Aesthetics of Interaction on Virtual Reality

with Educational Games Content

Yusup S. Martyastiadi

1,2

, Agatha Maisie Tjandra

, Mohammad Rizaldi

Faculty of Art & Design, Universitas Multimedia Nusantara, Tangerang, Indonesia

Doctoral Program, Graduate School, Indonesia Institute of the Arts Yogyakarta, Yogyakarta, Indonesia

Keywords: Aesthetic of Interaction, Educational Games, Play Experience, Virtual Reality

Abstract: The digital and virtual era creates a dependency between arts, science and technology. Knowledge and

applications, currently, can no longer be separated, so there are overlaps between these concepts. In terms of

interactive art, aesthetics no longer only arises because of its visual and sound beauty. This study investigates

the diversity of aesthetic in virtual reality, especially with educational game content. This paper describes the

aesthetic elements that occur in the experience of interaction through educational games. The case study of

existing VR projects led this investigation of the aesthetics of interaction. The previous projects will be

analysed for describing the aesthetics of interaction elements. We use the MDA framework (Mechanics,

Dynamics, and Aesthetics) for study the learnable material as an element of aesthetic in virtual reality. Finally,

we conclude that educational aspect potentially provides aesthetic elements in the play experience of the

games with virtual reality technology.

1 INTRODUCTION

Virtual reality and digital games as part of interactive

media cannot be separated from technology. The

interdependence between art, science and technology

provides its own advantages for interactive media.

Interactive media becomes flourishing in the

relationship between content, users and the

technology that they use. Therefore, aesthetics no

longer only appears as mere visual and sound beauty.

The aesthetics in the digital world of interactions

gain more diverse by including other human senses.

Moreover, feelings and communicative relations with

the human side as well as artificial intelligence can

also trigger the aesthetics of interaction. The

aesthetics of interaction makes interactive media

users get a distinct sensation of beauty. In addition,

under certain circumstance the game player can be

sucked into the virtual game world; this condition is

often called immersion.

Educational games are often used as alternative

learning in certain fields. And even in some

conditions, the educational game is used to support

the learning process at school. Most users of

educational games give positive testimonials to the

results of this alternative learning method. Basically,

with serious content, educational game users still feel

immersion through these play experiences and other

elements in the game world. On the other hand,

educational games tend to emphasize learning

material through game play rather than its visual

elements. There are interesting things that pay

attention from this research. The aesthetics elements

of non-visual and sound have a potential to provide

senses of satisfaction in playing. This study will focus

on investigating the aesthetic elements that affect the

immersion and play experience of the educational

game.

2 LITERATURE REVIEW

2.1 Aesthetics of Interaction

Crawford (2003) illustrates the terminology of

interactivity through a metaphor of reciprocal cycle

relations between two people by carrying out

activities listening, thinking, and speaking. The

quality of interactivity depends on each act of

listening, thinking, and speaking. Like a conversation

cycle, when someone speaks, the interlocutor will

listen, then understand the intent of the statement,

analyze, synthesize and finally speak to react to the

162

Martyastiadi, Y., Tjandra, A. and Rizaldi, M.

Aesthetics of Interaction on Virtual Reality with Educational Games Content.

DOI: 10.5220/0009192201620171

In Proceedings of the 1st International Conference on Intermedia Arts and Creative Technology (CREATIVEARTS 2019), pages 162-171

ISBN: 978-989-758-430-5

opinions or arguments of the first person. This

conversation occurs continuously in turn through the

listening, thinking and speaking activities of each

party. Finally it comes to the same understanding or

agreed solution, this is the interaction metaphor

according to Crawford (2003).

The terminology of listening, thinking, and

speaking in the context of interactive technology can

be explained through terms of input, process, and

output, although it seems complicated to understand

(Crawford, 2003). This elusive impression arises

because we think from the point of view of the artists

and designers; where artistic is born from the intuition

and fruit of the work and design. The terms of input

and output are part of the stages outside the artist's

self, more precisely the terminology in the technical/

engineering field. The word of process itself in the

field of interactive media also raises a lot of

understanding. What process is meant? Does the

process interact? Or is it the manufacturing process?

LeBlanc (2004) tries to offer a concept that is

more easily understood through media of game; the

approach is called MDA (Mechanics, Dynamics,

Aesthetics). This approach will connect multi fields

between technology, science and design. Let us begin

understanding through the example of the game as

software (Figure 1).

Figure 1: Game as Sofware (LeBlanc, 2004).

Figure 2: MDA Approach (LeBlanc, 2004).

LeBlanc (2004) proposes the MDA approach as a

bridge between technology and design. In detail, it

provides mechanical terms for programming code

and game rules. Second, the dynamic term is to

accommodate technical processes and interactive

systems in the game. Finally, "fun" and technical

needs are part of an aesthetic approach. In the world

of aesthetic digital games, LeBlanc refines the term

"fun" in eight types, among others (Hunicke et al.,

2004):

1. Sensation (Game as sensory pleasure)

2. Fantasy (Game as imaginative but convincing)

3. Narrative (Game as a story or drama)

4. Challenge (Game as training against

obstacles)

5. Fellowship (Game as a socializing container)

6. Discovery (Game as territory that needs to be

explored)

7. Expression (Game as discovery/ self-

actualization)

8. Submission (Game as entertainment / hobby)

We can use the MDA approach as a reference for

aesthetics of interaction for develop games or other

interactive media.

In his study, Costello (2007) also develops

pleasure criteria into 13 types so that they could

enrich LeBlanc's "fun" terminology, such as:

1. Creation (the pleasure of interacting with

artworks)

2. Exploration (the pleasure of exploring

something)

3. Discovery (the pleasure of finding or doing

something)

4. Difficulty (pleasure with developing skills)

5. Competition (pleasure from the experiment

reaches the final goal)

6. Danger (pleasure through fear or danger

situation)

7. Captivation (pleasure by feeling another entity

that has control or attraction)

8. Sensation (pleasure through the five senses

response)

9. Sympathy (the pleasure of sharing emotional

feelings)

10. Simulation (pleasure because of real life

copies)

11. Fantasy (the pleasure to feel the fantastic

creation of imagination)

12. Camaraderie (pleasure developing a sense of

friendship)

13. Subversion (pleasure breaking rules)

According to some of those elements above,

Wright et al. (2008) also formulates in other

sentences that aesthetics of interaction need to focus

on individual understanding, concerns, desires,

aspirations, values, and user experience. Petersen et

al. (2004) add that the aesthetic of interaction concept

can be used as a way of conceptualizing interaction,

gestural acceptance, emotional expression, and

pleasant & spontaneous real interfaces. It means, the

aesthetic of interaction is not only felt, however there

is play experience inside it. A pragmatic approach to

aesthetics of interactive system states that aesthetic is

Code Process

Requireme

nts

Rules

Game

“Session”

“Fun”

Mechanics

Dynamics

Aesthetics

Aesthetics of Interaction on Virtual Reality with Educational Games Content

163

closely related to the context, usage, and intermediate

medium.

Kwastek (2013) states that interactive media must

begin with active entities from several parties

involved. Artists or designers are individual subjects

and not just "the tailor" of the interaction systems.

Therefore, the aesthetics of interaction should

prioritize individual perceptions and interpretations.

Perception and interpretation appear subjectively and

cannot be generalized. The creator of interactive

media still plays an important role in the aesthetics of

his artwork. Artists will create proportions of

interaction through design and programming as a

form of system implementation by selecting,

constructing, and uniting digital assets that have been

prepared. Kwastek adds in the perspective of the

users of interactive art, they feel that the beauty in

interactive works is moments that are unthinkable and

unidentified situation emerged outside of

preconception. Creating interactive media is building

an interactivity framework in the context of the

process of using the intuition.

Kwastek (2013) also states that aesthetics in

interaction projects can be affected by decision-

making by interactive media users, even though the

interaction is actually planned in advance. So in

reality, users can experience immersion through their

play experience and skip some interactions that are

available by design. The emergence of real

contradictions between the desire to admire artworks

and the need to control those feelings are

characteristics of interactive art. In other words, the

absence of artists/ designers in the interactive media

interaction process is recognized as part of the

interactivity characteristics. Their role is only at the

beginning of creating. The dynamics of interactivity

are fully a process of interaction between the system

and the user. Interactive project is built through

gradual processes and iterations, where artists/

designers test potential interactions according to their

imagination and design as a form of verification and

possible modifications in these interactive media

systems. It means the artists/ designers are the first

users of their own works. Therefore, to get a more

ideal verification, several test-plays are needed in the

process of building interactive media by involving

potential users or certain groups who have an interest

in interactive media.

Blunck (as cited by Kwastek, 2013) suggests that

a certain form of aesthetic experience is possible if

we experience a situation not by truly experiencing

"its sensual presence", but by "imagining it in its

absence, imagining it sensually and in such a way as

to direct it to presence of its aesthetic ".

2.2 Narrative as Virtual Reality

In the digital world, opinions emerged regarding the

use of virtual reality technology, including VR will

replace reality; including the opposite of VR will not

be able to replace reality, VR will question the

concept of reality, VR will rediscover or explore

reality, VR will enhance the user's mind, VR is a

riskless pleasure so it can be considered immoral, VR

will question the uniqueness between fiction - reality,

etc. (Ryan, 1999). In his study, Ryan analyzed VR as

a semiotic phenomenon and explored its implications

for literary theory and textuality problems. Narratives

play an important role in interactive media, as a result

of the interaction plot and interaction experience

depend on the storyline that was designed

beforehand.

In VR technology, there is immersion and

interactive elements that generated by computers.

Ryan (1999) sees that this immersion and

interactivity are characteristics of data used to create

reality experiences through virtual reality. According

to Steuer (as cited by Ryan, 1999), these two data

characters will present the term telepresence; the

condition where you feel the presence of environment

that is developed virtually, rather than the real

environment directly. Telepresence is related to

presence, just as virtual reality relates to reality. Ryan

describes that an interesting part of this interactive

media is when it can transfer the concept of

immersion and interactivity into a literary

perspective. So the narrative has the potential to be

applied textually into VR technology. This is related

to interactivity, which is considered to have its own

aesthetic value through post-modern theories. On the

other hand, immersion is often ruled out as a form of

illusionary aesthetic suspension from the reference to

its use in the narrative. Therefore, the immersion has

the power of the presence of reality (Ryan, 1999).

2.3 Immersion

According to Ryan (1999), immersion depends on

clarity, where technological equipment has an

influence in representing reality. In this case,

immersion will be stronger when projecting a three-

dimensional display, the illusion of depth through any

space. Through VR technology, the boundaries of

space are lost so users feel they are in the virtual

world. Steuer (1992) states that there is a depth of

information in VR media as a function of display

resolution. Steuer also adds about the breadth of

information as the number of sensor dimensions that

are simultaneously displayed through media images,

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sounds, sense of smell, and touch sensations. VR

technology combines the diversity of media in a

complete interaction experience.

Sheridan (as cited by Ryan, 1999) enriches

Steuer's statement on immersion, where VR users

must be able to explore the entire virtual world and

understand it with various perspectives. Consciously

the user "leaves" the real world and controls his

senses to wander in virtual extraterrestrial life and

even enters the inaccessible conditions in the

everyday world. For instance, entering small spaces

such as blood vessels or unidentified and isolated

areas in the hemisphere of this earth. In other words,

immersion is the blocking of the physical/ real world

(Biocca, 1992). VR users will not succeed be

immersed if their minds are still in the real world and

still think that what is displayed in their eyes is the

data produced by the computer. Computers in VR

technology are actually just tools that process data

and their presence is integrated in the system. This

means that VR users do not communicate with the

computer itself, but rather interact with the

interactivity system through playing experience. This

is reinforced by Lanier & Biocca's statement (as cited

by Ryan, 1999) that VR users cannot see the

computer anymore, because it has disappeared, there

is only the users and their exploration experiences.

Another interesting part of VR technology,

immersion also makes communication through

language and words also disappear. This language is

replaced by the action of physical movements using

both hands and mouth to change content in VR and

improvise spontaneously and quickly (Lanier &

Biocca, as cited by Ryan, 1999). In the virtual world,

to do an action or command is not necessary to

symbolize a particular language. For example when

building a fortress, in the virtual world the user

directly creates the reality of the construction of the

fort, without explaining the symbolic language about

the defense building. This means that in interacting

with the VR system, as a form of post-symbolic

communication, communication is no longer needed

in the form of language-bound descriptions and

semantic use.

3 CASE STUDY

This paper uses two existing project as case studies of

the aesthetics of interaction. The existing projects are

SIMIGAPI and ASENG’S ADVENTURE:

PECINAN.

3.1 SIMIGAPI

Figure 3: Main Menu VR “SIMIGAPI” (Tjandra, 2015).

SIMIGAPI is a VR project for volcanic eruption

mitigation simulation (Simulasi Mitigasi Gunung

Berapi). This project is a virtual reality application

using head mounted display (Oculus Riff) with

educational game content inside the system.

SIMIGAPI has purpose to offer a joyful learning tool

for children aged 7-11 years old. This application will

educate them about volcanic eruption mitigation with

fun experiences (Tjandra, 2018).

There are three level of SIMIGAPI based on the

process of mitigation, which are introduction,

preparation, and evacuation (Tjandra, 2015).

1. Introduction

This first level introduces eruption hazard

areas, mitigation maps, and eruption situations

using info graphics, animations and user

interfaces.

2. Preparation (Indoor mission)

The users will see and listen to news from

television and radio. Television, as a core

media, can convey the news at the beginning

of the volcano's status. There are local radio

networks in disaster-prone areas that convey

the current conditions of the volcano's

situation. The users will find out the tools used

to fill emergency bags. As shown in Figure 4,

the tools are flashlight, foods & water, first aid

kit, and goggles. The users are required to take

these tools in preparation for evacuation.

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165

Figure 4: Finding Tools in “SIMIGAPI” (Tjandra, 2018).

Evacuation (Outdoor mission)

In outdoor mission, players will be directed to

check in at 8 points throughout their

evacuation journey (Figure 5).

The users will receive mitigation material

through check points found along the way to

the finish point containing prohibitions,

information and instructions for mitigation

evacuations. Figure 6 illustrates the GUI in

each checkpoint. The goal is that users can be

aware of certain situations that occur during

evacuation in the field.

Figure 5: Check Points of “SIMIGAPI” (Tjandra, 2018).

Figure 6: Schema of 3D GUI of “SIMIGAPI” (Tjandra,

2018).

3.2 ASENG’S ADVENTURE:

PECINAN

ASENG’S ADVENTURE: PECINAN is a VR

game application that developed for reintroducing

traditional Chinese (Peranakan) food culture through

new media. This project was developed on Android

operating system and used on Samsung Gear VR.

Basically, this VR game could be categorized as an

educational game (H. Purnama & H. Wongso,

personal communication, January 28, 2019).

Figure 7: Game World of “ASENG’S ADVENTURE:

PECINAN” (Purnama, 2018; Marshal, 2018).

This project was led by phenomenon that

Indonesian young people do not consider about

traditional Chinese food. Most of them recognise

Western food, however they do not know the food

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that originated from Indonesia (Wongso, 2018). This

game has target users are teenagers and young people,

with age range of 16-21 years old, domiciled in

Tangerang and Jakarta. In this project, players will act

as a person who named Aseng, a food stall owner who

dreams of becoming a royal cook.

Purnama, Wongso, Marshal (2018) describe the

gameplay of the game, firstly, the player will choose

the food that he wants to cook (Figure 8). Players will

be faced to the tutorial level with the spring roll menu.

Figure 8: Menu Quest of “ASENG’S ADVENTURE:

PECINAN” (Purnama, 2018).

Secondly, in the pre-cooking process, the player

will collect cooking ingredients that can be obtained

from the quest, as shown in Figure 9. If all the

ingredients have been collected, the player will enter

the cooking phase.

Figure 9: Visualization of The Ingredients Shop of

“ASENG’S ADVENTURE: PECINAN” (Purnama, 2018).

Next in the cooking process, the player will be

given a direction and follow the direction. Finally,

when the food has been cooked, the food will be

assessed and the player will get experience and game

currency in the form of gold. This gold can be used to

buy ingredients in the store, while the experience is

useful so that players can cook food on the next level

that has a higher of difficulty.

4 DISCUSSION

In discussion section, firstly, we will describe both of

existing projects use MDA approach. The existing

project will be explained in general concept of MDA

approach. And then analyze the element of aesthetics

for both projects by identifying each component

carried out the application of the MDA approach.

Then those are reviewed to gain an understanding of

the interaction aesthetics in the two projects. We

focus on the users’ feedback who playing the VR

educational games.

Discussion about aesthetics of interaction cannot

be separated from human cognitive abilities. The

aesthetics of interaction, in term of design, is a

product of cognition. Norman (as cited by Preece,

Roger & Sharp, 2002) distinguishes two cognition

modes, which are experiential and reflective

cognition. The creativity is one of result of reflective

cognition. In addition, reflective cognition gains

abilities to design and learning. He adds that both

modes of cognition still need other aspect when we

use in daily life, such as support of technology.

Norman also describes six cognition processes (as

cited by Preece, Roger & Sharp, 2002):

 attention

 perception and recognition

 memory

 learning

 reading, speaking, and listening

 problem solving, planning, reasoning,

decision making

According to Norman’s statement, we can explore

the aesthetic of interaction more depth by making

correlation between LeBlanc’s MDA approach and

VR educational games. Especially, the relationship

senses, action, reaction, and technology.

4.1 MDA Approach for The Existing

VR Games

We sum up some response of users test for both VR

educational projects. The first summary, as described

in Table 1, is MDA approach for SIMIGAPI project

and Table 2 is a depiction of MDA approach for

ASENG’S ADVENTURE: PECINAN project. We

divide the description into four items, namely

requirements, rules, designer's task, users' feedback.

Each item will fill the mechanics, dynamics, and

aesthetics elements. As declared before, the feedback

of users test will employ the investigation of the

aesthetics element. Mainly, discussion on the

terminology of “fun” based on LeBlanc’s idea.

As mentioned in Table 1, in SIMIGAPI VR

educational game, firstly the users feel learning

something about the mitigation. Secondly, they are

also felt fun by getting new knowledge. Thirdly, the

users face new experiences on emergency response.

The last, they are immersed into the simulation.

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167

Table 2 describes that, by playing the VR game of

ASENG’S ADVENTURE: PECINAN; first of all the

users learn about cooking. Next, the users get freshly

information behind the traditional food and its

philosophy. Finally, they feel fun in the virtual world.

In the context of this case study, these games are

built in mitigation scenario based on the narrative of

evacuation from volcanic disasters and cooking

scenario. The designers use volcanic mitigation

materials and cooking tutorial as basis for developing

narratives. It means, there are learning materials that

are adapted into the narrative. So the narrative will be

linked to the interaction plot to form a game scenario.

As Ryan (1999) explained that narrative plays an

important role in determining interaction plots and

play experience. We can conclude that offered

learning material determines the interaction plot and

play experience in the VR game.

Of course the VR game "SIMIGAPI" is providing

an understanding regarding volcanic disaster

mitigation through its game play. Similarly, the

"ASENG’S ADVENTURE: PECINAN" project

offers a process of learning to cook and get to know

traditional Chinese food. So these VR games have the

aim to provide an understanding of what is new and

the knowledge that is not yet known. The suitability

of the VR game development goals with the design

must be validated.

Table 1: MDA Approach for SIMIGAPI Project.

Requirements Rule Designer’s task Users’ Feedback

MECHANICS Software: C#,

Unity, Autodesk

3DS Max, Adobe

Photoshop

Hardware: PC,

laptop, Oculus Rift

DK 1 (head-

mounted display)

Ensure the function of

hardware and

software can run

properly so that the

interaction and

response of play can

be felt directly by the

players.

Determine the

technology of

Oculus Rift as a

gaming platform

 Sometime get

technical difficulty

when HMD rotate

to right and left

 Cabling on Oculus

Rift DK 1 are

suitable for

children

DYNAMICS

 Game play,

scenario of

mitigation,

interaction plot

 Introduction,

preparation, and

evacuation

Information  Action

 Reaction 

Feedback 

Operation

Determine the game

concept: volcanic

eruption mitigation

simulation

 Making interaction

with the VR game

system

 Most of the users

follow the scenario

of mitigation

AESTHETICS Senses: sight,

hearing, touch

Sensory: eyes, ears,

hand

Kinesthetic:

movement of hand

& head, clicking

mouse

sensation, fantasy,

narration, challenge,

fellowship, discovery,

expression,

submission

Determine aesthetic

concepts that can

accommodate

dynamic model,

such as 3D assets,

2D illustration,

audio, and

animation.

 The users learn

something about

mitigation.

 The respondents

feel fun when

knowing new

information.

 The users get new

experience about

emergency

response on

volcano eruption.

 They feel

immersed.

Table 2: MDA Approach for ASENG’S ADVENTURE: PECINAN Project.

Requirements

Rule

Designer’s task

Users’ Feedback

MECHANICS Software: C#,

Unity, Autodesk

3DS Max, Adobe

Photoshop

Ensure the function

of hardware and

software can run

properly so that the

interaction and

Determine the

technology of

Android as a

gaming platform.

 Using VR

controller,

sometime feel

unpredictable

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Requirements

Rule

Designer’s task

Users’ Feedback

Hardware: PC,

laptop, Oculus Rift

DK 1 (head-

mounted display)

response of play can

be felt directly by the

players.

 There is technical

limitation when

doing hand

movement as acts

of cooking

DYNAMICS

 Game play,

scenario of cooking

competition,

interaction plot

 Pre-cooking

preparation,

cooking process,

and assessment &

reward

Information  Action

 Reaction 

Feedback 

Operation

Determine the game

concept: cooking

competition.

 The users practiced

cooking by doing

movement of their

hand on the VR

controller

 Most of the users

follow the scenario

of cooking

competition

AESTHETICS Senses: sight,

hearing, touch

Sensory: eyes, ears,

hand

Kinesthetic: body

gesture, movement

of hand & head,

clicking console/

controller

sensation, fantasy,

narration, challenge,

fellowship, discovery,

expression,

submission

Determine aesthetic

concepts that can

accommodate

dynamic model,

such as 3D assets,

2D illustration,

audio, and

animation.

 The users learn

something about

cooking.

 The respondents

feel fun when

knowing new

information. For

example, they

freshly knowing

philosophy of the

food or story

behind the

traditional food.

 They feel inside of

the virtual world of

the game

Based on feedbacks from the user test, these two

educational games can be stated to be successful in

delivering the learning material, because between the

design concepts and the final results are synchronous.

Designer SIMIGAPI explained that SIMIGAPI VR

game users get new knowledge related to volcanic

disaster mitigation as well as information about

evacuation and items that must be taken during an

evacuation (Tjandra, 2015). Purnama & Wongso

(personal communication, January 28, 2019) adds

that the results of user test the ASENG’S

ADVENTURE: PECINAN project provides positive

validation as consistent as their scenario plan.

ASENG’S ADVENTURE: PECINAN users newly

just found out information after they played with this

educational game. The scenario of how to cook a food

can be learned through this game, including

determining the ingredients of cooking, the use of

cooking tools, and how to cook it.

According to those VR educational games, there

is a similarity about the outcome of the game play.

The goal of educational game development is

achieved, which is learning process of something and

giving understanding of knowledge. Basically, game

could be used as a learning media and a method for

comprehend some fact and practical life in real

experiences. A game could be a simulation of real

things in ordinary life and also extraordinary

activities.

Visually, the game environment leads the game

users immerse to the virtual world. Most of the

respondents of both games point out that the game

assets help them to feel the aesthetics experiences in

the games. This immersion also leads the gamers to

feel the learning space as real as daily life, even

though it is a virtual/ digital world. Some practices of

playing games, the gamers do act - think to what they

are faced in the game world and collapse all real life

activity, as same as mentioned Biocca (1992) about

blocking the real world as an immersion of the game.

According to this case study about educational

game, there is still has an immersion even though it is

a serious game and is not just entertainment media. In

other words, game virtual world still has possibility

to develop knowledge. At least, game players can

understand to the substance that was modulated as

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169

learning material and has specifically serious

outcomes.

As conclusion of this subsection, we offer a

modification of LeBlanc’s MDA approach by adding

a term “understanding”, so there is nine aesthetics

terminology of “fun” in educational games, such as:

1. Sensation (Game as sensory pleasure)

2. Fantasy (Game as imaginative but convincing)

3. Narrative (Game as a story or drama)

4. Challenge (Game as training against

obstacles)

5. Fellowship (Game as a socializing container)

6. Discovery (Game as territory that needs to be

explored)

7. Expression (Game as discovery/ self-

actualization)

8. Submission (Game as entertainment/ hobby)

9. Understanding (Game as learning media)

4.2 The Relationship of MDA Approach

with The VR Games

We provide a graphic that illustrates the relationship

between the MDA approach and the two VR

educational games. We take modification of MDA

approach to analyze the relationship with both of VR

existing projects. This illustration of the relationship

(as shown in Figure 10) is formed circle and is not

linear as founded by LeBlanc (2004). In our opinion,

it is not linear because of interplay between MDA

elements. It means mechanics element is not always

the first starting point of the game development

process.

In sophisticated era, technology is growing

rapidly and can accommodate the demands of high-

artworks. There is no more technological barrier for

creativity. Consequently, in some cases, the project

led by artistic concept and then decided which

technology is being required to develop the game. In

other cases, dynamics element can be trigger of the

game project due to the point of interest, which is the

interaction.

Figure 10: Relationship of MDA Approach with the VR

Educational Games.

Figure 10 points out each relationship of MDA

approach, such as:

1. VR platform represents mechanics elements,

which the technology requirements (hardware

- software) are integrated into a game engine.

2. Dynamics element is accommodated by

interaction in the play experiences and then act

as a game play for both VR educational

games.

3. Aesthetics element is fulfilled by digital assets

of VR games, for instance, 3D assets, audio,

2D illustration, and animation. All of the

assets are being tied with narrative. This

narrative leads the interaction plot; as a result,

all of digital assets are integrated in the game

scenario and the learning material.

As declared before, modified MDA approach

conduct adaptable starting point to designing game.

Each element of MDA can be leader of game

development. Nowadays, technological support can

adjusted to other elements compare to one decade ago

that technology led dynamics element and then

aesthetics element affected by the its dynamics

component.

5 CONCLUSIONS

Based on the results of this study of the aesthetics of

interaction on virtual reality with educational games

content, we can conclude that educational material in

these VR game, potentially could enhance the

terminology of fun by adding new vocabulary in

LeBlanc’s aesthetics taxonomy, which is

understanding. The understanding means that game

Digital

Assets

3D VR

Play

Experiences

platform

Dynamics

Mechanics

Aesthetics

Game

Play

Narrative

Game

Engine

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as learning media. So, there is nine “fun”

terminologies in the aesthetics element of MDA

approach for educational games.

Second summary, in current digital age, MDA

approach supposes to be more dynamic and flexible

due to increasingly sophisticated technological

developments. The MDA approach is not linear

again, however there is more adoptable to the game

design concept.

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