Abstract

In this work, we introduce a formal design approach derived from the performing arts to design robot group behaviour. In our first experiment, we worked with professional actors, directors, and non-specialists using a participatory design approach to identify common group behaviour patterns. In a follow-up studio work, we identified twelve common group movement patterns, transposed them into a performance script, built a scale model to support the performance process, and evaluated the patterns with a senior actor under studio conditions. We evaluated our refined models with 20 volunteers in a user study in the third experiment. Results from our affective circumplex modelling suggest that the patterns elicit positive emotional responses from the users. Also, participants performed better than chance in identifying the motion patterns without prior training. Based on our results, we propose design guidelines for social robots’ behaviour and movement design to improve their overall comprehensibility in interaction.

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Abstract

We present an autobiographical design journey exploring the experience of returning to long-term single player games. Continuing progress from a previously saved game, particularly when substantial time has passed, is an understudied area in games research. To begin our exploration in this domain, we investigated what the return experience is like first-hand. By returning to four long-term single player games played extensively in the past, we revealed a phenomenon we call The Pivot Point, a ‘eureka’ moment in return gameplay. The pivot point anchors our design explorations, where we created prototypes to leverage the pivot point in reconnecting with the experience. These return experiences and subsequent prototyping iterations inform our understanding of how to design better returns to gameplay, which can benefit both producers and consumers of long-term single player games.

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