Abstract
Video games have become an increasingly popular and influential form of entertainment in recent years, with a growing market and diverse range of players. As a result, there is a need to better understand and improve various aspects of the video game industry, including storytelling, localisation, and immersion. Storytelling in video games refers to the use of narrative elements, such as character development, plot, and dialogue, to create a compelling and engaging experience. Localisation involves adapting a game for different cultural and linguistic audiences, which can be a complex process that requires careful consideration of the original content and the target audience. This can include translation, voice acting, and other modifications to ensure a seamless and enjoyable experience for players. Immersion refers to the extent to which the player feels fully absorbed and engaged in the game world and its gameplay. By understanding and addressing these three areas, game developers can create more engaging and successful games for players around the world. This study focuses on the interrelated areas of storytelling, localisation, and immersion within the context of role-playing games, using The Witcher III: Wild Hunt as a case study. The study used 41 participants who played the game in both English and Brazilian-Portuguese localised versions and completed questionnaires and interviews about their perceptions of these three areas. The results of the study offer recommendations for improving graphic design in video games and suggest the need to explore whether the impact of localisation on story and immersion is dependent only on language or influenced by other factors. © 2023, The Author(s), under exclusive license to Springer Nature Switzerland AG.

Abstract
ObjectivesThere is a growing interest in mindfulness-based programs. Yet, research in the area is limited, and little is known about the factors that moderate the effects of these programs. The two-fold aim of this study was (1) to examine the effects of a mindfulness-based program on dispositional mindfulness, inattention and emotional lability, handwriting fluency, spelling accuracy, and composing quality, as well as school achievement; and (2) to evaluate the moderating role of lesson absences, intervention-related knowledge, and social validity.MethodUsing a quasi-experimental design, 257 fourth graders were assigned to an experimental group receiving a mindfulness-based program (n = 130) or an active control group receiving a health-based program (n = 127). Both programs were implemented in the classroom for 8 weekly units, which included two 30-min sessions delivered by psychologists, followed by three 5-min sessions delivered by teachers. All children were evaluated before and after the programs.ResultsCompared to the control condition, the mindfulness-based program resulted in higher levels of internal and external awareness, and decentering and nonreactivity, as well as better composing quality and mathematics grades. Lesson absences, intervention-related knowledge, and social validity did not moderate the effects of the mindfulness-based program.ConclusionsThese findings support the integration of mindfulness practices in primary school as a means to improve children's academic-related skills and ability to be mindful.

Abstract

Abstract
Virtual reality and emotions have become inseparable concepts over the past few years, supported by the increasing number of studies relating them. However, these studies' methodologies are often poorly justified or dependent on the authors' subjective definition of emotion and its classification. Moreover, frequently, these studies only consider two stimuli, specifically audiovisual, despite being known the relevance of including a greater variety of sensory channels to improve the relationship between the individual and the virtual environment. So, to address these gaps, and considering the importance of multisensory stimulation, this paper aims to review the methods and instruments found in the literature regarding the analysis of the users' emotions in virtual reality. Also, we provide an overview of the main limitations of such studies. Little information can be found in the literature regarding the connection between the input stimulus and the users' emotional responses. This corroborates the difficulty in creating and evaluating immersive virtual experiences when stimulating more than two human senses, typically audiovisual. Nevertheless, we address some clues on the impact of visual, auditory, haptic, smell, and taste elements to trigger specific emotions. Also, we address the association between the research area and the method used. Finally, the main gaps and challenges are discussed. We expect that the combination of these results acts as guidelines for designing richer multisensory virtual experiences. Moreover, we intend to contribute to future research on emotions-based immersive virtual reality by providing a review of the most suitable methodologies and instruments for specific contexts.

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Abstract