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By Evangelaras H., Koukouvinos C., Lappas E.

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This provides videogames a unique edge over media such as films, which by default are passive, single-person experiences, where emotion is experienced through empathy with a character rather than by direct interaction. Again, in games, player agency is king. The dominant emotions associated with People Fun are amusement and the variety of emotions associated with social bonding. During player observations, amusement is the easiest way to detect People Fun in a videogame, and the intense sense of closeness that occurs after shared laughter is perhaps the most valuable emotional experience of this kind of play.

Plus there were some emotions that were not included by Ekman, such as curiosity—a facial expression that can be recognized early in child development—which served an important role in play. There were also some emotions that Ekman had identified that were peripheral to his work on facial expressions, but that were much more important in the context of videogames. One such emotion is fiero (an Italian word meaning personal triumph over adversity), which turns out to be intimately associated with games and sports.

Power ups are another tool that games such as Pac-Man (Namco/Midway, 1980) use to break up gameplay during a level, offering the opportunity for fiero in the middle of levels by offering temporary super powers as well as creating new options for changes in strategy. Extra bonuses during play also provide mini fiero-like experiences for players by offering the opportunity to win something mid-level (such as the fruit in Pac-Man). Games such as Diner Dash or Zuma (PopCap, 2003) reward repeat play by offering expert scores and side challenges such as hard-to-reach bonus coins, which keep the fiero flowing.

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18-run nonisomorphic three level orthogonal arrays by Evangelaras H., Koukouvinos C., Lappas E.

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