book"},"uris":[""]}],"mendeley":{"formattedCitation":"(Tencent Games, 2018)","plainTextFormattedCitation":"(Tencent Games, 2018)","previouslyFormattedCitation":"(Tencent Games, 2018)"},"properties":{"noteIndex":0},"schema":""}(Tencent Games, 2018): “for me it was the creativity…to find more aspects of the game, more things hidden in the game” (male, 31). Another participant captured Xenoblade Chronicles 2 ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"author":[{"dropping-particle":"","family":"Monolith Soft","given":"","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["2017"]]},"publisher":"Nintendo","title":"Xenoblade Chronicles 2","type":"book"},"uris":[""]}],"mendeley":{"formattedCitation":"(Monolith Soft, 2017)","plainTextFormattedCitation":"(Monolith Soft, 2017)","previouslyFormattedCitation":"(Monolith Soft, 2017)"},"properties":{"noteIndex":0},"schema":""}(Monolith Soft, 2017), which has an open-world design with “so many secrets, and there’s so many places to go and discover” (female, 31). While exploration was important to players, interaction with the environment and different objects was also cited as being a facilitator of creativity. For example, one participant referenced The Darkness II ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"author":[{"dropping-particle":"","family":"Digital Extremes","given":"","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["2012"]]},"publisher":"2K Games","title":"The Darkness II","type":"book"},"uris":[""]}],"mendeley":{"formattedCitation":"(Digital Extremes, 2012)","plainTextFormattedCitation":"(Digital Extremes, 2012)","previouslyFormattedCitation":"(Digital Extremes, 2012)"},"properties":{"noteIndex":0},"schema":""}(Digital Extremes, 2012) highlighting how a light/dark mechanic dictated which abilities could be used, and which abilities were used by enemies. To combat this, the game allows the player some control over light and dark by being able to shoot light sources and the generators which power them. While such a mechanic makes the game more challenging, it also forces the player to be more strategic in their actions. Realistic artificial intelligence (AI) of enemies also supported player creativity, with more sophisticated AI behaviour prompting players to play more strategically and “more cautiously [and] sometimes take risks” (male, 25).Finally, the aesthetics of a game were cited as being a facilitator for creative inspiration. This was illustrated by one participant who set up her screenshot to capture what she later wished to use as inspiration in a story she was writing (Figure 4). Figure 4: Creative Inspiration from Red Dead Redemption 2In this way, creativity is facilitated both within the game in terms of setting up the scene for the screenshot, and outside the game, in terms of providing inspiration for further creative behaviour.3.5 Content CreationContent creation referenced instances where players could create in-game objects, levels and maps, in addition to customising the game interface and implementing modifications. In relation to the creation of game objects, levels and maps, sandbox games such as Minecraft ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"author":[{"dropping-particle":"","family":"Mojang","given":"","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["2011"]]},"publisher":"Mojang","title":"Minecraft","type":"book"},"uris":[""]}],"mendeley":{"formattedCitation":"(Mojang, 2011)","plainTextFormattedCitation":"(Mojang, 2011)","previouslyFormattedCitation":"(Mojang, 2011)"},"properties":{"noteIndex":0},"schema":""}(Mojang, 2011), Little Big Planet ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"author":[{"dropping-particle":"","family":"Media Molecule","given":"","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["2008"]]},"publisher":"Sony Computer Entertainment","title":"Little Big Planet","type":"book"},"uris":[""]}],"mendeley":{"formattedCitation":"(Media Molecule, 2008)","plainTextFormattedCitation":"(Media Molecule, 2008)","previouslyFormattedCitation":"(Media Molecule, 2008)"},"properties":{"noteIndex":0},"schema":""}(Media Molecule, 2008) and Animal Crossing: Pocket Camp ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"author":[{"dropping-particle":"","family":"Nintendo","given":"","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"NDcube","given":"","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["2017"]]},"publisher":"Nintendo","title":"Animal Crossing: Pocket Camp","type":"book"},"uris":[""]}],"mendeley":{"formattedCitation":"(Nintendo & NDcube, 2017)","plainTextFormattedCitation":"(Nintendo & NDcube, 2017)","previouslyFormattedCitation":"(Nintendo & NDcube, 2017)"},"properties":{"noteIndex":0},"schema":""}(Nintendo & NDcube, 2017) were the most commonly cited genre. In such games, “having the sandbox environment to create levels is probably where your creativity is endless” (male, 38), with games which allowed the player to import their own media into the game providing further opportunities for creativity. As one participant illustrated in his screenshot of Little Big Planet ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"author":[{"dropping-particle":"","family":"Media Molecule","given":"","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["2008"]]},"publisher":"Sony Computer Entertainment","title":"Little Big Planet","type":"book"},"uris":[""]}],"mendeley":{"formattedCitation":"(Media Molecule, 2008)","plainTextFormattedCitation":"(Media Molecule, 2008)","previouslyFormattedCitation":"(Media Molecule, 2008)"},"properties":{"noteIndex":0},"schema":""}(Media Molecule, 2008) (figure 5): Figure 5: Customising “Sackboy” in Little Big Planet 3 Even games which did not allow players to import user created content such as Animal Crossing: Pocket Camp ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"author":[{"dropping-particle":"","family":"Nintendo","given":"","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"NDcube","given":"","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["2017"]]},"publisher":"Nintendo","title":"Animal Crossing: Pocket Camp","type":"book"},"uris":[""]}],"mendeley":{"formattedCitation":"(Nintendo & NDcube, 2017)","plainTextFormattedCitation":"(Nintendo & NDcube, 2017)","previouslyFormattedCitation":"(Nintendo & NDcube, 2017)"},"properties":{"noteIndex":0},"schema":""}(Nintendo & NDcube, 2017) could still provide scope for creativity in terms of placement and customisation of objects. However, the objects created or used as decoration within the game still needed to be able to fulfil their functional uses. As was cited by one participant in relation to Stardew Valley ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"author":[{"dropping-particle":"","family":"ConcernedApe","given":"","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["2016"]]},"publisher":"ConcernedApe","title":"Stardew Valley","type":"book"},"uris":[""]}],"mendeley":{"formattedCitation":"(ConcernedApe, 2016)","plainTextFormattedCitation":"(ConcernedApe, 2016)","previouslyFormattedCitation":"(ConcernedApe, 2016)"},"properties":{"noteIndex":0},"schema":""}(ConcernedApe, 2016): “It’s like, I’ve got a sofa but I can’t sit on it…and so it’s like I tried and then just thought, well, if it doesn’t really add anything and I don’t really, it’s not something I really enjoy then why keep doing it.” – Non-binary, 35In this way, while the player’s house could be decorated with a variety of different objects, very few of these were interactable. In contrast, games such as Animal Crossing ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"author":[{"dropping-particle":"","family":"Nintendo","given":"","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["2001"]]},"publisher":"Nintendo","title":"Animal Crossing","type":"book"},"uris":[""]}],"mendeley":{"formattedCitation":"(Nintendo, 2001)","plainTextFormattedCitation":"(Nintendo, 2001)","previouslyFormattedCitation":"(Nintendo, 2001)"},"properties":{"noteIndex":0},"schema":""}(Nintendo, 2001), include “stuff you can interact with, or you can sit on a chair or lie down on a bed” (non-binary, 35). By providing a more realistic experience (i.e. objects had use value as they would in real life), the player is able to design houses with the use value of objects in mind. A variety of interface options was also important in providing opportunities for players to be creative, as evident in games which included specific screenshot modes such as Fallout 76’s ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"author":[{"dropping-particle":"","family":"Bethesda Game Studios","given":"","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["2018"]]},"publisher":"Bethesda Softworks","title":"Fallout 76","type":"book"},"uris":[""]}],"mendeley":{"formattedCitation":"(Bethesda Game Studios, 2018)","plainTextFormattedCitation":"(Bethesda Game Studios, 2018)","previouslyFormattedCitation":"(Bethesda Game Studios, 2018)"},"properties":{"noteIndex":0},"schema":""}(Bethesda Game Studios, 2018) “Photomode” (male, 22) and Final Fantasy XV’s ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"author":[{"dropping-particle":"","family":"Square Enix","given":"","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["2018"]]},"publisher":"Square Enix","title":"Final Fantasy XV","type":"book"},"uris":[""]}],"mendeley":{"formattedCitation":"(Square Enix, 2018)","plainTextFormattedCitation":"(Square Enix, 2018)","previouslyFormattedCitation":"(Square Enix, 2018)"},"properties":{"noteIndex":0},"schema":""}(Square Enix, 2018) “Camera Mode” (female, 31). Such modes allowed players to set up their shots, taking into account compositional elements such as light and filters.3.6 AvatarWhile customisation of game content such as objects, levels and maps provided creative opportunities to players, customisation of the playable character or avatar was also important. This was largely highlighted in affordances for appearance alteration such as clothes, hairstyles, physical features and different types of voices which allowed players to “portray character[s] in really different ways, and sometimes really weird ways” (male, 28). Players also appreciated games where they could alter their avatar’s appearance at any given moment. One participant, in reference to Fallout 76 ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"author":[{"dropping-particle":"","family":"Bethesda Game Studios","given":"","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["2018"]]},"publisher":"Bethesda Softworks","title":"Fallout 76","type":"book"},"uris":[""]}],"mendeley":{"formattedCitation":"(Bethesda Game Studios, 2018)","plainTextFormattedCitation":"(Bethesda Game Studios, 2018)","previouslyFormattedCitation":"(Bethesda Game Studios, 2018)"},"properties":{"noteIndex":0},"schema":""}(Bethesda Game Studios, 2018), noted that he could “add more scars and damage to my character to signify the time I went through” (male, 22). This feature facilitated not only creativity in terms of avatar appearance but also enabled the player to evolve his character in accordance with his own personal narrative. Opportunities for avatar customisation were cited as an important outlet for personal expression, especially in MMORPGs where there can be thousands of players online. As one participant illustrated in his screenshot of Final Fantasy XIV ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"author":[{"dropping-particle":"","family":"Square Enix","given":"","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["2010"]]},"publisher":"Square Enix,","title":"Final Fantasy XIV","type":"book"},"uris":[""]}],"mendeley":{"formattedCitation":"(Square Enix, 2010)","plainTextFormattedCitation":"(Square Enix, 2010)","previouslyFormattedCitation":"(Square Enix, 2010)"},"properties":{"noteIndex":0},"schema":""}(Square Enix, 2010) (Figure 6):Figure 6: Character Creation in Final Fantasy XIVAvatar customisation was achieved in many games through the use of “sliders” (e.g. graduated scales for increasing/decreasing facial features) and cascading options (e.g. one customisation option led to several others for finer details). However, as the participant above noted in relation to Final Fantasy XIV ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"author":[{"dropping-particle":"","family":"Square Enix","given":"","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["2010"]]},"publisher":"Square Enix,","title":"Final Fantasy XIV","type":"book"},"uris":[""]}],"mendeley":{"formattedCitation":"(Square Enix, 2010)","plainTextFormattedCitation":"(Square Enix, 2010)","previouslyFormattedCitation":"(Square Enix, 2010)"},"properties":{"noteIndex":0},"schema":""}(Square Enix, 2010) there were certain “rules in place” (male, 30) which related to some aspects of customisation which were limited such as body shape and age. 3.7 ProgressionWhile progression was identified as a theme, it was not directly linked to opportunities for creativity, but instead related to aspects which maintained player motivation for being creative. The most common aspect of progression was balanced challenges in line with the development of player skills. This included games such as Oxygen Not Included ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"author":[{"dropping-particle":"","family":"Klei Entertainment","given":"","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["2017"]]},"publisher":"Klei Entertainment,","title":"Oxygen Not Included","type":"book"},"uris":[""]}],"mendeley":{"formattedCitation":"(Klei Entertainment, 2017)","plainTextFormattedCitation":"(Klei Entertainment, 2017)","previouslyFormattedCitation":"(Klei Entertainment, 2017)"},"properties":{"noteIndex":0},"schema":""}(Klei Entertainment, 2017) which started off with simple tasks before expanding and moving on to “more complicated stuff” (male, 22). Other examples included games which provided hints at appropriate times and during instances where the route of progression is not obvious to the player as was cited by one participant in relation to the game Thomas Was Alone ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"author":[{"dropping-particle":"","family":"Bithell Games","given":"","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["2012"]]},"publisher":"Bithell Games","title":"Thomas Was Alone","type":"book"},"uris":[""]}],"mendeley":{"formattedCitation":"(Bithell Games, 2012)","plainTextFormattedCitation":"(Bithell Games, 2012)","previouslyFormattedCitation":"(Bithell Games, 2012)"},"properties":{"noteIndex":0},"schema":""}(Bithell Games, 2012). In the game the player has to navigate through levels using a variety of different shapes, each with their own unique ability: “one of them [shapes] floats in water and it tells you because I don’t think you would put it in water because the other blocks drown…But they don’t tell you any of the combinations [of shapes]” (Male, 35). Further examples of challenges included the achievements which many games include. These provide additional optional challenges which players and complete outside of the main story/mission. Other references in the progression theme included instances related to paid features and unlockables. Games which incorporated “pay to win” elements or loot boxes which directly affected gameplay were cited as being demotivators for play. For example, one participant took a screenshot of Pokemon Shuffle ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"author":[{"dropping-particle":"","family":"Genius Sonority","given":"","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["2015"]]},"publisher":"Nintendo 3DS","title":"Pokemon Shuffle","type":"book"},"uris":[""]}],"mendeley":{"formattedCitation":"(Genius Sonority, 2015)","plainTextFormattedCitation":"(Genius Sonority, 2015)","previouslyFormattedCitation":"(Genius Sonority, 2015)"},"properties":{"noteIndex":0},"schema":""}(Genius Sonority, 2015) on the Nintendo 3DS (Figure 7) where they had spent significant amount of time playing the game and then “hit a brick wall” (non-binary, 35) where the only way to progress was to purchase items using real money.Figure 4: Pokemon Shuffle on 3DSIn this way, while they “really wanted to solve this problem [and] work through this puzzle” (non-binary, 35) they were prevented by needing to purchase in-game money to buy an item needed to progress. In instances such as this, the player’s skill is no longer the key to overcoming such challenges, hindering motivation and subsequently inhibiting the creativity which could have been used to overcome the challenge.3.8 Replayability Replayability related to ways in which the gaming experience was renewed through updates, patches, expansions and developer events. While such aspects may not be considered affordances in the traditional sense, they provided opportunities for players to be creative and engage in the game development community. Examples included games which were expanded through downloadable content (DLCs) and was evident in both offline and online games. For example one participant detailed that the DLCs for Final Fantasy XV ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"author":[{"dropping-particle":"","family":"Square Enix","given":"","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["2018"]]},"publisher":"Square Enix","title":"Final Fantasy XV","type":"book"},"uris":[""]}],"mendeley":{"formattedCitation":"(Square Enix, 2018)","plainTextFormattedCitation":"(Square Enix, 2018)","previouslyFormattedCitation":"(Square Enix, 2018)"},"properties":{"noteIndex":0},"schema":""}(Square Enix, 2018) which implemented new adventures that provided further scope for narrative exploration and material for her to use in her own creative hobbies outside of the game. Other examples related to the online game Final Fantasy XIV ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"author":[{"dropping-particle":"","family":"Square Enix","given":"","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["2010"]]},"publisher":"Square Enix,","title":"Final Fantasy XIV","type":"book"},"uris":[""]}],"mendeley":{"formattedCitation":"(Square Enix, 2010)","plainTextFormattedCitation":"(Square Enix, 2010)","previouslyFormattedCitation":"(Square Enix, 2010)"},"properties":{"noteIndex":0},"schema":""}(Square Enix, 2010) where developers were listening more to what players wanted and releasing expansions and updates to address player concerns such as “imbalance problems” (male, 30) and crowded servers. Other ways in which replayability could be increased through providing opportunities for creativity included developer events and competitions such as house building competitions, photography competitions and races to find hidden objects. Such events hosted by developers helped refresh the gaming experience through providing additional challenges and activities. As one participant detailed in relation to Ring of Elysium ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"author":[{"dropping-particle":"","family":"Tencent Games","given":"","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["2018"]]},"publisher":"Tencent Games,","title":"Ring of Elysium","type":"book"},"uris":[""]}],"mendeley":{"formattedCitation":"(Tencent Games, 2018)","plainTextFormattedCitation":"(Tencent Games, 2018)","previouslyFormattedCitation":"(Tencent Games, 2018)"},"properties":{"noteIndex":0},"schema":""}(Tencent Games, 2018):“Ring of Elysium have their own Twitter…and they’re running challenges like let’s find something on this map. Like always they are putting something, some hidden gems there…and they are asking the community just find something in the map [that] we hid in there. We are not going to give you clues what is it; just go there and have adventure and make a picture from the game and show it on the Twitter.” – Male, 32Players are encouraged to document their finds and showcase these on the official developer Twitter page for other members of the gaming community to see. Other examples of this included Final Fantasy XIV ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"author":[{"dropping-particle":"","family":"Square Enix","given":"","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["2010"]]},"publisher":"Square Enix,","title":"Final Fantasy XIV","type":"book"},"uris":[""]}],"mendeley":{"formattedCitation":"(Square Enix, 2010)","plainTextFormattedCitation":"(Square Enix, 2010)","previouslyFormattedCitation":"(Square Enix, 2010)"},"properties":{"noteIndex":0},"schema":""}(Square Enix, 2010) where developers ran competitions for object design and player artwork. These events not only provide additional motivation for playing the game, but also facilitate creativity by allowing the gaming community to play a part in the development of the game.DiscussionThe aim of this article was to provide an account of the use of reflexive photography in capturing player creativity in practice and to present a guide to how game design can support player creativity. The reflexive photographic method allowed participants to take screenshots of what they felt was important in their gaming experience, providing participants with autonomy of choice and individualising their research contributions. In this way, the participatory nature of the research became an act of creativity in itself for participants, with several noting that the reflexive photography task instigated them to become more aware of their creative gaming endeavours. The screenshots facilitated rich descriptions and reflections by the participants, in addition to providing pictorial references for the themes identified. By having the photo-elicitation interviews structured around the participant’s selected screenshots, the interview was highly focused on these snapshots of creativity in practice and allowed the research question to be addressed directly. In relation to how player creativity could be supported in games, the overall consensus was that there were many aspects of entertainment games which supported a variety of creative forms. Degree of flexibility encompassed opportunities for different player trajectories and task flexibility. Tailoring of the gaming experience was usually achieved through real affordances for alteration of character statistics (e.g. altering different attributes through adding/removing points) which dictated the perceived affordances ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"abstract":"Affordances, broadly construed as opportunities for action, have been used to explain game-related phenomena in a variety of different contexts. This paper presents a cognitivist theory of affordances, which is general enough that it subsumes several related theories, yet precise enough that it provides a useful lens through which to view games. The framework is a re-contextualization of older work that unifies approaches taken in the fields of ecological psychology, interaction design, and human-computer interaction. The Cognitivist Theory of Affordances in Games is thus a theoretical contribution, which synthesizes several views by presenting three independent manipulable entities that are relevant to the study of games: 1) real affordances, what actions are possible in a game, 2) perceived affordances, what actions players perceive possible in a game, and 3) feedback, perceptual information introduced in the game by its designers to advertise real affordances in the hopes of eliciting accurate perceived affordances.","author":[{"dropping-particle":"","family":"Cardona-Rivera","given":"R.E.","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Young","given":"R.M.","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Proceedings of DiGRA 2013","id":"ITEM-1","issued":{"date-parts":[["2013"]]},"title":"A Cognitivist Theory of Affordances for Games","type":"paper-conference"},"uris":[""]}],"mendeley":{"formattedCitation":"(Cardona-Rivera & Young, 2013)","plainTextFormattedCitation":"(Cardona-Rivera & Young, 2013)","previouslyFormattedCitation":"(Cardona-Rivera & Young, 2013)"},"properties":{"noteIndex":0},"schema":""}(Cardona-Rivera & Young, 2013) for different playstyles (e.g. more points on agility resulted in more stealth type abilities being available). The flexibility of the play trajectory supported appropriation as players have the control to personalise their gaming experience ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"abstract":"??Christothea Herodotou 2 DECLARATION I hereby declare that, except where explicit attribution is made, the work presented in this thesis is entirely my own. Word count (exclusive of appendices and list of reference): 82,128 words. ___________________ Christothea Herodotou 3 ABSTRACT The socio-technological transformation of digital games means that they are no longer single-player, co-located game experiences but instead are multiplayer socially-oriented ones (e.g. World of Warcraft). This change underpins the central concern of this thesis, to understand game appropriation and the intrinsically motivating nature of gaming. Game appropriation is defined as the broad incorporation of Massively Multiplayer Online Role-Playing Games (MMORPGs) into gamers' daily practices, including the nature of their gameplay. Gaming is not viewed as a set of defined moments of participation but as a dynamic activity, directly interrelated with a gamers' everyday life. Therefore, a broad perspective on motivation and gaming is adopted, incorporating not only reinforcing aspects of","author":[{"dropping-particle":"","family":"Herodotou","given":"C.","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["2009"]]},"publisher":"University of London","title":"Game Appropriation: Where does the gamer fit?","type":"thesis"},"uris":[""]}],"mendeley":{"formattedCitation":"(Herodotou, 2009)","plainTextFormattedCitation":"(Herodotou, 2009)","previouslyFormattedCitation":"(Herodotou, 2009)"},"properties":{"noteIndex":0},"schema":""}(Herodotou, 2009). The greater the ludic space ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"DOI":"10.1145/2282338.2282365","ISBN":"9781450313339","abstract":"This paper presents a narrative theory of games, building on standard narratology, as a solution to the conundrum that has haunted computer game studies from the start: How to approach software that combines games and stories?","author":[{"dropping-particle":"","family":"Aarseth","given":"E.","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"FDG'12 May 29-June 1","id":"ITEM-1","issued":{"date-parts":[["2012"]]},"publisher-place":"Raleigh, NC, USA","title":"A Narrative Theory of Games","type":"paper-conference"},"uris":[""]}],"mendeley":{"formattedCitation":"(Aarseth, 2012)","plainTextFormattedCitation":"(Aarseth, 2012)","previouslyFormattedCitation":"(Aarseth, 2012)"},"properties":{"noteIndex":0},"schema":""}(Aarseth, 2012), such as in open-world games, the more opportunities there were for task flexibility. In this regard, degree of flexibility presented opportunities for creativity as problem-solving such as devising strategies and tackling challenges in multiple ways. Furthermore, a larger possibility space ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"ISBN":"9789514472527","author":[{"dropping-particle":"","family":"J?rvinen","given":"Aki","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["2008"]]},"publisher":"University of Tampere, Finland","title":"Games without Frontiers: Theories and Methods for Game Studies and Design","type":"thesis"},"uris":[""]}],"mendeley":{"formattedCitation":"(J?rvinen, 2008)","plainTextFormattedCitation":"(J?rvinen, 2008)","previouslyFormattedCitation":"(J?rvinen, 2008)"},"properties":{"noteIndex":0},"schema":""}(J?rvinen, 2008) does appear to support creativity in terms of appropriation whereby players can find new routes to progress through the game - sometimes being unforeseen by developers.Games with a linear structure were usually more constricting of player creativity in this regard due to the possibility space being limited through lack of choices and actions ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"ISBN":"9789514472527","author":[{"dropping-particle":"","family":"J?rvinen","given":"Aki","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["2008"]]},"publisher":"University of Tampere, Finland","title":"Games without Frontiers: Theories and Methods for Game Studies and Design","type":"thesis"},"uris":[""]}],"mendeley":{"formattedCitation":"(J?rvinen, 2008)","plainTextFormattedCitation":"(J?rvinen, 2008)","previouslyFormattedCitation":"(J?rvinen, 2008)"},"properties":{"noteIndex":0},"schema":""}(J?rvinen, 2008). Linear games needed to have a genuine possibility space, and not give the semblance of having a larger possibility space – or in other words, the perceived affordances of the player needed to match up to the real affordances the game offered ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"abstract":"Affordances, broadly construed as opportunities for action, have been used to explain game-related phenomena in a variety of different contexts. This paper presents a cognitivist theory of affordances, which is general enough that it subsumes several related theories, yet precise enough that it provides a useful lens through which to view games. The framework is a re-contextualization of older work that unifies approaches taken in the fields of ecological psychology, interaction design, and human-computer interaction. The Cognitivist Theory of Affordances in Games is thus a theoretical contribution, which synthesizes several views by presenting three independent manipulable entities that are relevant to the study of games: 1) real affordances, what actions are possible in a game, 2) perceived affordances, what actions players perceive possible in a game, and 3) feedback, perceptual information introduced in the game by its designers to advertise real affordances in the hopes of eliciting accurate perceived affordances.","author":[{"dropping-particle":"","family":"Cardona-Rivera","given":"R.E.","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Young","given":"R.M.","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Proceedings of DiGRA 2013","id":"ITEM-1","issued":{"date-parts":[["2013"]]},"title":"A Cognitivist Theory of Affordances for Games","type":"paper-conference"},"uris":[""]}],"mendeley":{"formattedCitation":"(Cardona-Rivera & Young, 2013)","plainTextFormattedCitation":"(Cardona-Rivera & Young, 2013)","previouslyFormattedCitation":"(Cardona-Rivera & Young, 2013)"},"properties":{"noteIndex":0},"schema":""}(Cardona-Rivera & Young, 2013). It was also pointed out that, while not affording the same amount of creativity to players, linear games were still creative for those involved in the development and design process ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"author":[{"dropping-particle":"","family":"Bogost","given":"Ian","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["2011"]]},"publisher":"University of Minnesota Press.","publisher-place":"Minneapolis","title":"How to do things with videogames","type":"book"},"uris":[""]},{"id":"ITEM-2","itemData":{"author":[{"dropping-particle":"","family":"Smithsonian Institute","given":"","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Retrieved from: . americanart.si.edu/exhibitions/archive/2012/games/featuredgames/","id":"ITEM-2","issued":{"date-parts":[["2012"]]},"title":"The art of video games","type":"article-journal"},"uris":[""]},{"id":"ITEM-3","itemData":{"author":[{"dropping-particle":"","family":"Clarke","given":"A.","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Mitchell","given":"G.","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-3","issued":{"date-parts":[["2007"]]},"publisher":"UK: Intellect","publisher-place":"Bristol","title":"Video games and art","type":"book"},"uris":[""]}],"mendeley":{"formattedCitation":"(Bogost, 2011; Clarke & Mitchell, 2007; Smithsonian Institute, 2012)","plainTextFormattedCitation":"(Bogost, 2011; Clarke & Mitchell, 2007; Smithsonian Institute, 2012)","previouslyFormattedCitation":"(Bogost, 2011; Clarke & Mitchell, 2007; Smithsonian Institute, 2012)"},"properties":{"noteIndex":0},"schema":""}(Bogost, 2011; Clarke & Mitchell, 2007; Smithsonian Institute, 2012). Affordances in narrative supported creativity as affective change through structured narration (e.g. a story with a narrated protagonist) which often presented players with emotional challenges ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"DOI":"10.1145/3173574.3173615","abstract":"Recent work introduced the notion of emotional challenge as a means to afford more unique and diverse gaming experien-ces. However, players' experience of emotional challenge has received little empirical attention. It remains unclear whether players enjoy it and what exactly constitutes the challenge thereof. We surveyed 171 players about a challenging or an emotionally challenging experience, and analyzed their re-sponses with regards to what made the experience challen-ging, their emotional response, and the relation to core play-er experience constructs. We found that emotional challen-ge manifested itself in different ways, by confronting play-ers with difficult themes or decisions, as well as having them deal with intense emotions. In contrast to more 'conventio-nal' challenge, emotional challenge evoked a wider range of negative emotions and was appreciated significantly more by players. Our findings showcase the appeal of uncomfortable gaming experiences, and extend current conceptualizations of challenge in games.","author":[{"dropping-particle":"","family":"Bopp","given":"Julia Ayumi","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Opwis","given":"Klaus","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Mekler","given":"Elisa D","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"CHI 2018 April 21-26","id":"ITEM-1","issued":{"date-parts":[["2018"]]},"publisher-place":"Montreal","title":"An Odd Kind of Pleasure: Differentiating Emotional Challenge in Digital Games","type":"paper-conference"},"uris":[""]},{"id":"ITEM-2","itemData":{"ISBN":"9781450356244","author":[{"dropping-particle":"","family":"Mekler","given":"Elisa D","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Iacovides","given":"Ioanna","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Bopp","given":"Julia Ayumi","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"CHI PLAY '18 Proceedings of the 2018 Annual Symposium on Computer-Human Interaction in Play","id":"ITEM-2","issued":{"date-parts":[["2018"]]},"page":"315-327","publisher-place":"Melbourne, Australia","title":"“ A Game that Makes You Question ...” Exploring the Role of Reflection for the Player Experience","type":"paper-conference"},"uris":[""]}],"mendeley":{"formattedCitation":"(Bopp et al., 2018; Mekler et al., 2018)","plainTextFormattedCitation":"(Bopp et al., 2018; Mekler et al., 2018)","previouslyFormattedCitation":"(Bopp et al., 2018; Mekler et al., 2018)"},"properties":{"noteIndex":0},"schema":""}(Bopp et al., 2018; Mekler et al., 2018) involving difficult themes or choices. As several participants detailed, this could lead to further creative behaviour outside of the game, and as a potential means for reflection on gameplay and wider narrative themes. This also lends support to previous studies which have found gaming can facilitate reflection ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"ISBN":"9781450356244","author":[{"dropping-particle":"","family":"Mekler","given":"Elisa D","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Iacovides","given":"Ioanna","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Bopp","given":"Julia Ayumi","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"CHI PLAY '18 Proceedings of the 2018 Annual Symposium on Computer-Human Interaction in Play","id":"ITEM-1","issued":{"date-parts":[["2018"]]},"page":"315-327","publisher-place":"Melbourne, Australia","title":"“ A Game that Makes You Question ...” Exploring the Role of Reflection for the Player Experience","type":"paper-conference"},"uris":[""]},{"id":"ITEM-2","itemData":{"DOI":"10.1145/3311350.3347192","ISBN":"9781450366885","abstract":"\"One of the baddies all along\" : Moments that challenge a player's perspective. ABSTRACT Reflection has become a core interest for game designers. However, empirical research into the kinds and causes for reflection within games is scarce. We therefore conducted an on-line questionnaire where participants (n=101) openly reported perspective-challenging moments within games, their causes, experience, and impact. Where past work has emphasised transformative reflection that changes player's views and behaviour outside the game, we found that players report predominantly moments of 'endo'-transformative reflection, which is focused on players' game-related behaviour and concepts. We further identify some causes of perspective-challenging moments relating to narrative, game systems, game-external sources, and player expectations. Narrative reveals emerge as a key cause of perspective challenge.","author":[{"dropping-particle":"","family":"Whitby","given":"Matthew Alexander","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Deterding","given":"Sebastian","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Iacovides","given":"Ioanna","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"CHI PLAY 2019, 22-25 Oct 2019","id":"ITEM-2","issued":{"date-parts":[["2019"]]},"page":"339-350","publisher":"Association for Computing Machinery, Inc , ESP","title":"\"One of the baddies all along\": Moments that Challenge a Player's Perspective","type":"paper-conference"},"uris":[""]}],"mendeley":{"formattedCitation":"(Mekler et al., 2018; Whitby et al., 2019)","plainTextFormattedCitation":"(Mekler et al., 2018; Whitby et al., 2019)","previouslyFormattedCitation":"(Mekler et al., 2018; Whitby et al., 2019)"},"properties":{"noteIndex":0},"schema":""}(Mekler et al., 2018; Whitby et al., 2019). However, it is worth noting here that previous studies found few instances of deeper levels of reflection, and while participants in this study did mention that games instigated reflection this was not the main focus of the study. Creativity as affective change could also be supported by encouraging narrative exploration of dialogue options (e.g. the mechanic of selecting a choice). In this way, choices realise narrative affordances by encouraging players to envisage various outcomes of the story ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"abstract":"A growing body of work in games research, both generative and analytic, seeks to characterize the relationship between a player's understanding of an interactive narrative and her options for action within it. This paper provides several definitions that collectively serve as a basis for a model of the user's comprehension of an unfolding story in a game. Central to this approach, we define the notion of narrative affordance. In essence, a game provides a narrative affordance for some course of action when a player can imagine that course of action as part of a story that completes their current story experience. To define narrative affordance, we draw links from cognitive models of narrative comprehension and a range of research on affordance, which we couple with planning approaches to story and discourse generation. In our approach, we view the creation of an interactive narrative that provides a high degree of agency as a discourse generation problem. We posit that an interactive narrative system must reason about the content and organization of its communication with a player in order to prompt a player's understanding about the game's story and her role in it. This paper ends by pointing toward a research direction intended to provide insight into a range of aspects of interactive narrative, including role, genre, choice and agency.","author":[{"dropping-particle":"","family":"Young","given":"R.M.","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Cardona-Rivera","given":"R.E.","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Proceedings of the 4th Workshop on Intelligent Narrative Technologies","id":"ITEM-1","issued":{"date-parts":[["2011"]]},"page":"123-130","title":"Approaching a Player Model of Game Story Comprehension Through Affordance in Interactive Narrative","type":"paper-conference"},"uris":[""]}],"mendeley":{"formattedCitation":"(Young & Cardona-Rivera, 2011)","plainTextFormattedCitation":"(Young & Cardona-Rivera, 2011)","previouslyFormattedCitation":"(Young & Cardona-Rivera, 2011)"},"properties":{"noteIndex":0},"schema":""}(Young & Cardona-Rivera, 2011). In relation to games with open narratives such as MMORPG’s where the narrative could be ambiguous (e.g. players have to piece together the story themselves) there was scope provided for the creation of an alterbiography ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"author":[{"dropping-particle":"","family":"Calleja","given":"G","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["2011"]]},"publisher":"MIT Press","title":"In-game: From immersion to incorporation","type":"book"},"uris":[""]}],"mendeley":{"formattedCitation":"(Calleja, 2011)","plainTextFormattedCitation":"(Calleja, 2011)","previouslyFormattedCitation":"(Calleja, 2011)"},"properties":{"noteIndex":0},"schema":""}(Calleja, 2011), where the player’s own story was realised through direct interaction with gameplay as opposed to following a structured storyline. This was most common in games with a non-narrated protagonist which supported creativity through role playing activity such as Final Fantasy XIV ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"author":[{"dropping-particle":"","family":"Square Enix","given":"","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["2010"]]},"publisher":"Square Enix,","title":"Final Fantasy XIV","type":"book"},"uris":[""]}],"mendeley":{"formattedCitation":"(Square Enix, 2010)","plainTextFormattedCitation":"(Square Enix, 2010)","previouslyFormattedCitation":"(Square Enix, 2010)"},"properties":{"noteIndex":0},"schema":""}(Square Enix, 2010) and The Elder Scrolls V: Skyrim ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"author":[{"dropping-particle":"","family":"Bethesda Game Studios","given":"","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["2011"]]},"publisher":"Bethesda Softworks","title":"The Elder Scrolls V: Skyrim","type":"book"},"uris":[""]}],"mendeley":{"formattedCitation":"(Bethesda Game Studios, 2011)","plainTextFormattedCitation":"(Bethesda Game Studios, 2011)","previouslyFormattedCitation":"(Bethesda Game Studios, 2011)"},"properties":{"noteIndex":0},"schema":""}(Bethesda Game Studios, 2011). The greater number of tools related to the propensity for greater task flexibility (e.g. using different combinations of variables). In the example by one participant of The Darkness II ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"author":[{"dropping-particle":"","family":"Digital Extremes","given":"","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["2012"]]},"publisher":"2K Games","title":"The Darkness II","type":"book"},"uris":[""]}],"mendeley":{"formattedCitation":"(Digital Extremes, 2012)","plainTextFormattedCitation":"(Digital Extremes, 2012)","previouslyFormattedCitation":"(Digital Extremes, 2012)"},"properties":{"noteIndex":0},"schema":""}(Digital Extremes, 2012), such interactable items were outlined in purple to draw the player’s attention to them. In this way, games with a significant number of interactable items may advertise their perceived affordances ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"abstract":"Affordances, broadly construed as opportunities for action, have been used to explain game-related phenomena in a variety of different contexts. This paper presents a cognitivist theory of affordances, which is general enough that it subsumes several related theories, yet precise enough that it provides a useful lens through which to view games. The framework is a re-contextualization of older work that unifies approaches taken in the fields of ecological psychology, interaction design, and human-computer interaction. The Cognitivist Theory of Affordances in Games is thus a theoretical contribution, which synthesizes several views by presenting three independent manipulable entities that are relevant to the study of games: 1) real affordances, what actions are possible in a game, 2) perceived affordances, what actions players perceive possible in a game, and 3) feedback, perceptual information introduced in the game by its designers to advertise real affordances in the hopes of eliciting accurate perceived affordances.","author":[{"dropping-particle":"","family":"Cardona-Rivera","given":"R.E.","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Young","given":"R.M.","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Proceedings of DiGRA 2013","id":"ITEM-1","issued":{"date-parts":[["2013"]]},"title":"A Cognitivist Theory of Affordances for Games","type":"paper-conference"},"uris":[""]}],"mendeley":{"formattedCitation":"(Cardona-Rivera & Young, 2013)","plainTextFormattedCitation":"(Cardona-Rivera & Young, 2013)","previouslyFormattedCitation":"(Cardona-Rivera & Young, 2013)"},"properties":{"noteIndex":0},"schema":""}(Cardona-Rivera & Young, 2013) through feedback such as hints or graphics to signify interactivity. Abilities such as blocking and throwing allowed the real affordances ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"abstract":"Affordances, broadly construed as opportunities for action, have been used to explain game-related phenomena in a variety of different contexts. This paper presents a cognitivist theory of affordances, which is general enough that it subsumes several related theories, yet precise enough that it provides a useful lens through which to view games. The framework is a re-contextualization of older work that unifies approaches taken in the fields of ecological psychology, interaction design, and human-computer interaction. The Cognitivist Theory of Affordances in Games is thus a theoretical contribution, which synthesizes several views by presenting three independent manipulable entities that are relevant to the study of games: 1) real affordances, what actions are possible in a game, 2) perceived affordances, what actions players perceive possible in a game, and 3) feedback, perceptual information introduced in the game by its designers to advertise real affordances in the hopes of eliciting accurate perceived affordances.","author":[{"dropping-particle":"","family":"Cardona-Rivera","given":"R.E.","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Young","given":"R.M.","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Proceedings of DiGRA 2013","id":"ITEM-1","issued":{"date-parts":[["2013"]]},"title":"A Cognitivist Theory of Affordances for Games","type":"paper-conference"},"uris":[""]}],"mendeley":{"formattedCitation":"(Cardona-Rivera & Young, 2013)","plainTextFormattedCitation":"(Cardona-Rivera & Young, 2013)","previouslyFormattedCitation":"(Cardona-Rivera & Young, 2013)"},"properties":{"noteIndex":0},"schema":""}(Cardona-Rivera & Young, 2013) of items to be realised – for example the ability to use a shield allows the use of a car door to afford blocking. In this way, creativity as problem-solving and appropriation could be supported through a greater number of game variables leading to different combinations of abilities and items. Furthermore, the introduction of new items and abilities at a steady rate, as opposed to all may help scaffold player creativity as players go through the game. In terms of environment, the findings support the idea that many open-world games present a large ludic space ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"DOI":"10.1145/2282338.2282365","ISBN":"9781450313339","abstract":"This paper presents a narrative theory of games, building on standard narratology, as a solution to the conundrum that has haunted computer game studies from the start: How to approach software that combines games and stories?","author":[{"dropping-particle":"","family":"Aarseth","given":"E.","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"FDG'12 May 29-June 1","id":"ITEM-1","issued":{"date-parts":[["2012"]]},"publisher-place":"Raleigh, NC, USA","title":"A Narrative Theory of Games","type":"paper-conference"},"uris":[""]}],"mendeley":{"formattedCitation":"(Aarseth, 2012)","plainTextFormattedCitation":"(Aarseth, 2012)","previouslyFormattedCitation":"(Aarseth, 2012)"},"properties":{"noteIndex":0},"schema":""}(Aarseth, 2012) where players are encouraged to explore and discover. This was especially evident in games where designers had added additional details such as underwater life or hidden things. Furthermore, engaging in exploratory actions ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"author":[{"dropping-particle":"","family":"Linderoth","given":"Jonas","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Transactions of the Digital Games Research Association","id":"ITEM-1","issue":"1","issued":{"date-parts":[["2013"]]},"title":"Beyond the digital divide: An ecological approach to gameplay","type":"article-journal","volume":"1"},"uris":[""]}],"mendeley":{"formattedCitation":"(Linderoth, 2013)","plainTextFormattedCitation":"(Linderoth, 2013)","previouslyFormattedCitation":"(Linderoth, 2013)"},"properties":{"noteIndex":0},"schema":""}(Linderoth, 2013) with environmental objects such as manipulating light/dark mechanics (e.g. by moving into lit/unlit areas) can allow players to discover performatory affordances ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"author":[{"dropping-particle":"","family":"Linderoth","given":"Jonas","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Transactions of the Digital Games Research Association","id":"ITEM-1","issue":"1","issued":{"date-parts":[["2013"]]},"title":"Beyond the digital divide: An ecological approach to gameplay","type":"article-journal","volume":"1"},"uris":[""]}],"mendeley":{"formattedCitation":"(Linderoth, 2013)","plainTextFormattedCitation":"(Linderoth, 2013)","previouslyFormattedCitation":"(Linderoth, 2013)"},"properties":{"noteIndex":0},"schema":""}(Linderoth, 2013) such as in The Darkness II ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"author":[{"dropping-particle":"","family":"Digital Extremes","given":"","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["2012"]]},"publisher":"2K Games","title":"The Darkness II","type":"book"},"uris":[""]}],"mendeley":{"formattedCitation":"(Digital Extremes, 2012)","plainTextFormattedCitation":"(Digital Extremes, 2012)","previouslyFormattedCitation":"(Digital Extremes, 2012)"},"properties":{"noteIndex":0},"schema":""}(Digital Extremes, 2012) where the light levels dictated which abilities could be used. The aesthetics of a game, such as beautiful environments, while not contributing to creativity within the game per se, could provide inspiration for creativity around the game both in the form of user-created content ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"abstract":"Virtual worlds have moved from being a geek topic to one of mainstream academic interest. This transition is contingent not only on the augmented economic, societal and cultural value of these virtual realities and their effect upon real life but also on their convenience as fields for experimentation, for testing models and paradigms. User creation is however not something that has been transplanted from the real to the virtual world but a phenomenon and a dynamic process that happens from within and is defined through complex relationships between commercial and non-commercial, commodified and not commodified, individual and of the community, amateur and professional, art and not art. Accounting for this complex environment, the present paper explores user created content in virtual worlds, its dimensions and value and above all, its constraints by code and law. It puts forward suggestions for better understanding and harnessing this creativity.","author":[{"dropping-particle":"","family":"Burri","given":"Mira","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"International Journal of Communications Law & Policy","id":"ITEM-1","issue":"March","issued":{"date-parts":[["2011"]]},"page":"1-28","title":"Misunderstanding Creativity: User Created Content in Virtual Worlds and Its Constraints by Code and Law","type":"article-journal","volume":"14"},"uris":[""]}],"mendeley":{"formattedCitation":"(Burri, 2011)","plainTextFormattedCitation":"(Burri, 2011)","previouslyFormattedCitation":"(Burri, 2011)"},"properties":{"noteIndex":0},"schema":""}(Burri, 2011) (e.g. fanfiction, fan art) and ideas incorporated into non-game related creative hobbies. Finally, the realism of Artifical Intelligence (AI) behaviour could facilitate problem-solving through encouraging players to play more strategically and take risks – something which is echoed by previous work which suggests risk taking is an important element of creative behaviour ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"DOI":"10.1177/0305735606061850","ISBN":"0305735606061","ISSN":"0305-7356","abstract":"In this article, I focus on three defining characteristics of group creativity: improvisation, collaboration and emergence. To demonstrate these three characteristics, I present several examples of group creativity in both music and theater. Then I explore how structure and improvisation are always both present in group creativity. Improvisations contain elements of structure and structured performances contain improvisational elements. I conclude by suggesting some implications for musical education and for education in general","author":[{"dropping-particle":"","family":"Sawyer","given":"R. K.","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Psychology of Music","id":"ITEM-1","issue":"2","issued":{"date-parts":[["2006"]]},"page":"148-165","title":"Group creativity: musical performance and collaboration","type":"article-journal","volume":"34"},"uris":[""]},{"id":"ITEM-2","itemData":{"DOI":"10.1017/S0265051704005984","ISBN":"0265-0517","ISSN":"0265-0517","PMID":"200959724","abstract":"This study investigated modes of communication adopted by six student jazz musicians during rehearsal and performance. Six one-hour rehearsal sessions and a performance were observed and videotaped for analysis. Results revealed six modes of communication that formed two main categories, verbal and non-verbal, each containing three distinct modes of communication: instruction, cooperation and collaboration. Non-verbal collaborative\\r\\nmode displayed empathetic attunement, which is a vehicle for empathetic creativity. Empathetic creativity is a theoretical concept proposed by the author based on the concept of empathetic intelligence (Arnold, 2003, 2004). Practical applications of empathetic creativity are discussed with reference to music education, focusing on evaluation of individual contribution to group creative performances.","author":[{"dropping-particle":"","family":"Seddon","given":"Frederick","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"British Journal of Music Education","id":"ITEM-2","issue":"1","issued":{"date-parts":[["2005"]]},"page":"47-61","publisher":"Open University Library","title":"Modes of communication during jazz improvisation","type":"article-journal","volume":"22"},"uris":[""]},{"id":"ITEM-3","itemData":{"DOI":"10.1177/1046496408329277","ISBN":"10464964","ISSN":"1046-4964","PMID":"37014850","abstract":"This qualitative case study revealed the modes of communication employed between members of a professional string quartet during rehearsal and performance. Six modes of communication and two levels of attunement were revealed. The modes of communication were interpreted as verbal and nonverbal: instruction, cooperation, and collaboration. The levels of attunement were interpreted as sympathetic and empathetic. Results indicated that the members of the string quartet were able to become empathetically attuned and produce spontaneous musical variations during performance. These spontaneous musical variations were interpreted as examples of empathetic creativity. Participants confirmed researcher interpretations of the six modes of communication, sympathetic and empathic attunement, and empathetic creativity during member checks. The authors propose that spontaneous musical variations are examples of empathetic creativity. The findings of the current qualitative case study support the findings of a previous study conducted with a jazz sextet (Seddon, 2005). Implications of the findings of the current study for small group communication and creativity are discussed.","author":[{"dropping-particle":"","family":"Seddon","given":"Frederick","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Biasutti","given":"Michele","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Psychology of Music","id":"ITEM-3","issue":"4","issued":{"date-parts":[["2009"]]},"page":"395-415","title":"Modes of communication between members of a string quartet","type":"article-journal","volume":"37"},"uris":[""]}],"mendeley":{"formattedCitation":"(Sawyer, 2006; Seddon, 2005; Seddon & Biasutti, 2009)","manualFormatting":"(e.g. Sawyer, 2006; Seddon, 2005; Seddon & Biasutti, 2009)","plainTextFormattedCitation":"(Sawyer, 2006; Seddon, 2005; Seddon & Biasutti, 2009)","previouslyFormattedCitation":"(Sawyer, 2006; Seddon, 2005; Seddon & Biasutti, 2009)"},"properties":{"noteIndex":0},"schema":""}(e.g. Sawyer, 2006; Seddon, 2005; Seddon & Biasutti, 2009).Affordances for content creation related to the various ways which players could interact with a game through customisation and co-creation ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"DOI":"10.1016/b978-0-12-801462-2.00014-x","ISBN":"9780128014622","abstract":"The article offers news briefs related to the digital media industry, as of March 2017. Topics include the Ultra Stretch Display launched by LG; the interactive digital technology provided by PX Group and Zytronic to Movistar, a mobile network provider in South America; and information on digital signage used by Aventura Mall is Miami, Florida .","author":[{"dropping-particle":"","family":"Behr","given":"Katharina-Marie","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Huskey","given":"Richard","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Weber","given":"René","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Video Games and Creativity","id":"ITEM-1","issued":{"date-parts":[["2016"]]},"number-of-pages":"285-299","publisher":"Elsevier Inc.","title":"Creative Interactivity","type":"book"},"uris":[""]}],"mendeley":{"formattedCitation":"(Behr et al., 2016)","plainTextFormattedCitation":"(Behr et al., 2016)","previouslyFormattedCitation":"(Behr et al., 2016)"},"properties":{"noteIndex":0},"schema":""}(Behr et al., 2016). In the examples provided of sandbox style games such as Little Big Planet ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"author":[{"dropping-particle":"","family":"Media Molecule","given":"","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["2008"]]},"publisher":"Sony Computer Entertainment","title":"Little Big Planet","type":"book"},"uris":[""]}],"mendeley":{"formattedCitation":"(Media Molecule, 2008)","plainTextFormattedCitation":"(Media Molecule, 2008)","previouslyFormattedCitation":"(Media Molecule, 2008)"},"properties":{"noteIndex":0},"schema":""}(Media Molecule, 2008), creativity could be supported with affordances for creating entirely new content such as importing media which the player has created. Even games which may not support the import of new content may encourage creativity through customisation, placement of objects and the ability to share creations with other players. However, as one participant pointed out objects needed to be interactable to fulfil their real use values, otherwise they didn’t “add” anything to the game. Interpreting this using the cognitive theory of affordances for games ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"abstract":"Affordances, broadly construed as opportunities for action, have been used to explain game-related phenomena in a variety of different contexts. This paper presents a cognitivist theory of affordances, which is general enough that it subsumes several related theories, yet precise enough that it provides a useful lens through which to view games. The framework is a re-contextualization of older work that unifies approaches taken in the fields of ecological psychology, interaction design, and human-computer interaction. The Cognitivist Theory of Affordances in Games is thus a theoretical contribution, which synthesizes several views by presenting three independent manipulable entities that are relevant to the study of games: 1) real affordances, what actions are possible in a game, 2) perceived affordances, what actions players perceive possible in a game, and 3) feedback, perceptual information introduced in the game by its designers to advertise real affordances in the hopes of eliciting accurate perceived affordances.","author":[{"dropping-particle":"","family":"Cardona-Rivera","given":"R.E.","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Young","given":"R.M.","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Proceedings of DiGRA 2013","id":"ITEM-1","issued":{"date-parts":[["2013"]]},"title":"A Cognitivist Theory of Affordances for Games","type":"paper-conference"},"uris":[""]}],"mendeley":{"formattedCitation":"(Cardona-Rivera & Young, 2013)","plainTextFormattedCitation":"(Cardona-Rivera & Young, 2013)","previouslyFormattedCitation":"(Cardona-Rivera & Young, 2013)"},"properties":{"noteIndex":0},"schema":""}(Cardona-Rivera & Young, 2013), objects need to accommodate the real affordances associated with those objects, otherwise there is a mismatch between the perceived affordance of the player, and the real affordance of the object (e.g. a chair which does not afford sitting). Games could also support player creativity through providing affordances for avatar customisation, with games which afforded a variety of options for avatar appearance presenting more opportunities for players to be creative in how they portrayed their avatar; something which is in line with previous work ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"DOI":"10.1007/s11423-006-9004-7","abstract":"During the past two decades, the popularity of computer and video games has prompted games to become a source of study for educational researchers and instructional designers investigating how various aspects of game design might be appropriated, borrowed, and re-purposed for the design of educational materials. The purpose of this paper is to present an analysis of how the structure in massively multiple online role-playing games (MMORPGs) might inform the design of interactive learning and game-based learning environments by looking at the elements which support intrinsic motivation. Specifically, this analysis presents (a) an overview of the two primary elements in MMORPGs game design: character design and narrative environment, (b) a discussion of intrinsic motivation in character role-playing, (c) a discussion of intrinsic motivational supports and cognitive support of the narrative structure of small quests, and (d) a discussion of how the narrative structure of MMORPGs might foster learning in various types of knowledge.","author":[{"dropping-particle":"","family":"Dickey","given":"M.D.","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Education Tech Research Dev","id":"ITEM-1","issued":{"date-parts":[["2007"]]},"page":"253-273","title":"Game design and learning: a conjectural analysis of how massively multiple online role-playing games (MMORPGs) foster intrinsic motivation","type":"article-journal","volume":"55"},"uris":[""]},{"id":"ITEM-2","itemData":{"DOI":"10.1089/cpb.2008.0292","ISSN":"1094-9313","abstract":"Abstract The purpose of this study was to determine how children cognitively and emotionally process interactive marketing of snack food products in advergames. Children (N?=?30) aged 10 to 12 were...","author":[{"dropping-particle":"","family":"Bailey","given":"Rachel","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Wise","given":"Kevin","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Bolls","given":"Paul","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"CyberPsychology & Behavior","id":"ITEM-2","issue":"3","issued":{"date-parts":[["2009","6","5"]]},"page":"277-283","publisher":" Mary Ann Liebert, Inc. 140 Huguenot Street, 3rd Floor New Rochelle, NY 10801 USA ","title":"How Avatar Customizability Affects Children's Arousal and Subjective Presence During Junk Food–Sponsored Online Video Games","type":"article-journal","volume":"12"},"uris":[""]},{"id":"ITEM-3","itemData":{"DOI":"10.1080/19312458.2013.873778","ISSN":"19312466","abstract":"Video games are a popular form of new media, and their use is impacting multiple fields of study within the communication discipline. For instance, research programs in mass communication, health, instructional, feminist/gender, interpersonal, and intercultural communication have all examined video games. Interactivity is the hallmark of video games and consequently is a common concept in the video game literature. While video game interactivity (VGI) is still an under-specified concept, previous research suggests that interactivity has the potential to moderate both positive and negative effects of video games, and therefore it is crucial for understanding general video game effects. We developed a theoretical model of video game interactivity and tested a multidimensional scale to assess video game interactivity across five studies using six independent samples. Exploratory and confirmatory factor analyses as well as item analyses revealed a reliable and valid metric consisting of six dimensions of video game interactivity.","author":[{"dropping-particle":"","family":"Weber","given":"René","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Behr","given":"Katharina Maria","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"DeMartino","given":"Cynthia","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Communication Methods and Measures","id":"ITEM-3","issue":"2","issued":{"date-parts":[["2014"]]},"page":"79-115","title":"Measuring Interactivity in Video Games","type":"article-journal","volume":"8"},"uris":[""]},{"id":"ITEM-4","itemData":{"DOI":"10.1016/b978-0-12-801462-2.00014-x","ISBN":"9780128014622","abstract":"The article offers news briefs related to the digital media industry, as of March 2017. Topics include the Ultra Stretch Display launched by LG; the interactive digital technology provided by PX Group and Zytronic to Movistar, a mobile network provider in South America; and information on digital signage used by Aventura Mall is Miami, Florida .","author":[{"dropping-particle":"","family":"Behr","given":"Katharina-Marie","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Huskey","given":"Richard","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Weber","given":"René","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Video Games and Creativity","id":"ITEM-4","issued":{"date-parts":[["2016"]]},"number-of-pages":"285-299","publisher":"Elsevier Inc.","title":"Creative Interactivity","type":"book"},"uris":[""]}],"mendeley":{"formattedCitation":"(Bailey et al., 2009; Behr et al., 2016; Dickey, 2007; Weber et al., 2014)","plainTextFormattedCitation":"(Bailey et al., 2009; Behr et al., 2016; Dickey, 2007; Weber et al., 2014)","previouslyFormattedCitation":"(Bailey et al., 2009; Behr et al., 2016; Dickey, 2007; Weber et al., 2014)"},"properties":{"noteIndex":0},"schema":""}(Bailey et al., 2009; Behr et al., 2016; Dickey, 2007; Weber et al., 2014) which suggests that avatar customisation is a core part of player experience and an outlet for player creativity. Moreover, as Ward ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"DOI":"10.1016/B978-0-12-801462-2.00006-0","ISBN":"9780128014622","abstract":"In contrast to the bulk of chapters in this volume that focus on computer- based activities that are best described as games, the present chapter is concerned with creativity in virtual settings that are not particularly game-like. Specifically, the chapter examines manifestations of creativity in 3D virtual worlds in which the primary activity is engaging in unscripted social interactions. The term Social Virtual Worlds (SVWs) is used to refer to these types of 3D environments in contrast to Gaming Virtual Worlds (GVWs), which refers to games such as World of Warcraft that generally involve clearly defined quests (. Jung, 2011). Perhaps the best known of such SVWs is Second Life, but many others exist, including There, Kaneva, InWorldz, IMVU, and ActiveWorlds.","author":[{"dropping-particle":"","family":"Ward","given":"Thomas B.","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Video Games and Creativity","editor":[{"dropping-particle":"","family":"Green","given":"Garo P.","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Kaufman","given":"James C.","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["2015"]]},"page":"119-136","publisher":"Academic Press","publisher-place":"London, UK","title":"Content, Collaboration, and Creativity in Virtual Worlds","type":"chapter"},"uris":[""]}],"mendeley":{"formattedCitation":"(Ward, 2015)","manualFormatting":"(2015)","plainTextFormattedCitation":"(Ward, 2015)","previouslyFormattedCitation":"(Ward, 2015)"},"properties":{"noteIndex":0},"schema":""}(2015) argues, opportunities for creation and further alteration to an avatar’s appearance may help facilitate Mini C creativity, and provide support for a player’s personal narrative or alterbiography ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"author":[{"dropping-particle":"","family":"Calleja","given":"G","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["2011"]]},"publisher":"MIT Press","title":"In-game: From immersion to incorporation","type":"book"},"uris":[""]}],"mendeley":{"formattedCitation":"(Calleja, 2011)","plainTextFormattedCitation":"(Calleja, 2011)","previouslyFormattedCitation":"(Calleja, 2011)"},"properties":{"noteIndex":0},"schema":""}(Calleja, 2011) as they can change their avatar appearance in line with their experiences as they progress through the game. In this way, games may support creativity as affective change by providing opportunities for players to construct avatars which reflect their personal understandings of their role and intent within the game. Previous work has indicated that players prefer to play avatars similar to themselves ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"DOI":"10.1007/s11199-007-9193-5","ISSN":"0360-0025","author":[{"dropping-particle":"","family":"Ogletree","given":"Shirley Matile","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Drake","given":"Ryan","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Sex Roles","id":"ITEM-1","issue":"7-8","issued":{"date-parts":[["2007","4","5"]]},"page":"537-542","publisher":"Kluwer Academic Publishers-Plenum Publishers","title":"College Students’ Video Game Participation and Perceptions: Gender Differences and Implications","type":"article-journal","volume":"56"},"uris":[""]},{"id":"ITEM-2","itemData":{"DOI":"10.4018/978-1-60960-565-0.ch019","author":[{"dropping-particle":"","family":"Trepte","given":"Sabine","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Reinecke","given":"Leonard","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Behr","given":"Katharina-Maria","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Discoveries in Gaming and Computer-Mediated Simulations","id":"ITEM-2","issued":{"date-parts":[["2011"]]},"page":"329-352","publisher":"IGI Global","title":"Playing Myself or Playing to Win?","type":"chapter"},"uris":[""]}],"mendeley":{"formattedCitation":"(Ogletree & Drake, 2007; Trepte et al., 2011)","manualFormatting":"(e.g. Ogletree & Drake, 2007; Trepte et al., 2011)","plainTextFormattedCitation":"(Ogletree & Drake, 2007; Trepte et al., 2011)","previouslyFormattedCitation":"(Ogletree & Drake, 2007; Trepte et al., 2011)"},"properties":{"noteIndex":0},"schema":""}(e.g. Ogletree & Drake, 2007; Trepte et al., 2011) and often strive for identification with their avatars in terms of gender ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"DOI":"10.1016/b978-0-12-801462-2.00014-x","ISBN":"9780128014622","abstract":"The article offers news briefs related to the digital media industry, as of March 2017. 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However, as one participant noted with reference to Final Fantasy XIV ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"author":[{"dropping-particle":"","family":"Square Enix","given":"","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["2010"]]},"publisher":"Square Enix,","title":"Final Fantasy XIV","type":"book"},"uris":[""]}],"mendeley":{"formattedCitation":"(Square Enix, 2010)","plainTextFormattedCitation":"(Square Enix, 2010)","previouslyFormattedCitation":"(Square Enix, 2010)"},"properties":{"noteIndex":0},"schema":""}(Square Enix, 2010), while players are encouraged to be creative with avatar customisation, there are certain limitations on what kind of character can be created. While it may be impossible to cater for all customisation possibilities, games which offer stereotyped appearance options and limited gender options could detract from the emotional proximity players feel towards their avatars ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"DOI":"10.1007/s11423-006-9004-7","abstract":"During the past two decades, the popularity of computer and video games has prompted games to become a source of study for educational researchers and instructional designers investigating how various aspects of game design might be appropriated, borrowed, and re-purposed for the design of educational materials. The purpose of this paper is to present an analysis of how the structure in massively multiple online role-playing games (MMORPGs) might inform the design of interactive learning and game-based learning environments by looking at the elements which support intrinsic motivation. Specifically, this analysis presents (a) an overview of the two primary elements in MMORPGs game design: character design and narrative environment, (b) a discussion of intrinsic motivation in character role-playing, (c) a discussion of intrinsic motivational supports and cognitive support of the narrative structure of small quests, and (d) a discussion of how the narrative structure of MMORPGs might foster learning in various types of knowledge.","author":[{"dropping-particle":"","family":"Dickey","given":"M.D.","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Education Tech Research Dev","id":"ITEM-1","issued":{"date-parts":[["2007"]]},"page":"253-273","title":"Game design and learning: a conjectural analysis of how massively multiple online role-playing games (MMORPGs) foster intrinsic motivation","type":"article-journal","volume":"55"},"uris":[""]}],"mendeley":{"formattedCitation":"(Dickey, 2007)","plainTextFormattedCitation":"(Dickey, 2007)","previouslyFormattedCitation":"(Dickey, 2007)"},"properties":{"noteIndex":0},"schema":""}(Dickey, 2007), and the creativity involved in constructing their own personal narrative. Game progression was not directly related to creativity per se, but instead supported player motivation. Intrinsic motivation has been argued to be a key component of creative behaviour ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"author":[{"dropping-particle":"","family":"Amabile","given":"Teresa M.","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Theories of Creativity","editor":[{"dropping-particle":"","family":"Runco","given":"M. A.","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Albert","given":"R.S.","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["1990"]]},"publisher":"Sage Publications","publisher-place":"Newbury Park, CA","title":"Within you, without you: The social psychology of creativity, and beyond","type":"chapter"},"uris":[""]},{"id":"ITEM-2","itemData":{"author":[{"dropping-particle":"","family":"Craft","given":"A.","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-2","issued":{"date-parts":[["2005"]]},"publisher":"Abingdon: Routledge","publisher-place":"New York","title":"Creativity in schools: Tensions and dilemmas","type":"book"},"uris":[""]}],"mendeley":{"formattedCitation":"(Amabile, 1990; Craft, 2005)","plainTextFormattedCitation":"(Amabile, 1990; Craft, 2005)","previouslyFormattedCitation":"(Amabile, 1990; Craft, 2005)"},"properties":{"noteIndex":0},"schema":""}(Amabile, 1990; Craft, 2005), and flow ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"author":[{"dropping-particle":"","family":"Csikszentmihalyi","given":"M.","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-1","issued":{"date-parts":[["1990"]]},"publisher":"Harper & Row","publisher-place":"New York","title":"Flow: The Psychology of Optimal Experience","type":"book"},"uris":[""]}],"mendeley":{"formattedCitation":"(Csikszentmihalyi, 1990)","plainTextFormattedCitation":"(Csikszentmihalyi, 1990)","previouslyFormattedCitation":"(Csikszentmihalyi, 1990)"},"properties":{"noteIndex":0},"schema":""}(Csikszentmihalyi, 1990) has been argued to serve as a pre-cursor for creativity ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"DOI":"10.1080/02699931.2014.913553","ISSN":"14640600","PMID":"24820517","abstract":"Flow (being in the zone) is purported to have positive consequences in terms of affect and performance; however, there is no empirical evidence about these links in visual creativity. Positive affect often—but inconsistently—facilitates creativity, and both may be linked to experiencing flow. This study aimed to determine relationships between these variables within visual creativity. Participants performed the creative mental synthesis task to simulate the creative process. Affect change (pre- vs. post-task) and flow were measured via questionnaires. The creativity of synthesis drawings was rated objectively and subjectively by judges. Findings empirically demonstrate that flow is related to affect improvement during visual creativity. Affect change was linked to productivity and self-rated creativity, but no other objective or subjective performance measures. Flow was unrelated to all external performance measures but was highly correlated with self-rated creativity; flow may therefore motivate perseverance towards eventual excellence rather than provide direct cognitive enhancement.","author":[{"dropping-particle":"","family":"Cseh","given":"Genevieve M.","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Phillips","given":"Louise H.","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Pearson","given":"David G.","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Cognition and Emotion","id":"ITEM-1","issue":"2","issued":{"date-parts":[["2015"]]},"number-of-pages":"281-291","title":"Flow, affect and visual creativity","type":"report","volume":"29"},"uris":[""]},{"id":"ITEM-2","itemData":{"DOI":"10.1037/e586602011-001","ISBN":"0060928204","ISSN":"60928204","PMID":"3522993","abstract":"Creativity: Flow and the Psychology of Discovery and Invention, by Mihaly Csikszentmihalyi, is reviewed","author":[{"dropping-particle":"","family":"Csikszentmihalyi","given":"M.","non-dropping-particle":"","parse-names":false,"suffix":""}],"id":"ITEM-2","issued":{"date-parts":[["1996"]]},"publisher":"Harper Perennial","publisher-place":"New York","title":"Creativity: Flow and the Psychology of Discovery and Invention","type":"book"},"uris":[""]}],"mendeley":{"formattedCitation":"(Cseh et al., 2015; Csikszentmihalyi, 1996)","plainTextFormattedCitation":"(Cseh et al., 2015; Csikszentmihalyi, 1996)","previouslyFormattedCitation":"(Cseh et al., 2015; Csikszentmihalyi, 1996)"},"properties":{"noteIndex":0},"schema":""}(Cseh et al., 2015; Csikszentmihalyi, 1996). Appropriate hints when new abilities are introduced supports the development of player skill ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"DOI":"10.1145/1077246.1077253","ISBN":"1544-3574","ISSN":"1544-3574","PMID":"17883968","abstract":"Although player enjoyment is central to computer games, there is currently no accepted model of player enjoyment in games. There are many heuristics in the literature, based on elements such as the game interface, mechanics, gameplay, and narrative. However, there is a need to integrate these heuristics into a validated model that can be used to design, evaluate, and understand enjoyment in games. We have drawn together the various heuristics into a concise model of enjoyment in games that is structured by flow. Flow, a widely accepted model of enjoyment, includes eight elements that, we found, encompass the various heuristics from the literature. Our new model, GameFlow, consists of eight elements -- concentration, challenge, skills, control, clear goals, feedback, immersion, and social interaction. Each element includes a set of criteria for achieving enjoyment in games. An initial investigation and validation of the GameFlow model was carried out by conducting expert reviews of two real-time strategy games, one high-rating and one low-rating, using the GameFlow criteria. The result was a deeper understanding of enjoyment in real-time strategy games and the identification of the strengths and weaknesses of the GameFlow model as an evaluation tool. The GameFlow criteria were able to successfully distinguish between the high-rated and low-rated games and identify why one succeeded and the other failed. We concluded that the GameFlow model can be used in its current form to review games; further work will provide tools for designing and evaluating enjoyment in games.","author":[{"dropping-particle":"","family":"Sweetser","given":"Penelope","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Wyeth","given":"Peta","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Comput. Entertain.","id":"ITEM-1","issue":"3","issued":{"date-parts":[["2005"]]},"page":"3–3","title":"GameFlow: A Model for Evaluating Player Enjoyment in Games","type":"article-journal","volume":"3"},"uris":[""]}],"mendeley":{"formattedCitation":"(Sweetser & Wyeth, 2005)","plainTextFormattedCitation":"(Sweetser & Wyeth, 2005)","previouslyFormattedCitation":"(Sweetser & Wyeth, 2005)"},"properties":{"noteIndex":0},"schema":""}(Sweetser & Wyeth, 2005). In this way, hints both help in maintaining a flow state and scaffold player creativity by providing just enough information to encourage players to experiment with different items and abilities. On the other hand, echoing self-determination theory ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"DOI":"10.1037/0003-066X.55.1.68","ISBN":"1-55798-704-1","ISSN":"1935-990X","author":[{"dropping-particle":"","family":"Ryan","given":"Richard M.","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Deci","given":"Edward L.","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"American Psychologist","id":"ITEM-1","issue":"1","issued":{"date-parts":[["2000"]]},"note":"NULL","page":"68-78","publisher":"American Psychological Association","title":"Self-determination theory and the facilitation of intrinsic motivation, social development, and well-being.","type":"article-journal","volume":"55"},"uris":[""]}],"mendeley":{"formattedCitation":"(Ryan & Deci, 2000)","plainTextFormattedCitation":"(Ryan & Deci, 2000)","previouslyFormattedCitation":"(Ryan & Deci, 2000)"},"properties":{"noteIndex":0},"schema":""}(Ryan & Deci, 2000) which argues that a key component of intrinsic motivation is autonomy, “pay to win” features could present a barrier to motivation by removing the autonomy involved in tackling challenges as they can no longer be overcome by the player’s own ability.Finally, supporting previous findings by Herodotou et al. ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"DOI":"10.1177/1555412014557633","ISSN":"1555-4120","abstract":"The aim of this article is to present the methodological approach adopted for the development and iteration of the Model of Game Motivation (MGM), a conceptual model explaining digital play motivation. A multidisciplinary, mixed- methods research design was deployed for the empirical iteration of the model. This choice was reinforced by the critical review of related literature, which revealed that a combination of evidence from multiple disciplines (psychology, sociology, and technology) could contribute to a more comprehensive under- standing of play motivation. An iterative, hypothesis-testing research design was the strategy used to conduct multidisciplinary, mixed-methods research. The ini- tial, theoretical version of the MGM was iterated twice, resulting in a thoroughly developed, empirically grounded version that requires future validation. The value of this approach lies in the fact that it provides to game design stakeholders a methodological tool for understanding play motivation as a multifaceted activity, which could inform their practices.","author":[{"dropping-particle":"","family":"Herodotou","given":"C.","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Winters","given":"N.","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Kambouri","given":"M.","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Games and Culture","id":"ITEM-1","issue":"3","issued":{"date-parts":[["2014"]]},"page":"249-268","title":"An Iterative, Multidisciplinary Approach to Studying Digital Play Motivation: The Model of Game Motivation","type":"article-journal","volume":"10"},"suppress-author":1,"uris":[""]}],"mendeley":{"formattedCitation":"(2014)","plainTextFormattedCitation":"(2014)","previouslyFormattedCitation":"(2014)"},"properties":{"noteIndex":0},"schema":""}(2014), the implementation of updates may not only renew the gaming experience, but also attract additional interest to the game. In this way DLC and expansions provide opportunities for replayability by adding more content for players to explore and appropriate. Furthermore, as Sotamaa ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"abstract":"The paper takes a look at player agency within the players of the console game LittleBigPlanet (Media Molecule, 2008). The concept of LBP is inherently dependent on player production and the players are in various ways encouraged to contribute to the game by creating and sharing levels of their own. The special focus is in analysing the technical and economic strategies the game and the console environment uses to position the productive activities of players. To what extent does LBP challenge Zittrain’s much cited argument about tethered appliances? Secondly, the paper aims to describe the limits of player agency available for LBP players. If the game from the start invites players to co-design the game itself how much room there is for resistance and transformation? Based on the observations there are reasons to argue that the recent developments in the console market have turned the latest generation consoles into an increasingly inviting platform for different forms of player production. At the same time the article highlight how the new options available for players do not automatically make all of them active participants but instead, a variety of different roles can be identified. It is further argued that while LBP does not allow radical reprogramming of the console environment it does support more subtle ways of repurposing the console.","author":[{"dropping-particle":"","family":"Sotamaa","given":"Olli","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"The Fibreculture Journal","id":"ITEM-1","issued":{"date-parts":[["2010"]]},"publisher":"The Fibreculture Journal","title":"Play, Create, Share? Console Gaming, Player Production and Agency","type":"article-journal","volume":"16"},"suppress-author":1,"uris":[""]}],"mendeley":{"formattedCitation":"(2010)","plainTextFormattedCitation":"(2010)","previouslyFormattedCitation":"(2010)"},"properties":{"noteIndex":0},"schema":""}(2010) notes, designing games was updateable and flexible platforms allows developers to host branded content alongside player creations. As such, games may support creativity in the form of appropriation through various developer events such as content creation competitions. In this way, the player is involved in a dual role as a skilful creator, and member of the game audience. ImplicationsThis is the first study to the author’s knowledge which uses the reflexive photography method within the context of digital games. In previous reflexive photography studies participants captured images using cameras or smartphones, however, in the current study participants used the in-built screen capture facility in many gaming platforms. By using a screenshot capture facility, participants did not face the same issues which other studies experienced in relation to physically taking photographs, and as such were minimally disrupted from their gaming activity. Feedback from participants regarding the reflexive photography method was positive with many citing it as being easy to use and that it did not detract from immersion in their gameplay. In this way, the reflexive photography method was both convenient for participants and useful for researchers in providing an immediate snapshot of creativity in practice. As such, future studies in the area of player experience may consider the use of the reflexive photography method.Furthermore, several participants detailed that by taking part in the study, they were more aware of the way games influenced their creativity. By capturing screenshots at any given time, participants have the opportunity to identify particular screenshots which they wish to discuss and reflect upon during the photo-elicitation interviews. In this way, the use of the reflexive photography method provides a medium for creative reflection and has implications for researchers in using reflexive photography to study reflection in its own right.This article outlined eight main design affordances which support different forms of player creativity. This provides implications for game developers who may wish to create a game which supports one or more forms of creativity. For example, many games are already designed with affordances for content creation, however, this article highlights how game can support a wider variety of creative expressions by players that are not solely concerned with user-created content. The eight affordances for player creativity could be integrated into both digital entertainment games and those designed with educational goals in mind to facilitate creativity. For example, if a game was designed to cater for creativity in the form of appropriation, developers could include affordances for tools such as a diverse range of items and abilities. Finally, the design affordances outlined in this article may go towards providing an initial framework for the analysis of games in relation to their creative potential for players. The framework may benefit the fields of game studies and human-computer interaction by providing an account of how game design elements can support creative expression in different types of games. Furthermore, educators may wish to use this framework to choose games which support different forms of creativity – for example to foster creativity as affective change, games high in emotional challenge could be selected. LimitationsAs the reflexive photographic method has not been previously utilised in this field, the study presented a learning process in relation to the use of this method within this context and as such there are several notable limitations. Firstly, there were some complications in relation to the timeframe in which participants took their screenshots. In previous reflexive photography studies, participants were given a set timeframe to capture their experiences (usually a week or two). However, in this study it was noted that the timeframe of a week felt restricting as some participants had creative experiences prior to their designated week, or else had pre-existing screenshots they wished to use. Future studies which wish to eliminate these timeframe issues could select participants who already document their experiences through screenshots, however, this does run the risk of only attracting participants who already engage in creative gaming pursuits and self-identify as creative individuals. Alternatively, future studies could designate a longer timeframe for participants to take their screenshots. With creativity being highly subjective and unpredictable, a longer period of time would eliminate some of the issues of a smaller timeframe.Secondly, while feedback was positive as to the usefulness of reflexive photography in capturing aspects of creative play, several participants mentioned its potential for use alongside video footage. By capturing video footage of gameplay participants would not have to consciously think about taking screenshots or decide if an activity is worth screenshotting. While images provide a memory aid in which to discuss the creative moment, video footage would enable whole creative acts to be captured. However, it is worth noting that a significant amount of time would be required to analyse video footage depending on the number of participants. In this regards, future work which wishes to use both forms of data capture may be more suited to a scenario involving multiple researchers analysing the data.Finally, this study does not claim to be generalisable to a wider population and presents only the experiences of the 9 participants involved. A range of different game genres were captured to attempt to provide a holistic account of the design affordances which support different forms of creativity, however, as there were only 9 participants and 32 screenshots, there is the possibility that with a larger sample size further genres and subsequent themes may be identified. Future studies may wish to obtain a greater number of participants, and to focus on design affordances for creativity in relation to a particular genre. Furthermore, future studies could focus on a specific gaming platform to determine if there are any unique affordances to that medium or limitations on what affordances can be implemented. This would aid generalisability and help refine the eight affordances documented in this article.ConclusionsThis article presented the findings from a reflexive photography study involving 9 participants. Building on previous research by Author A. (2020), eight main themes were developed to encapsulate the various design affordances which support player creativity in digital games. Games could be designed to support creativity in the form of problem-solving and appropriation through affordances for degree of flexibility such task flexibility and multiple routes of play. Creativity as affective change was supported by affordances in narrative such as engaging storytelling, dialogue options and opportunities for the construction of personal narratives. Tools supported creativity as problem-solving and appropriation by providing opportunities for emergent combinations of game variables and a diverse range of movements to facilitate discovery. Environment supported creativity as problem-solving through opportunities to interact with environmental objects and facilitating strategic play through realist AI behaviour. Content creation provided opportunities for creativity as appropriation in relation to user-created content and implementation of modifications to enhance the gaming experience. Avatar supported creativity as affective change through providing opportunities for personalisation, experimentation of alternative identities, and altering avatar appearance to facilitate a player’s personal narrative. Progression was not linked to any specific form of creativity per se, however, served a motivator for play through providing optimal challenges, appropriately timed hints and optional achievements. Finally, replayability supported creativity as appropriation by renewing the gaming experience through updates, patches, DLC and providing a medium for players to showcase user created content through developer events. In essence, this article provides evidence of the effectiveness of the reflexive photographic method within the context of player experience. Furthermore, the eight design affordances outlined in this article illuminate how games may support a wider variety of creative forms – from user-created content, to the personal reflections on gaming narrative. In this regard, the findings from this research may not only provide a basis for guidance on game design for creativity, but also, provide a basis for the analysis of the creative potential of existing games. 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An ecological approach to creativity in making. New Ideas in Psychology, 49, 1–6. , T., Boria, E., & Breidenbach, P. (2002). Creative Player Actions in FPS Online Video Games Playing Counter-Strike. Game Studies, 2. Retrieved from , R. M., & Cardona-Rivera, R. E. (2011). Approaching a Player Model of Game Story Comprehension Through Affordance in Interactive Narrative. Proceedings of the 4th Workshop on Intelligent Narrative Technologies, 123–130. Retrieved from Author BiographiesJohanna Hall is a research student at the Institute of Educational Technology at The Open University. Her research focuses how creativity is expressed in digital entertainment games and how games can be used to develop creativity and related transferable skills.Ursula Stickler is a Senior Lecturer in German at the Open University UK. As a researcher she specialises in autonomous learning and online language teaching skills, contributing to international networks of experts.Dr Christothea Herodotou is a Senior Lecturer (Associate Professor) at The Open University, UK. She is interested in the evidence-based design and evaluation of technologies for learning through innovative research methodologies including learning analytics.Dr Ioanna (Jo) Iacovides, is a Lecturer in Computer Science at the University of York, UK. Her research interests lie in Human Computer Interaction with a particular focus on understanding the role of learning within the player experience, and on investigating complex emotional experiences in the context of digital play ................
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