This paper seeks to understand the connections between two previously disjoint subfields of game research and design: 1) the study of emotionally impactful games and 2) the study of game feel. Regarding games and emotion, we now understand aspects such as how negative emotions are appreciated in games and can be a desirable quality for designers and players alike. We also understand aspects of game feel such as the importance of responsive player character control and juicy (i.e. exaggerated) feedback for player actions. However, the literature on game feel rarely links to emotion research and focuses on a narrow subset of emotions/feelings such as satisfaction and control. Research is lacking on how game feel design can impact a wider palette of emotions, including negative ones, and how this may require one to "break the rules" of good game feel design, e.g., making it purposefully hard to control the player character. We bridge this gap by employing Constructivist Grounded Theory Analysis to understand a dataset comprising of interview data from 15 participants and 116 game mechanics from a diverse selection of games such as Journey, Celeste, and Freedom Bridge. Through this, we propose Expectation Modulation as the core theory to capture how game feel can elicit emotional experiences. Additionally, we identify 9 design techniques as central to crafting emotional experiences through game feel design.

Figure 1: Our VR dodge roll technique is a hybrid of teleporting and Out-of-Body Locomotion.The images show both user action and the 1st person view captured from a Meta Quest headset.Left: Initial situation with a giant enemy and the yellow dodge roll target and red sword attack target used in our user study.Middle images: The player initiates the dodge roll by thrusting their arms forward.A 3rd person avatar emerges inside the 1st person view and performs the roll animation.Right: The 1st person camera transitions to the new avatar location and the player hits the target with the sword.To see the system in action, please check our supplemental video: https://youtu.be/XGfiUTbJLyY.

Dance games are one of the most popular game genres in Virtual Reality (VR), and active dance communities have emerged on social VR platforms such as VR Chat. However, effective instruction of dancing in VR or through other computerized means remains an unsolved human-computer interaction problem. Existing approaches either only instruct movements partially, abstracting away nuances, or require learning and memorizing symbolic notation. In contrast, we investigate how realistic, full-body movements designed by a professional choreographer can be instructed on the fly, without prior learning or memorization. Towards this end, we describe the design and evaluation of WAVE, a novel anticipatory movement visualization technique where the user joins a group of dancers performing the choreography with different time offsets, similar to spectators making waves in sports events. In our user study (N=36), the participants more accurately followed a choreography using WAVE, compared to following a single model dancer.

Virtual Reality (VR) games and experiences predominantly have the users interact while standing or seated. However, this only represents a fraction of the full diversity of human movement. In this paper, we explore a novel non-standing approach to VR locomotion where the user performs locomotion movements in the air or only slightly touching the ground with their feet. For instance, the user may lie supine on the ground, reminiscent of the Bicycle Crunch, a core training movement common in Pilates and other forms of bodyweight exercise. Although this cannot generally replace traditional VR locomotion, it provides two benefits that we believe can be of use for specific application domains such as VR exergames: First, the user's lower body movement is not impeded by a small real-life space, allowing versatile navigation of large virtual worlds using walking, running, strafing, and jumping. Second, we allow new ways to activate parts of the body that remain passive in most existing VR interactions. We describe and discuss four different variants of the approach, and investigate two prototypes further in a qualitative user study, to better understand their strengths, weaknesses, and application potential.