Pub Date : 2023-04-30DOI: 10.33093/ijcm.2023.4.1.3
Muhammad Hasanuddin Dzulkafly
Ever since the emergence of mobile technology, there has been a noticeable surge in tourists capturing live videos while on vacation. Despite the fact that online video diaries (vlogs) have become a highly popular form of media content, particularly among youthful audiences, the nature and usage of these live short snippets are not well understood. Seeking to analyse the potential of these amateur videos for the purpose of tourism, this essay aims first to find out the reactions of users towards these short videos and subsequently analyse how these live videos and stories influence the audiences’ opinions and behaviours. Variations of the analysis in terms of parasocial responses, delight, and immersion were conducted with video content prepared in an unedited or simple manner ("amateur") and meticulously edited ("professional"). Regarding the majority of these factors, I notice that the reviews for the amateur video are significantly more positive and influential. The findings indicate the impact of live videos and stories in conveying genuineness, enhancing tourism encounters, augmenting destination appeal, and shaping a captivating destination impression.
{"title":"Social Media Dimension of Video Made by Tourist (An Amateur)","authors":"Muhammad Hasanuddin Dzulkafly","doi":"10.33093/ijcm.2023.4.1.3","DOIUrl":"https://doi.org/10.33093/ijcm.2023.4.1.3","url":null,"abstract":"Ever since the emergence of mobile technology, there has been a noticeable surge in tourists capturing live videos while on vacation. Despite the fact that online video diaries (vlogs) have become a highly popular form of media content, particularly among youthful audiences, the nature and usage of these live short snippets are not well understood. Seeking to analyse the potential of these amateur videos for the purpose of tourism, this essay aims first to find out the reactions of users towards these short videos and subsequently analyse how these live videos and stories influence the audiences’ opinions and behaviours. Variations of the analysis in terms of parasocial responses, delight, and immersion were conducted with video content prepared in an unedited or simple manner (\"amateur\") and meticulously edited (\"professional\"). Regarding the majority of these factors, I notice that the reviews for the amateur video are significantly more positive and influential. The findings indicate the impact of live videos and stories in conveying genuineness, enhancing tourism encounters, augmenting destination appeal, and shaping a captivating destination impression.","PeriodicalId":313823,"journal":{"name":"International Journal of Creative Multimedia","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123135747","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-30DOI: 10.33093/ijcm.2023.4.1.2
N. Sulaiman
As a means to revitalise sluggish cities, public and private investment agencies have taken a keen interest in public installation art. As place-making initiatives endeavour to attract valuable trained human talent to their cities, local governments and city councils have deemed art in public spaces indispensable. Installation art in public spaces is crucial for revitalising run-down areas of a city. By placing the individual's perception at the centre of the aesthetic experience, installation art has the potential to help people perceive the city in a different way. Through novel corporeal experiences, it is possible to introduce new narratives of the city. Moreover, such experiences are essential for creating memories and fostering a sense of belonging among the city's residents. The commissioning of installation art is a complex creative process involving multiple stakeholders and public funds. This exploratory essay seeks to examine the public commissioning of installation art as a means to instigate socio-spatial relationships framing a specific location. The primary case study is Loominous River (2022), one of the commission beneficiaries of Thinkcity and Cendana's Project Light in 2021. Through empirical observations of the production process from conception to completion, the author attempts to establish the relationship between installation art and place-making.
{"title":"Installation Art in Public Spaces as Socio-Spatial Framing of Place: Case Study Loominous River Installation Art (2022)","authors":"N. Sulaiman","doi":"10.33093/ijcm.2023.4.1.2","DOIUrl":"https://doi.org/10.33093/ijcm.2023.4.1.2","url":null,"abstract":"As a means to revitalise sluggish cities, public and private investment agencies have taken a keen interest in public installation art. As place-making initiatives endeavour to attract valuable trained human talent to their cities, local governments and city councils have deemed art in public spaces indispensable. Installation art in public spaces is crucial for revitalising run-down areas of a city. By placing the individual's perception at the centre of the aesthetic experience, installation art has the potential to help people perceive the city in a different way. Through novel corporeal experiences, it is possible to introduce new narratives of the city. Moreover, such experiences are essential for creating memories and fostering a sense of belonging among the city's residents. The commissioning of installation art is a complex creative process involving multiple stakeholders and public funds. This exploratory essay seeks to examine the public commissioning of installation art as a means to instigate socio-spatial relationships framing a specific location. The primary case study is Loominous River (2022), one of the commission beneficiaries of Thinkcity and Cendana's Project Light in 2021. Through empirical observations of the production process from conception to completion, the author attempts to establish the relationship between installation art and place-making.","PeriodicalId":313823,"journal":{"name":"International Journal of Creative Multimedia","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131281021","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-30DOI: 10.33093/ijcm.2023.4.1.1
Afolabi Benjamin Eni-itan F., Odewole O. Peter, A. A. Abiodun, Oyinloye Michael A.
This is a discourse on approaches to enhancing visual arts and design on the Ibogun campus of Olabisi Onabanjo University, Ago-Iwoye, Ogun State. The Fine and Applied Arts (FAA) discipline is created for the production of graduates that will be technologically and creatively strengthened to solve industrial and societal problems. This cannot be attained when an institution is faced with multi-faceted challenges linked primarily to a lack of infrastructure caused by poor funding. The main problem is that the FAA Department at Ibogun Campus lacks digital art labs and standard studios to teach the course. Experiential and humanistic learning theories were chosen as the theoretical frameworks that back up this research work. The study aims to identify trends in visual arts and design within the context of Nigerian education with a view to determining solutions to problems facing Fine and Applied Arts as a course and department. By design, this is a qualitative study; thus, the library research method was employed together with observation and unstructured interviews for data gathering. On this premise, reasonable recommendations were put forward. However, while the study acknowledges the efforts of the university management, it uncovered that infrastructural problems are not only affecting FAA and Ibogun campuses; the Ibogun community as a whole is also feeling the hitch. FAA Department was created almost two decades ago but still lacks a brand name, unlike other Nigerian tertiary institutions with special (name) identities for their art schools. Consequently, the study, among other suggestions, recommended that the FAA Departments Ibogun campus be branded as ‘OOU Ibogun Art School, while government intervention through adequate funding is advised. The department also needs to concentrate more on creative technological innovations since this is the era of artificial intelligence.
{"title":"Enhancing Visual Arts and Design in Ibogun Campus, Ogun State Amidst Multi-faceted Challenges","authors":"Afolabi Benjamin Eni-itan F., Odewole O. Peter, A. A. Abiodun, Oyinloye Michael A.","doi":"10.33093/ijcm.2023.4.1.1","DOIUrl":"https://doi.org/10.33093/ijcm.2023.4.1.1","url":null,"abstract":"This is a discourse on approaches to enhancing visual arts and design on the Ibogun campus of Olabisi Onabanjo University, Ago-Iwoye, Ogun State. The Fine and Applied Arts (FAA) discipline is created for the production of graduates that will be technologically and creatively strengthened to solve industrial and societal problems. This cannot be attained when an institution is faced with multi-faceted challenges linked primarily to a lack of infrastructure caused by poor funding. The main problem is that the FAA Department at Ibogun Campus lacks digital art labs and standard studios to teach the course. Experiential and humanistic learning theories were chosen as the theoretical frameworks that back up this research work. The study aims to identify trends in visual arts and design within the context of Nigerian education with a view to determining solutions to problems facing Fine and Applied Arts as a course and department. By design, this is a qualitative study; thus, the library research method was employed together with observation and unstructured interviews for data gathering. On this premise, reasonable recommendations were put forward. However, while the study acknowledges the efforts of the university management, it uncovered that infrastructural problems are not only affecting FAA and Ibogun campuses; the Ibogun community as a whole is also feeling the hitch. FAA Department was created almost two decades ago but still lacks a brand name, unlike other Nigerian tertiary institutions with special (name) identities for their art schools. Consequently, the study, among other suggestions, recommended that the FAA Departments Ibogun campus be branded as ‘OOU Ibogun Art School, while government intervention through adequate funding is advised. The department also needs to concentrate more on creative technological innovations since this is the era of artificial intelligence.","PeriodicalId":313823,"journal":{"name":"International Journal of Creative Multimedia","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128140644","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-30DOI: 10.33093/ijcm.2023.4.1.4
Daniel Finnemore
Ben Wheatley's Sightseers is a brutally violent and darkly comic addition to British cult cinema, satirising British values, habits, and relationships with the humble caravan at the centre of its world. However, Wheatley's third feature warns against the harmful effects of not conforming to masculinity. Performance, recognition, and hegemonic masculinity enter this conversation. This paper critically analyses how Sightseers uses frame, sound, character, and narrative to condemn white, working-class toxic masculinity in a regional context. The true cautionary tale is in the numerous and savage manifestations of violence and hyper-masculinity. Sightseers is a cult film that shows the harmful effects of masculinity and societal demands, but it neglects alternative masculinities, which may help us comprehend gender construction and portrayal. This research relies on scholars like Jack Halberstam who discuss alternative and subordinate masculinities. How do these affect viewers? This dissertation concludes by considering how current cult cinema may offer alternatives to "heroic" masculinity or "real thing" as Halberstam calls it. Whether it's Everything Everywhere All at Once's "gentle masculinity" or other constructions, different spaces will hopefully continue to reshape our understanding of masculinity and the positive role these on-screen representations can play in this ideology evolution.
本·惠特利(Ben Wheatley)的《观光客》(Sightseers)是一部残酷暴力的黑色喜剧，是英国邪教电影的补充，讽刺了英国人的价值观、习惯以及与世界中心卑微的大篷车的关系。然而，惠特利的第三个特征警告了不符合男子气概的有害影响。表现、认可和男性霸权进入了这个对话。本文批判性地分析了观光者如何使用框架、声音、人物和叙事来谴责白人、工人阶级在地区背景下的有毒男子气概。真正的警世故事是在暴力和超级男子气概的大量野蛮表现中。《观光客》是一部展示男性气质和社会需求的有害影响的邪典电影，但它忽略了另一种男性气质，这可能有助于我们理解性别的建构和描绘。这项研究依赖于杰克·哈伯斯坦(Jack Halberstam)等学者，他们讨论了另类和从属的男性气质。这些对观众有什么影响?本文的结论是考虑当前的邪典电影如何提供“英雄”男子气概或哈伯斯坦所说的“真实的东西”的替代方案。无论是Everything Everywhere All at Once的“温柔的男性气质”，还是其他的建构，不同的空间都有望继续重塑我们对男性气质的理解，以及这些在屏幕上的表现在这种意识形态演变中所能发挥的积极作用。
{"title":"The Caravan Of Hate: The Cautionary Tale of Ben Wheatley’s Sightseers and Alternative Spaces for Masculinity On-Screen","authors":"Daniel Finnemore","doi":"10.33093/ijcm.2023.4.1.4","DOIUrl":"https://doi.org/10.33093/ijcm.2023.4.1.4","url":null,"abstract":"Ben Wheatley's Sightseers is a brutally violent and darkly comic addition to British cult cinema, satirising British values, habits, and relationships with the humble caravan at the centre of its world. However, Wheatley's third feature warns against the harmful effects of not conforming to masculinity. Performance, recognition, and hegemonic masculinity enter this conversation. This paper critically analyses how Sightseers uses frame, sound, character, and narrative to condemn white, working-class toxic masculinity in a regional context. The true cautionary tale is in the numerous and savage manifestations of violence and hyper-masculinity. Sightseers is a cult film that shows the harmful effects of masculinity and societal demands, but it neglects alternative masculinities, which may help us comprehend gender construction and portrayal. This research relies on scholars like Jack Halberstam who discuss alternative and subordinate masculinities. How do these affect viewers? This dissertation concludes by considering how current cult cinema may offer alternatives to \"heroic\" masculinity or \"real thing\" as Halberstam calls it. Whether it's Everything Everywhere All at Once's \"gentle masculinity\" or other constructions, different spaces will hopefully continue to reshape our understanding of masculinity and the positive role these on-screen representations can play in this ideology evolution.","PeriodicalId":313823,"journal":{"name":"International Journal of Creative Multimedia","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130095686","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-30DOI: 10.33093/ijcm.2022.3.2.1
Blackledge Joel
In the wake of the COVID-19 pandemic, new and existing applications of digital technology in higher education have accelerated. Much recent writing around digital pedagogy conceptualises its affordances as a space rather than a tool. This paper presents a new digital pedagogy project, the Media & Communications Virtual Gallery, and considers how it makes use of those affordances for learning. The project is an online 3D, publicly accessible online gallery that houses a curated selection of student coursework. The objective of the project was to improve student engagement and visibility of student work. The gallery developed as an experiment towards this objective using digital technology in a way that did not simply replicate existing models. This paper elaborates on three key elements of digital space as they play out in the Virtual Gallery: authenticity, provocation, and play. Each element rests on the concept of the virtual as providing an ‘in-between’ zone, acting as both bridge and buffer between student experience inside a higher
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Pub Date : 2022-09-30DOI: 10.33093/ijcm.2022.3.2.3
H. Muthalib
Having been produced more than a decade ago, SPILT GRAVY and the recent one 3 JANDA shares a common significance in almost every aspect. The review here overlooks mainly on the language, the exploration of Malaysian culture, using time as the climacteric element and the proficient use of magical realism to enhance the visual and narrative rhythm. Cumulating the rationale behind these findings is to understand the depths of creativity that the directors are willing to descend to until the story prevails as it should to the audience.
{"title":"Film Review : Treasures of aVisionary- Revelations of the Satirical Age","authors":"H. Muthalib","doi":"10.33093/ijcm.2022.3.2.3","DOIUrl":"https://doi.org/10.33093/ijcm.2022.3.2.3","url":null,"abstract":"Having been produced more than a decade ago, SPILT GRAVY and the recent one 3 JANDA shares a common significance in almost every aspect. The review here overlooks mainly on the language, the exploration of Malaysian culture, using time as the climacteric element and the proficient use of magical realism to enhance the visual and narrative rhythm. Cumulating the rationale behind these findings is to understand the depths of creativity that the directors are willing to descend to until the story prevails as it should to the audience.","PeriodicalId":313823,"journal":{"name":"International Journal of Creative Multimedia","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130711458","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-30DOI: 10.33093/ijcm.2022.3.2.2
Roopesh Sitharan, S. Ling
Western aesthetic is built on empiricism that severs the unification of reality and metaphysics of ancient times. This restricts knowledge to the world of senses consequently shaping our modern way of operating in the world that tends to objectify and separates the world from the self. In doing so, the sense of ‘I’ enforces a viewer to externalize the world. However, with experiential technologies such as VR, this external, objectified world collapses as the viewer becomes immersed in a particular, virtual environment – overcoming the limitation of physicality by being engrossed in information as an extension of self. This paper argues such experience is reflective of an epistemology coming from Eastern cultures and philosophy. Specifically, by examining an early internet art build on VR technology called ‘Mondrian in Action!’ the article critiques the idea of High Art to resist secular fence of knowledge that marginalize other ways of experiencing the world.
西方美学建立在经验主义的基础上，割断了古代现实与形而上学的统一。这将知识限制在感官世界，从而塑造了我们在世界上运作的现代方式，这种方式倾向于客观化并将世界与自我分离。这样一来，“我”的感觉迫使观众将世界外化。然而，随着VR等体验技术的发展，当观众沉浸在一个特定的虚拟环境中时，这个外部的、客观化的世界就会崩溃——通过全神贯注于作为自我延伸的信息来克服身体的限制。本文认为，这种经验反映了一种来自东方文化和哲学的认识论。具体来说，通过研究早期基于VR技术的网络艺术，名为“Mondrian in Action!”这篇文章批判了高雅艺术抵制世俗知识藩篱的想法，这种藩篱将其他体验世界的方式边缘化。
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Pub Date : 2022-04-30DOI: 10.33093/ijcm.2022.3.1.2
Mohd Ekram Alhafis Hashim, Muhammad Zaffwan Idris, Che Soh Said
The purpose of this study paper is to characterise the user experience (UX) and aesthetic experience (AX) of augmented reality comics (AR comics). The researcher used a methodology review approach on six models of each of the three AX models and the rest were UX models in order to assemble the constructs and elements of both models. Principally, AX and UX are differently disciplined, similar to AR comics, which require a combination of the two disciplines. Previous studies found that comics are aesthetic objects or art forms that use aesthetic experience (AX) as a measurement method. Simultaneously, AR is a Human-Computer Interaction (HCI) based technology that is always centred on user experience (UX). Therefore, this research paper is a preliminary step to collect the constructs and elements of AX and UX as a guide to finding the potential merger of the two fields.
{"title":"Defining the construct and elements of Aesthetic Experience (AX) and User Experience (UX) in Augmented Reality Comics (AR Comics)","authors":"Mohd Ekram Alhafis Hashim, Muhammad Zaffwan Idris, Che Soh Said","doi":"10.33093/ijcm.2022.3.1.2","DOIUrl":"https://doi.org/10.33093/ijcm.2022.3.1.2","url":null,"abstract":"The purpose of this study paper is to characterise the user experience (UX) and aesthetic experience (AX) of augmented reality comics (AR comics). The researcher used a methodology review approach on six models of each of the three AX models and the rest were UX models in order to assemble the constructs and elements of both models. Principally, AX and UX are differently disciplined, similar to AR comics, which require a combination of the two disciplines. Previous studies found that comics are aesthetic objects or art forms that use aesthetic experience (AX) as a measurement method. Simultaneously, AR is a Human-Computer Interaction (HCI) based technology that is always centred on user experience (UX). Therefore, this research paper is a preliminary step to collect the constructs and elements of AX and UX as a guide to finding the potential merger of the two fields.","PeriodicalId":313823,"journal":{"name":"International Journal of Creative Multimedia","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127891112","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-30DOI: 10.33093/ijcm.2022.3.1.3
Heidi Tan Yeen-Ju
With higher learning institutions shifting to an online mode of instruction since the onset of the COVID-19 pandemic, educators have found it challenging to engage students through video conferencing tools whilst students struggle to concentrate and feel a sense of disconnect due to lack of social interaction in the online class. This is prevalent in design courses that are traditionally very hands-on and studio based. Team-Based Learning (TBL) offers a possible instructional approach to increase student engagement through a series of structured activities with emphasis on learning through small group interactions. However, there is a lack of research on the implementation of TBL in the creative multimedia design discipline and it is unclear how students in this discipline would perceive this method of learning. This paper presents a study that sought to introduce TBL to undergraduate creative multimedia design students and elicit their perceptions and attitudes towards this new approach to learning online. The design of the TBL class and student learning experience are discussed in detail. A survey questionnaire was used to gather feedback from students and a simple statistical analysis was conducted. Results suggest that at this introductory stage, students had an overall favourable perception of TBL however felt that the lengthy duration of TBL sessions affected their satisfaction of TBL and therefore remained on the fence about their preference for TBL classes.
{"title":"Undergraduate Creative Multimedia Design Students’ Perceptions of Online Team-Based Learning","authors":"Heidi Tan Yeen-Ju","doi":"10.33093/ijcm.2022.3.1.3","DOIUrl":"https://doi.org/10.33093/ijcm.2022.3.1.3","url":null,"abstract":"With higher learning institutions shifting to an online mode of instruction since the onset of the COVID-19 pandemic, educators have found it challenging to engage students through video conferencing tools whilst students struggle to concentrate and feel a sense of disconnect due to lack of social interaction in the online class. This is prevalent in design courses that are traditionally very hands-on and studio based. Team-Based Learning (TBL) offers a possible instructional approach to increase student engagement through a series of structured activities with emphasis on learning through small group interactions. However, there is a lack of research on the implementation of TBL in the creative multimedia design discipline and it is unclear how students in this discipline would perceive this method of learning. This paper presents a study that sought to introduce TBL to undergraduate creative multimedia design students and elicit their perceptions and attitudes towards this new approach to learning online. The design of the TBL class and student learning experience are discussed in detail. A survey questionnaire was used to gather feedback from students and a simple statistical analysis was conducted. Results suggest that at this introductory stage, students had an overall favourable perception of TBL however felt that the lengthy duration of TBL sessions affected their satisfaction of TBL and therefore remained on the fence about their preference for TBL classes.","PeriodicalId":313823,"journal":{"name":"International Journal of Creative Multimedia","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128058425","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-30DOI: 10.33093/ijcm.2022.3.1.1
Tan Chin Ike, Tan Wee Hoe, Siti Fazilah Shamsudin, Sujata Navaratnam, Ng Yiing Y'ng
The mobile games industry dominates across Southeast Asia, a region reportedly with the highest smartphone ownership in the world and surprisingly, a below world average Internet speed in general. This begs the question then, how much latency is required for mobile games especially in competitive gaming? This research aims to examine players' perceived experience of latency in mobile games and how much latency drop would affect the players overall gameplay experience. Through a controlled testing environment and a variation of latency through a throttling system, the research was able to determine at which point the players perceived a drop in game playing experience. A group of 29 participants played nine rounds of popular MOBA game - Mobile Legends: Bang Bang (MLBB) sessions which were randomly conducted in a dedicated physical location. Each play session was around two hours, and all participants played a minimum of two games within that session. After each play session, the participants were given a survey of six questionnaire items to rate their perceived latency and the overall game playing experience. One-way ANOVA tests were run to determine whether there was significant difference across nine latency rates. The findings revealed that the optimum latency for playing MLBB was 55ms. However, the players’ game performance was affected beyond the 55ms range, in which negative game playing experience may start to build. Thus, the research found that the optimum latency range for enhanced player performance and experience can be set at the 55ms rate and below when playing MOBA games on a mobile platform.
手机游戏产业在东南亚占据主导地位，据报道，该地区拥有世界上最高的智能手机拥有率，但令人惊讶的是，该地区的网速低于世界平均水平。这就引出了一个问题，手机游戏(尤其是竞争游戏)需要多少延迟?本研究旨在检验玩家对手机游戏延迟的感知体验，以及延迟降低多少会影响玩家的整体游戏体验。通过受控的测试环境和节流系统的延迟变化，研究人员能够确定玩家在什么时候感受到游戏体验的下降。一组29名参与者在一个专门的物理地点随机进行了九轮流行的MOBA游戏- Mobile Legends: Bang Bang (MLBB)。每次游戏时长约为两个小时，所有参与者在此期间至少玩两款游戏。每次游戏结束后，参与者都会收到一份包含6个问题的调查问卷，以评估他们的感知延迟和整体游戏体验。采用单因素方差分析检验确定9种延迟率之间是否存在显著差异。结果显示，玩MLBB的最佳延迟为55ms。然而，玩家的游戏表现在超过55ms的范围内就会受到影响，在这个范围内可能会开始产生消极的游戏体验。因此，研究发现，在移动平台上玩MOBA游戏时，提高玩家性能和体验的最佳延迟范围可以设置为55ms及以下。
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