2025
Tyni, Heikki; Sotamaa, Olli; Myöhänen, Taina
Emotions in Game Data Work Journal Article
In: Games and Culture, 2025, ISSN: 1555-4120 .
Abstract | Links | Tags: Data, Data-driven development, Emotions, Game industry
@article{nokey,
title = {Emotions in Game Data Work},
author = {Heikki Tyni and Olli Sotamaa and Taina Myöhänen},
url = {https://doi.org/10.1177/15554120251349872},
doi = {10.1177/15554120251349872},
issn = {1555-4120 },
year = {2025},
date = {2025-06-16},
journal = {Games and Culture},
abstract = {This study explores the emotional dimensions of data work within the game industry. Through interviews with Finnish game industry professionals, the research reveals that data-driven work practices evoke a wide range of emotions, ranging from pleasure and satisfaction to insecurity and frustration. Data can act both as a helpful workmate and as a source of professional conflict and frustration, impacting the worker's sense of professionalism. Data-driven work also compels workers to individually confront ethical questions. Our findings highlight the interplay between creative work processes and data analytics, emphasizing the emotional labor that game industry professionals need to handle in a data-driven work culture. Additionally, the research addresses ethical considerations and the emotional work required to reconcile public perceptions of data usage. The study contributes to the broader understanding of emotional work in new data-intensive professions and advocates for more emotionally sustainable practices in data-driven game development.},
keywords = {Data, Data-driven development, Emotions, Game industry},
pubstate = {published},
tppubtype = {article}
}
This study explores the emotional dimensions of data work within the game industry. Through interviews with Finnish game industry professionals, the research reveals that data-driven work practices evoke a wide range of emotions, ranging from pleasure and satisfaction to insecurity and frustration. Data can act both as a helpful workmate and as a source of professional conflict and frustration, impacting the worker's sense of professionalism. Data-driven work also compels workers to individually confront ethical questions. Our findings highlight the interplay between creative work processes and data analytics, emphasizing the emotional labor that game industry professionals need to handle in a data-driven work culture. Additionally, the research addresses ethical considerations and the emotional work required to reconcile public perceptions of data usage. The study contributes to the broader understanding of emotional work in new data-intensive professions and advocates for more emotionally sustainable practices in data-driven game development.
2018
Vahlo, Jukka
In Gameplay: The Invariant Structures and Varieties of the Video Game Gameplay Experience PhD Thesis
2018, ISBN: 978-951-29-7168-8.
Abstract | Links | Tags: Agency, Cognition, Emotions, Experience narrative, Factor analysis, Motivations, Performativity, Phenomenology, Storytelling, Variation, Video games
@phdthesis{Vahlo2018d,
title = {In Gameplay: The Invariant Structures and Varieties of the Video Game Gameplay Experience},
author = {Jukka Vahlo},
url = {https://urn.fi/URN:ISBN:978-951-29-7169-5},
isbn = {978-951-29-7168-8},
year = {2018},
date = {2018-04-14},
urldate = {2018-04-14},
abstract = {This dissertation is a multidisciplinary study on video game gameplay as an autonomous form of vernacular experience. Plays and games are traditional research subjects in folkloristics, but commercial video games have not been studied yet. For this reason, methods and concepts of the folkloristic research tradition have remained unknown in contemporary games studies. This thesis combines folkloristics, game studies and phenomenological enactive cognitive science in its investigations into player–game interaction and the video game gameplay experience at large.
In this dissertation, three representative survey samples (N=2,594, N=845, N=1,053) on “Rewarding gameplay experience” are analyzed using statistical analysis methods. The samples were collected in 2014–2017 from Finnish and Danish adult populations. This dissertation also analyzes data from 32 interviews, through which the survey respondents’ gameplay preferences, gaming memories, and motivations to play were further investigated. By combining statistical and qualitative data analyses, this work puts forward a mixed-methods research strategy and discusses how the findings relate to prior game research from several disciplines and schools of thought.
Based on theoretical discussions, this dissertation argues that the video game gameplay experience as a cultural phenomenon consists of eight invariants in relation to which each individual gameplay experience can be interpreted: The player must demonstrate a lusory attitude (i), and a motivation to play (ii). The gameplay experience consists of explorative and coordinative practices (iii), which engender a change in the player’s self-experience (iv). This change renders the gameplay experience inherently emotional (v) and performative (vi) in relation to the gameworld (vii). The gameplay experience has the dramatic structure of a prototypical narrative (viii) although a game as an object cannot be regarded a narrative in itself.
As a key result of factor analytical studies and qualitative interview analyses, a novel approach to understanding player–game interaction is put forward. An original gameplay preference research tool and a player typology are introduced. This work argues, that, although video games as commercial products would not be intuitive research subjects for folkloristics, video game gameplay, player–game interaction, and the traditions in experiencing and narrating gameplay do not differ drastically from those of traditional social games. In contrast to this, all forms of gameplay are argued to be manifestations of the same vernacular phenomenon. Indeed, folkloristic research could pay more attention to how culture is experienced, modified, varied and expressed, regardless of whether the research subject is a commercial product or not.},
keywords = {Agency, Cognition, Emotions, Experience narrative, Factor analysis, Motivations, Performativity, Phenomenology, Storytelling, Variation, Video games},
pubstate = {published},
tppubtype = {phdthesis}
}
This dissertation is a multidisciplinary study on video game gameplay as an autonomous form of vernacular experience. Plays and games are traditional research subjects in folkloristics, but commercial video games have not been studied yet. For this reason, methods and concepts of the folkloristic research tradition have remained unknown in contemporary games studies. This thesis combines folkloristics, game studies and phenomenological enactive cognitive science in its investigations into player–game interaction and the video game gameplay experience at large.
In this dissertation, three representative survey samples (N=2,594, N=845, N=1,053) on “Rewarding gameplay experience” are analyzed using statistical analysis methods. The samples were collected in 2014–2017 from Finnish and Danish adult populations. This dissertation also analyzes data from 32 interviews, through which the survey respondents’ gameplay preferences, gaming memories, and motivations to play were further investigated. By combining statistical and qualitative data analyses, this work puts forward a mixed-methods research strategy and discusses how the findings relate to prior game research from several disciplines and schools of thought.
Based on theoretical discussions, this dissertation argues that the video game gameplay experience as a cultural phenomenon consists of eight invariants in relation to which each individual gameplay experience can be interpreted: The player must demonstrate a lusory attitude (i), and a motivation to play (ii). The gameplay experience consists of explorative and coordinative practices (iii), which engender a change in the player’s self-experience (iv). This change renders the gameplay experience inherently emotional (v) and performative (vi) in relation to the gameworld (vii). The gameplay experience has the dramatic structure of a prototypical narrative (viii) although a game as an object cannot be regarded a narrative in itself.
As a key result of factor analytical studies and qualitative interview analyses, a novel approach to understanding player–game interaction is put forward. An original gameplay preference research tool and a player typology are introduced. This work argues, that, although video games as commercial products would not be intuitive research subjects for folkloristics, video game gameplay, player–game interaction, and the traditions in experiencing and narrating gameplay do not differ drastically from those of traditional social games. In contrast to this, all forms of gameplay are argued to be manifestations of the same vernacular phenomenon. Indeed, folkloristic research could pay more attention to how culture is experienced, modified, varied and expressed, regardless of whether the research subject is a commercial product or not.
In this dissertation, three representative survey samples (N=2,594, N=845, N=1,053) on “Rewarding gameplay experience” are analyzed using statistical analysis methods. The samples were collected in 2014–2017 from Finnish and Danish adult populations. This dissertation also analyzes data from 32 interviews, through which the survey respondents’ gameplay preferences, gaming memories, and motivations to play were further investigated. By combining statistical and qualitative data analyses, this work puts forward a mixed-methods research strategy and discusses how the findings relate to prior game research from several disciplines and schools of thought.
Based on theoretical discussions, this dissertation argues that the video game gameplay experience as a cultural phenomenon consists of eight invariants in relation to which each individual gameplay experience can be interpreted: The player must demonstrate a lusory attitude (i), and a motivation to play (ii). The gameplay experience consists of explorative and coordinative practices (iii), which engender a change in the player’s self-experience (iv). This change renders the gameplay experience inherently emotional (v) and performative (vi) in relation to the gameworld (vii). The gameplay experience has the dramatic structure of a prototypical narrative (viii) although a game as an object cannot be regarded a narrative in itself.
As a key result of factor analytical studies and qualitative interview analyses, a novel approach to understanding player–game interaction is put forward. An original gameplay preference research tool and a player typology are introduced. This work argues, that, although video games as commercial products would not be intuitive research subjects for folkloristics, video game gameplay, player–game interaction, and the traditions in experiencing and narrating gameplay do not differ drastically from those of traditional social games. In contrast to this, all forms of gameplay are argued to be manifestations of the same vernacular phenomenon. Indeed, folkloristic research could pay more attention to how culture is experienced, modified, varied and expressed, regardless of whether the research subject is a commercial product or not.
