Emotionally impactful game experiences have garnered increasing interest within HCI games research. Yet the perspectives of designers have, to date, remained largely overlooked. We interviewed 14 indie game designers regarding their values and practices in designing emotionally impactful games. Counter to the focus of recent player experience (PX) studies, we find that while designers typically have a clear vision for the intended emotional impact, they aim for their games to provide a space for players to have their own personal experiences and interpretations. Despite this player-centric orientation, players were rarely involved before and during the production to evaluate the emotional experience. Based on these findings, we identify gaps between design practice and PX research, raise open questions around the design and evaluation of emotionally impactful game experiences, and outline opportunities for HCI games research to more productively support game designers.

Videogames receive increasing acclaim as a medium capable of artistic expression, emotional resonance, and even transformative potential. Yet while discussions concerning the status of games as art have a long history in games research, little is known about the player experience (PX) of games as art, their emotional characteristics, and what impact they may have on players. Drawing from Empirical Aesthetics, we surveyed 174 people about whether they had an art experience with videogames and what emotions they experienced. Our findings showcase the prominence of epistemic emotions for videogame art experiences, beyond the negative and mixed emotional responses previously examined, as well as the range of personal impacts such experiences may have. These findings are consistent with art experience phenomena characteristic of other art forms. Moreover, we discuss how our study relates to prior research on emotions and reflection in PX, the importance of games' representational qualities in art experiences, and identify lines of further inquiry. All data, study materials, and analyses are available at https://osf.io/ryvt6/.

Socially aware persuasive games that use immersive technologies often appeal to empathy, prompting users to feel and understand the struggles of another. However, the often sought-after standing in another's shoes' experience, in which users virtually inhabit another in distress, may complicate other-oriented empathy. Following a Research through Design approach, we designed for other-oriented empathy - focusing on a partaker-perspective and diegetic reflection - which resulted in Permanent; a virtual reality game designed to foster empathy towards evacuees from the 2011 Fukushima Daiichi nuclear disaster. We deployed Permanent 'in the wild' and carried out a qualitative study with 78 participants in the Netherlands and Japan to capture user experiences. Content Analysis of the data showed a predominance of other-oriented empathy across countries, and in our Thematic Analysis, we identified the themes of 'Spatial, Other, and Self -Awareness', 'Personal Accounts', 'Ambivalence', and 'Transdiegetic Items', resulting in design insights for fostering other-oriented empathy through virtual reality.

Recent work introduced the notion of emotional challenge as a means to afford more unique and diverse gaming experiences. 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 responses with regards to what made the experience challenging, their emotional response, and the relation to core player experience constructs. We found that emotional challenge manifested itself in different ways, by confronting players with difficult themes or decisions, as well as having them deal with intense emotions. In contrast to more'conventional' 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.

Emotions are key to the player experience (PX) and interest in the potential of games to provide unique emotional, sometimes uncomfortable experiences is growing. Yet there has been little empirical investigation of what game experiences players consider emotionally moving, their causes and effects, and whether players find these experiences rewarding at all. We analyzed 121 players' accounts of emotionally moving game experiences in terms of the feelings and thoughts they evoked, different PX constructs, as well as game-related and personal factors contributing to these. We found that most players enjoyed and appreciated experiencing negatively valenced emotions, such as sadness. Emotions were evoked by a variety of interactive and non-interactive game aspects, such as in-game loss, character attachment and (lack of) agency, but also personal memories, and were often accompanied by (self-)reflection. Our findings highlight the potential of games to provide emotionally rewarding and thought-provoking experiences, as well as outline opportunities for future research and design of such experiences. They also showcase that negative affect may contribute to enjoyment, thereby extending our notion of positive player experience.

Enjoyment has been identified as a central component of the player experience (PX), but various, overlapping concepts within PX make it difficult to develop valid measures and a common understanding of game enjoyment. We conducted a systematic review of 87 quantitative studies, analyzing different operationalizations and measures of game enjoyment, its determinants, and how these were related to other components of PX, such as flow, presence and immersion. Results suggest that game enjoyment describes the positive cognitive and affective appraisal of the game experience, and may in part be associated with the support of player needs and values. Further, we outline that enjoyment is distinct from flow in that it may occur independently of challenge and cognitive involvement, and argue that enjoyment may be understood as the valence of the player experience. We conclude with a discussion of methodological challenges and point out opportunities for future research on game enjoyment.