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+
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+                              <name role="marc_aut">
+                                 <forename>Dominik</forename>
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+                        <orgName>Friedrich-Alexander-Universität Erlangen-Nürnberg, Institut für Geographie</orgName>
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+                           <idno type="gnd">1077268289</idno>
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+                           <email>trilcke@uni-potsdam.de</email>
+                           <idno type="gnd">139145117</idno>
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+            <p>Medienrechte liegen bei den Autor*innen.</p>
+            <p>All links checked<date when="2022">30.03.2022</date>
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+            Geisteswissenschaften.</creation>
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+            <language ident="en">Abstract in Englisch</language>
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+            <keywords scheme="gnd">
+               <term>Videospiel<ref target="4063465-6"/>
+               </term>
+               <term>Anthropogeografie<ref target="4133695-1"/>
+               </term>
+               <term>Feldforschung<ref target="4016674-0"/>
+               </term>
+               <term>Landschaft<ref target="4034343-1"/>
+               </term>
+               <term>Teilnehmende Beobachtung<ref target="4184622-9"/>
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+            <div type="abstract">
+               <argument xml:lang="de">
+                  <p>Visuelles Landschaftserleben im Sinne der neueren Kulturgeographie bedeutet,
+                     dass soziokultureller Kontext und Umwelt erst durch individuelle
+                     Bedeutungszuweisungen zueinander in Beziehung gesetzt werden. Landschaft wird
+                     also nicht als vorgegeben betrachtet, sondern erst im Moment des Betrachtens
+                     diskursiv konstruiert. Über die individuellen Konstruktionsweisen von digitalen
+                     Landschaften ist in diesem Zusammenhang noch wenig bekannt. Sind Landschaften
+                     in Videospielen nur eine detailreiche Kulisse? Locken am Horizont Affordanzen?
+                     Oder entwickeln Spieler*innen ihre jeweils eigenen Konstruktionsweisen? Unser
+                     methodischer Ansatz zur Beantwortung dieser Fragen ist doppelt experimentell.
+                     Zunächst erweitern wir die Methode des textbasierten <term type="dh">close
+                        reading</term> in seiner Variante des <term type="dh">close playing</term>
+                     auf digitale <term type="dh">walk-alongs</term> im Sinne der
+                     geographischen Feldforschung. In einem zweiten Schritt nutzen wir das
+                     etablierte Inventar der <term type="dh">image schemata</term> für die
+                     Annotation von aus Screencasts gewonnen Keyframes. Hauptbefund ist, dass es
+                     eine gewisse Spielfertigkeit erfordert, um eine Landschaft überhaupt
+                     individuell anders inszenieren zu können als von der Spielmechanik gefordert.
+                     Zweitens kann je nach Spielstil Landschaft als eine Aura wirksam werden, die
+                     nicht nur das Spielgeschehen als entfernte Kulisse rahmt, sondern auch die
+                     Ziele der Spieler*innen in allen weiteren Interaktionen mit dem Spiel
+                     beeinflusst.</p>
+               </argument>
+               <argument xml:lang="en">
+                  <p>Experiencing visual landscape in the sense of newer cultural geography means
+                     relating socio-cultural context and environment by individual sense-making.
+                     Landscape is therefore not considered pre-given, it is discursively constructed
+                     in the very moment of watching. In the context of digital landscapes, little is
+                     known of the individual sense-making. Do landscapes only set the scene in video
+                     games? Are affordances set on the horizon? Or do the players create their own
+                     ways of enacting? Our methodological approach to answer these questions is
+                     doubly experimental. First, we extend the method of text-based <term type="dh"
+                        >close reading</term> in its variant of <term type="dh">close playing</term>
+                     to digital <term type="dh">walk-alongs</term> in the sense of geographical
+                     field research. In a second step we use the established inventory of <term
+                        type="dh">image schemata</term> for the annotation of key frames extracted
+                     from observed screencasts. As main findings, we found that it requires a
+                     certain skill level to enact landscape any different than simply compliant to
+                     the game mechanics. Secondly, we found that depending on the style of playing,
+                     landscape can be enacted as an aura that not simply frames the game as distant
+                     scenery, but also influences the mindset for all further interactions with the
+                     game.</p>
+               </argument>
+
+            </div>
+            <div type="chapter">
+               <head>1. Introduction</head>
+               <p>Recently, the long-established study of video games<note type="footnote"> Cf. <ref
+                        type="bibliography" target="#aarseth_typology_2003">Aarseth et
+                        al. 2003</ref>.</note> made initial steps towards embracing contemporary
+                  conceptualisations and framing of space and place<note type="footnote"> Cf. <ref type="bibliography" target="#guenzel_space_2008">Günzel
+                     2008</ref>; <ref type="bibliography" target="#aarseth_ludotopia_2019">Aarseth / Günzel 2019</ref>.</note>. This study leverages methodological and
+                  theoretical advances in cultural geographies and the digital humanities to
+                  advocate for <term type="dh">close playing</term>
+                  <note type="footnote"> Cf. <ref type="bibliography" target="#indersat_medien_2020">Inderst 2020</ref>. </note> through a lens of the geographic
+                  concept of landscapes,<note type="footnote"> Cf. <ref type="bibliography"
+                        target="#rose_feminism_1996">Rose 1996</ref>.</note> through which we
+                  identify and interrogate the functions and assemblages of spacing<note
+                     type="footnote"> Cf. <ref type="bibliography" target="#schatzki_site_2002">Schatzki 2002</ref>.</note> in different types of video
+                  games.</p>
+            </div>
+            <div type="chapter">
+               <head>2. Related work</head>
+
+               <div type="subchapter">
+                  <head>2.1 Constituents of gameplay</head>
+
+                  <p>Our analysis operationalises Aarseth’s<note type="footnote"> Cf. <ref type="bibliography" target="#aarseth_theory_2012">Aarseth
+                        2012</ref>.</note> core ontology of video games:</p>
+                  <list type="unordered">
+                     <item>Player: the impersonation of the core game agent by a controlling human
+                        being</item>
+                     <item>Object: a single game element, players can interact with</item>
+                     <item>Agent: any other being a player can interact with</item>
+                     <item>Setting: an assemblage of visualized game elements, players cannot
+                        interact with without movement</item>
+                     <item>Event: game situation that occurs regularly or randomly</item>
+                  </list>
+                  <p>When conceptualised and presented as embodying <term type="dh">Homo
+                     ludens</term>,<note type="footnote"> Cf. <ref type="bibliography" target="#huizinga_homo_1987">Huizinga et al. 1987</ref>.</note> the
+                     subject in the player-game relation pursues no higher purpose than generating
+                     and extracting joy through software-based freedom of choice in an ad hoc
+                     setting. In contrast to the fluidity characterising spaces of play, the act of
+                     gaming in the digital space is defined and constrained by a set of well-defined
+                     game mechanics, parameters, and affordances. Extrapolating from Esposito, one
+                     reduces the video game to a digital apparatus designed and intended for
+                     ›ludens‹, in which settings, environments, and narratives collectively
+                     constitute a playable space for the resituated subject-avatar.<note
+                        type="footnote"> Cf. <ref type="bibliography" target="#esposito_definition_2005">Esposito 2005</ref>.</note> A resituating of the player is
+                     functionalised by, and contingent to, forms and degrees of immersiveness and
+                     interactivity; Esposito’s definition centres this relation on the interactivity
+                     of a video game as mediated through audio and visual stimuli and essentialises
+                     the digital as medial. The technical and denarrativized design of video game
+                     functionality and elements of play, and consequent research within this sphere,
+                     indirectly underscore interactivity and immersion as key elements of the player
+                     experience.<note type="footnote"> Cf. <ref type="bibliography" target="#williams_players_2019">Williams / Smith 2007</ref>.</note> Converse
+                     to the technical are the strands within game research, which leverage
+                     approaches from the social sciences to explore the societal positionality and
+                     psychosocial functionality of games, generally through the use of empirical
+                     methods such as surveys and controlled laboratory experiments.<note
+                        type="footnote"> Cf. <ref type="bibliography" target="#lankoski_game_2015">Lankoski / Björk 2015</ref>.</note> The resulting body of
+                     knowledge demonstrates the linkages between the player experience, game
+                     mechanics, and aesthetics, and highlights the centrality of these elements in
+                     contemporary game design.</p>
+                  <p>Humanities-informed approaches situate games as constructing and construing
+                     meanings that reflect and / or undermine broader sociocultural and media
+                     discourses. Empirically, interpretative methods are most commonly used to
+                     examine and deconstruct sense-making within video games; close reading, text
+                     analysis, and audience theory are borrowed from other media disciplines such as
+                     television and film studies. Social science and humanities approaches may
+                     therefore overlap, for example in the case of ethnographic or folkloristic
+                     studies, where fieldwork may include a form of observation or
+                     pseudo-ethnography of games in an attempt to understand their social and
+                     cultural meanings. <note type="footnote"> Cf. <ref type="bibliography" target="#egenfeldt_games_2015">Egenfeldt-Nielsen et al. 2015</ref>;
+                        <ref type="bibliography" target="#lankoski_game_2015">Lankoski / Björk 2015</ref>.</note>
+                  </p>
+                  <p>We argue that these approaches construct the video game space as a distinctly
+                     digital-geographical space, and as such, prior research examining the
+                     geographical characteristics of games themselves remain highly relevant.<note
+                        type="footnote"> Cf. <ref type="bibliography" target="#aarseth_typology_2003">Aarseth et al. 2003</ref>; 
+                        <ref type="bibliography" target="#ash_geograph_2011">Ash / Gallacher 2011</ref>. </note> In
+                     consideration of these differentiated approaches, we position a spatial
+                     situated game mechanics as the primary game function linking the player to his
+                     / her own, partially pre-conscious experiences of play. </p>
+               </div>
+               <div type="subchapter">
+                  <head>2.2 Phenomenological framing</head>
+
+                  <p>Drawing upon methodologies commonly used for real-world environments we argue
+                     that the act of experiencing digital landscapes is phenomenologically
+                        similar.<note type="footnote"> All constituents may be readily complemented
+                        easily by drawing upon environmental psychology, for example.</note> Of
+                     course, bodily exhaustion caused by movement, weather conditions, or air
+                     quality cannot be experienced the same way in digital worlds.<note
+                        type="footnote"> Cf. <ref type="bibliography" target="#cresswell_move_2006">Cresswell 2006</ref>.</note> As the experience of landscape
+                     is bound to a predominantly visual experience<note type="footnote"> Cf. <ref type="bibliography" target="#rose_feminism_1996">Rose
+                        1996</ref>.</note> due to the avatar being constricted to spaces accessible by
+                     locomotion, these embodied qualities do not differ significantly. Our
+                     phenomenology of experiencing digital landscapes draws on literature from the
+                     social sciences and humanities concerning </p>
+                  <list type="unordered">
+                     <item>the sense-making of place and </item>
+                     <item>the <term type="dh">stream of consciousness</term> whilst moving and
+                        interacting; </item>
+                     <item>thereafter imbuing our framework with conceptualisations of
+                        landscape.</item>
+                  </list>
+                  <p>Phenomenologically, sense-making of places and integration by movement are
+                     closely linked. Cresswell introduces movement as spatiotemporally enacted
+                     practices (moving your hand, dancing, travelling to a different town) by
+                     locomotion that affords the integration of places with environments.<note
+                        type="footnote"> Cf. <ref type="bibliography" target="#cresswell_move_2006">Cresswell 2006</ref>; 
+                           <ref type="bibliography" target="#montello_scale_1993">Montello 1993</ref>.</note> Mobility is
+                     socially produced movement, such that it demonstrates contingency of
+                     meaning;<note type="footnote"> Cf. <ref type="bibliography" target="#cresswell_move_2006">Cresswell 2006</ref>.</note> constructed
+                     meanings of movement constitute the backdrop for geographical imagination and
+                     therefore place mobility as a key means of resituating the subject in the
+                     digital landscape. Within this flow, places can attract attention and provide
+                     fields of action as long as they are stably embedded in their spatial
+                     context.<note type="footnote"> Cf. <ref type="bibliography" target="#tuan_space_1977">Tuan 1977</ref>. </note> Agnew distinguishes
+                     between this quasi-stable position (locale) and the individual meaning (sense
+                     of place).<note type="footnote"> Cf. <ref type="bibliography" target="#agnew_place_1987">Agnew 1987</ref>. </note> This meaning is
+                     closely bound to human activities enacting it,<note type="footnote"> Cf. <ref type="bibliography" target="#relph_place_1976">Relph
+                        1976</ref>. </note> and it is specifically those activities that allows both for
+                     observation and social communication. As places are always places of action,
+                     they can facilitate some actions and impede others;<note type="footnote">
+                        Cf. <ref type="bibliography" target="#schatzki_site_2002">Schatzki 2002</ref>.</note> they offer a field of affordances to which actions
+                     can attach.<note type="footnote"> Cf. <ref type="bibliography" target="#gibson_umwelt_1982">Gibson 1982</ref>. </note> We therefore
+                     highlight Löw’s emphasis on the highly emotional suggestive power of
+                     places.<note type="footnote"> Cf. <ref type="bibliography" target="#loew_raumsoziologie_2017">Löw 2017</ref>. </note> If such fields of
+                     affordance are visibly used in the same way in the long run, they are affirmed
+                     and stabilised by individual routines, and they become social places.
+                     Embodiment plays a crucial role at this juncture, as physical settings as well
+                     as discourses can always constrain specific actions. Thus, individual
+                     judgements regarding which actions are possible at a certain place are not only
+                     bound to embodied preferences, but are also extensively socioculturally
+                     mediated.<note type="footnote"> Cf. <ref type="bibliography" target="#loew_raumsoziologie_2017">Löw 2017</ref>.</note> The self-experiences
+                     itself always in a tension between a set of social roles / constraints and a
+                     free individual. Essentially, it is the social more than a geometric dimension
+                     of reality that evokes the feeling of proximity or distance. <note
+                        type="footnote"> Cf. <ref type="bibliography" target="#schuetz_strukturen_2003">Schütz / Luckmann 2003</ref>.</note>
+                  </p>
+                  <p>The implementation of this phenomenological framework in the study of video
+                     game spaces as digital landscapes requires that we assess how streams of
+                     consciousness assemble and integrate fields of possible actions in a digital
+                     living environment. Implemented in a hermeneutic-phenomenological sense
+                     following Heidegger,<note type="footnote"> Cf. <ref type="bibliography" target="#crowell_normativity_2013">Crowell 2013</ref>. </note> an object
+                     in the game space is real to its subject if it provides action
+                     disposition.<note type="footnote"> Cf. <ref type="bibliography" target="#schuetz_strukturen_2003">Schütz / Luckmann 2003</ref>.</note> When
+                     considered in conjunction with the emotional aspect described above, a video
+                     game can express a high degree of reality independent of its technical
+                     presentation or environmental realism. </p>
+                  <p>The agent experiences <term type="dh">attention à la vie</term>,<note
+                     type="footnote"> Cf. <ref type="bibliography" target="#schuetz_strukturen_2003">Schütz / Luckmann 2003</ref>, p. 6–7; 
+                     <ref type="bibliography" target="#bergson_matiere_1968">Bergson 1968</ref>.</note>
+                     characterised by a temporary singularity in their experience of a
+                     hermeneutic-phenomenological reality. All bodily and haptic manipulations
+                     (re-)produce meaning on a site of action, thereby further constituting place.
+                     The basic assumption of movement is that reality can be re-established by
+                     (loco-)motion and that everything left behind stays unchanged for further
+                     revisit. On the move, reality becomes a rolling panorama gradually changing
+                     (stream of consciousness) while floating through a world. Actions as
+                     transformative manipulations of place are all soaked with memory of earlier
+                     experiences and manipulations and thereby modify memory for the next revisit.
+                     Crouch references explicitly the concepts of game and place when he describes
+                     acting on place as ritualized practice on pre-given codes, habitually
+                     repeated.<note type="footnote"> Cf. <ref type="bibliography" target="#crouch_spacing_2003">Crouch 2003</ref>. </note> Those codes,
+                     usually constantly reconfigured, broken, adjusted or negotiated in real world
+                     environments, act as preconfigured, purposely placed affordances in
+                        gameplay.<note type="footnote"> Cf. visual clues in <ref type="intern"
+                           target="#hd5">chapter 2.3</ref>.</note>
+                  </p>
+                  <p>In this setting, the geographic concept of landscape is right at the edge
+                     between visual discovery of fields of affordances and a rolling panorama on the
+                     move with a certain atmospheric aspect attached to it. Visual experiencing of
+                     landscape in the sense of contemporary cultural geography thus means the active
+                     creation of a relationship between social conditions and environment. Landscape
+                     is therefore not pre-given, rather, it is actively constructed in the very
+                     moment of watching or discovering while moving.<note type="footnote"> Cf. <ref type="bibliography" target="#rose_feminism_1996">Rose
+                        1996</ref>; <ref type="bibliography" target="#rose_methodologies_2016">Rose 2016</ref>. </note>
+                  </p>
+               </div>
+               <div type="subchapter">
+                  <head>2.3 Space and place in video games</head>
+
+                  <p>In recent years, research on video games has been established as a
+                     distinguished and unique artwork in media sciences.<note type="footnote">
+                        Cf. <ref type="bibliography" target="#feige_aesthetik_2015">Feige 2015</ref>. </note> An explicit focus on spatial practices in video
+                     games is set by Espen Aarseth and Stephan Günzel who coined the term <term
+                        type="dh">ludotopia</term>.<note type="footnote"> Cf. <ref type="bibliography" target="#aarseth_ludotopia_2019">Aarseth / Günzel
+                        2019</ref>.</note> As shown above, it is the three aspects of (individual)
+                     phenomenology, the (objective) epistemology and the cultural significance of
+                     space and place that can be questioned.<note type="footnote"> Cf. <ref type="bibliography" target="#guenzel_games_2019">Günzel
+                        2019</ref>.</note>
+                  </p>
+                  <p>Pablo Abend et al. assert that research on playful participatory practices
+                     constitutes an important part of digital media culture and art.<note
+                        type="footnote"> Cf. <ref type="bibliography" target="#abend_practices_2020">Abend et al. 2020</ref>. </note> In that context, they argue
+                     that playing video games is not simply a use of media, but must be thought of
+                     as ongoing (re-)production while playing. Depending on the specific game,
+                     certain influences of the player on the game world can be stated according to
+                     his / her intentionality. <note type="footnote"> Cf. <ref type="bibliography" target="#domsch_space_2019">Domsch 2019</ref>; 
+                        <ref type="bibliography" target="#guenzel_games_2019">Günzel
+                        2019</ref>.</note> In addition, Günzel highlights that games do not simply enact
+                     spatial concepts, but are spatial concepts on their own in the sense of
+                     enactivism, if they produce bodily experiences (e. g. Wii, but also VR games).
+                     <note type="footnote"> Cf. <ref type="bibliography" target="#guenzel_games_2019">Günzel 2019</ref>. </note>
+                  </p>
+                  <p>Domsch stresses that although all video games are preset, rule-bound
+                     environments, the player’s decisions are relevant.<note type="footnote"
+                        > Cf. <ref type="bibliography" target="#domsch_space_2019">Domsch 2019</ref>. </note> Depending on the individual way of enacting,
+                     players inscribe a unique narrative into a game setting while moving and
+                     interacting in space. In opposition to sequential narratives like videos, every
+                     decision taken and performance done contributes to a gradual development of a
+                     narrative story. As a discovery journey into fictional otherness, a spatial
+                     narrative functions as <term type="dh">evocative space</term> meant to resemble
+                     carefully constructed existing conceptualisations of space.<note
+                        type="footnote"> Cf. <ref type="bibliography" target="#domsch_space_2019">Domsch 2019</ref>. </note> In many cases, it is the explicit
+                     ambiguity of game elements that helps to evocate individual narrations. Careful
+                     constructions are often offered as <term type="dh">visual clues</term>. A
+                     motivation to (inter-)act is even stronger, if the player does not notice as
+                     such. Visual clues can mark both a possibility for interaction or a directional
+                     suggestion.<note type="footnote"> Cf. <ref type="bibliography" target="#domsch_space_2019">Domsch 2019</ref>. </note>
+                  </p>
+                  <p>A special form of meta-narrative is offered by the game <bibl>
+                        <title type="desc">Gone Home</title>
+                     </bibl> which allows it to reflect on cultural artifacts of the 1990s.<note
+                        type="footnote"> Cf. <ref type="bibliography" target="#unterhuber_home_2015">Unterhuber 2015</ref>. </note> In this game, players even
+                     have the opportunity to reconstruct prominent discourses of this period in
+                     their own way. Further, Unterhuber highlights that this process is immensely
+                     fostered and only possible by offering it as a game.<note type="footnote"
+                        > Cf. <ref type="bibliography" target="#unterhuber_home_2015">Unterhuber 2015</ref>. </note>
+                  </p>
+                  <p>Regarding landscape, games produce their own perspectives. Landscapes can, by
+                     design, simply create a mood or atmosphere for a narrative setting,<note
+                        type="footnote"> Cf. <ref type="bibliography" target="#domsch_space_2019">Domsch 2019</ref>. </note> but also open a field of open
+                     exploration as laid out above. In difference to real world environments, many
+                     video games offer shortcuts to prevent real time enactment of navigational
+                        tasks.<note type="footnote"> This is implemented, for example, through
+                           portals, cf. <ref type="bibliography" target="#guenzel_games_2019">Günzel 2019</ref>. </note>
+                  </p>
+               </div>
+               <div type="subchapter">
+                  <head>2.4 Digital walk-alongs</head>
+
+                  <p>Recurring on the terms close and distant reading,<note type="footnote"
+                     > Cf. <ref type="bibliography" target="#moretti_reading_2013">Moretti 2013</ref>. </note> the basic process of qualitative critical
+                     analysis of texts can be easily transferred to a number of analyses, including
+                     gameplay. In that sense, for example Rudolf Inderst used the term close
+                     playing.<note type="footnote"> Cf. <ref type="bibliography" target="#indersat_medien_2020">Inderst 2020</ref>. </note> Without naming it,
+                     Joshua Tanenbaum and Jim Bizzocchi propose a similar approach in their paper on <bibl>
+                        <title type="desc">Oblivion</title>
+                     </bibl>.<note type="footnote"> Cf. <ref type="bibliography" target="#tanenbaum_reading_2009">Tanenbaum / Bizzocchi 2009</ref>.</note> In
+                     detail, they propose two categories of analysis: adaptivity &amp;
+                     believability. Whereas adaptivity describes the capability of a game to adapt
+                     to the user's needs, believability reflects the capability of agents in the
+                     game to act human-like towards the user. Methodically, they provide an
+                     elaborated coding system by which they recorded and classified all observable
+                     interactions encountered in gameplay.</p>
+                  <p>In our study, we extend close playing to digital walk-alongs in the tradition
+                     of geographic field research. Proposed by Monica Degen and Gillian Rose,
+                     walk-alongs add to close reading by distinguishing between a person enacting
+                     and a person observing.<note type="footnote"> Cf. <ref type="bibliography" target="#degen_design_2012">Degen / Rose 2012</ref>.</note> In
+                     their original work, they encourage residents of various cities during an
+                     accompanied city walk, to talk as freely as possible about their feelings and
+                     evaluations on site. The background is to obtain data as close as possible to
+                     the bodily experience on site. Counterintuitively, many subjects on site report
+                     their memories of this place in detail, without even taking a look, thus
+                     revealing the effect size of individual narratives in sense-making.</p>
+                  <p>Whereas in close playing players and observers are the same person and validity
+                     is only obtained by intercoder reliability, digital walk-alongs separate both
+                     roles from each other, mitigating priming biases and context switches. In
+                     addition, players do not have to be aware of the aspects observed at all,
+                     strengthening results in an experiment-like situation.</p>
+                  <figure>
+                     <graphic xml:id="landscape_2022_001" url=".../medien/landscape_2022_001.png">
+                        <desc>
+                           <ref type="graphic" target="#abb1">Fig. 1</ref>: Key question analysing
+                           visual material. [<ref type="bibliography" target="#rose_methodologies_2016">Rose 2016</ref>, p. 25]<ref type="graphic"
+                              target="#landscape_2022_001"/>
+                        </desc>
+                     </graphic>
+                  </figure>
+                  <p>The soundest approach for visual analysis in geography relates to the work of
+                     Gillian Rose.<note type="footnote"> Cf. <ref type="bibliography" target="#rose_methodologies_2016">Rose 2016</ref>, p. 25; <ref type="graphic"
+                        target="#landscape_2022_001">Figure 1</ref>. </note> Her code matrix
+                     intersects three types of modalities in the production process of visual
+                     artifacts with four sites of interpretation. </p>
+                  <p>Modalities are:</p>
+                  <list type="unordered">
+                     <item>technological: by which means was the visual artifact produced?</item>
+                     <item>compositional: how was the visual artifact arranged</item>
+                     <item>social: what is the anticipated social context of the visual
+                        artifact?</item>
+                  </list>
+                  <p>Sites of interpretation are:</p>
+                  <list type="unordered">
+                     <item>site of production: how was the visual artifact influenced
+                        surroundings?</item>
+                     <item>site of image itself: how was content of the visual artifact
+                        selected?</item>
+                     <item>site of circulation: how was the visual artifact made accessible?</item>
+                     <item>site of audience: what are the anticipated surroundings, in which a
+                        visual artifact is consumed?</item>
+                  </list>
+                  <p>For each cell of the matrix, Rose proposes a number of questions that lead to
+                     an interpretation of different aspects of analysis covering content analysis,
+                     semiology and discourse analysis.<note type="footnote"> Cf. <ref type="bibliography" target="#rose_methodologies_2016">Rose 2016</ref>. </note>
+                  </p>
+                  <figure>
+                     <graphic xml:id="landscape_2022_002" url=".../medien/landscape_2022_002.png">
+                        <desc>
+                           <ref type="graphic" target="#abb2">Fig. 2</ref>: Selective list of image
+                           schemata. [<ref type="bibliography" target="#johnson_body_1987">Johnson 1987</ref>, p. 126]<ref type="graphic"
+                              target="#landscape_2022_002"/>
+                        </desc>
+                     </graphic>
+                  </figure>
+                  <p>A more formal and thus more standardized analysis of spatial relatable visual
+                     content can be done recurring on Johnson’s concept of <term type="dh">image
+                        schemata</term>.<note type="footnote"> Cf. <ref type="bibliography" target="#johnson_body_1987">Johnson 1987</ref>; <ref type="graphic"
+                           target="#landscape_2022_002">Figure 2</ref> for an overview. </note>
+                     Partially relying on Lynch, image schemata can be understood as a general
+                     purpose ontology identifying structural patterns of common-sense geographic
+                     knowledge both in language and views.<note type="footnote"> Cf. <ref type="bibliography" target="#lynch_image_1960">Lynch 1960</ref>.
+                     </note> In computer science, image schemata have been used to formalize
+                     wayfinding tasks, e. g. at airports. <note type="footnote"> Cf. <ref type="bibliography" target="#raubal_space_1997">Raubal et
+                        al. 1997</ref>. </note> The cooccurrence of the schemata PATH, LINK and SURFACE,
+                     for instance, was used to model a movement towards a target.</p>
+                  <p>In our explorative study, we use a reduced tagset of 7 schemata useful for the
+                     exploration of games. We identified:</p>
+                  <list type="unordered">
+                     <item>CONTAINER: physically limited areas that provide a homogenous field of
+                        affordance.</item>
+                     <item>ENABLEMENT: an affordance to interact or react</item>
+                     <item>BLOCKAGE: a game element constraining players’ actions. A special case in
+                        gameplay is, if a visualized object does not offer an anticipated
+                        opportunity for interaction or a map boundary is reached.</item>
+                     <item>PATH: directed locomotion towards a target</item>
+                     <item>ATTRACTION: A visual quality that provides a motivation for
+                        (inter-)action, i. e. a visual clue</item>
+                     <item>COUNTERFORCE: An object, agent or event that prevents a player from
+                        acting as desired</item>
+                     <item>LINK: A perceived junction between different game elements</item>
+                  </list>
+               </div>
+            </div>
+            <div type="chapter">
+               <head>3. Study setup</head>
+
+               <p>With respect to the background knowledge laid out above, we designed a study setup
+                  suitable to test our main hypotheses:</p>
+               <list type="unordered">
+                  <item>Skill and preferred type of gameplay affect the way players spatially enact
+                     a video game.</item>
+                  <item>Enactivism: Not all observed types of spatial enactment can be explained
+                     only by interaction with game induced affordances.</item>
+               </list>
+
+               <div type="subchapter">
+                  <head>3.1 Sample generation</head>
+
+                  <p>As the preferred type of spatial gameplay cannot be easily predicted and are
+                     part of the research question in this paper, sampling was done by skill level.
+                     Skill level was explicitly assessed by possible participants and was verified
+                     during the sessions. We looked for suitable candidates on the following skill
+                     levels:</p>
+                  <list type="unordered">
+                     <item>
+                        <hi rend="italic">experienced gamers</hi> have played and finished a large
+                        variety of video games and play regularly.</item>
+                     <item>
+                        <hi rend="italic">casual gamers</hi> are curious to play video games in
+                        general, but only play on special occasions or do not continue playing after
+                        a first glance.</item>
+                     <item>
+                        <hi rend="italic">no-gamers</hi> are aware of video games as means of
+                        playing, but refuse to do so for several reasons.</item>
+                  </list>
+                  <p>We used a gatekeeper approach on the authors’ social network to cast possible
+                     candidates. As we intended to conduct an explorative and qualitative study, we
+                     limited the number of participants to simply covering the skill levels
+                     mentioned above with at least one example. Perhaps due to the popularity of
+                     streaming events in the community, we found much more experienced gamers than
+                     needed and were able to conduct two spare game sessions for that group. For
+                     casual and no-gamers we were able to conduct exactly one game session. </p>
+                  <p>
+                     <ref type="graphic"
+                        target="#tab01">Table 1</ref> provides an overview
+                     of the participants with respect to self-reported player type, gender, and age.
+                     As we focus on the phase of early spatial accommodation in the game, the
+                     minutes walked-along are the first minutes the specific player spent on playing
+                     the example game. As our screencast approach did not work out properly on all
+                     hardware, the number of minutes captured deviates from the minutes-along.
+                     Minutes analysed cover phases of intense interaction with landscape cut from
+                     the minutes captured.</p>
+                  <table>
+                     <row>
+                        <cell>
+                           <hi rend="bold">player type and ID</hi>
+                        </cell>
+                        <cell>
+                           <hi rend="bold">gender, age</hi>
+                        </cell>
+                        <cell>
+                           <hi rend="bold">technical limitations</hi>
+                        </cell>
+                        <cell>
+                           <hi rend="bold">minutes walked-along</hi>
+                        </cell>
+                        <cell>
+                           <hi rend="bold">minutes captured</hi>
+                        </cell>
+                        <cell>
+                           <hi rend="bold">minutes analysed</hi>
+                        </cell>
+                     </row>
+                     <row>
+                        <cell>b: casual gamer</cell>
+                        <cell>m, 22</cell>
+                        <cell>game crashed after 16 minutes</cell>
+                        <cell>45</cell>
+                        <cell>16</cell>
+                        <cell>10</cell>
+                     </row>
+                     <row>
+                        <cell>i: no-gamer</cell>
+                        <cell>f, 25</cell>
+                        <cell/>
+                        <cell>38</cell>
+                        <cell>38</cell>
+                        <cell>18</cell>
+                     </row>
+                     <row>
+                        <cell>k: experienced gamer</cell>
+                        <cell>m, 22</cell>
+                        <cell>video corrupted</cell>
+                        <cell>45</cell>
+                        <cell>0</cell>
+                        <cell>0</cell>
+                     </row>
+                     <row>
+                        <cell>n: experienced gamer</cell>
+                        <cell>m, 23</cell>
+                        <cell/>
+                        <cell>42</cell>
+                        <cell>42</cell>
+                        <cell>10</cell>
+                     </row>
+                     <row>
+                        <cell>u: experienced gamer</cell>
+                        <cell>m, 24</cell>
+                        <cell>insufficient frame rate</cell>
+                        <cell>45</cell>
+                        <cell>45</cell>
+                        <cell>
+                           <p>0</p>
+                        </cell>
+                     </row>
+
+                     <trailer xml:id="tab01">
+                        <ref type="intern" target="#tab1">Tab. 1</ref>: Participants and amount of
+                        analysed screencast. [Kremer et al. 2022]<ref type="graphic"
+                           target="#landscape_2022_t1"/>
+                     </trailer>
+                  </table>
+                  <p>Our aim was to have at least one recording for each player type. Due to the
+                     aforementioned technical problems, we had to conduct three playing sessions
+                     with experienced gamers to fine tune our setup and to eventually obtain usable
+                     material.</p>
+               </div>
+               <div type="subchapter">
+                  <head>3.2 Technical preparations</head>
+
+                  <p>All digital walk-alongs were conducted as online sessions. This allowed us to
+                     react dynamically to the participants’ schedules in times of the COVID-19
+                     pandemic. We checked in advance that existing hardware met the requirements of
+                     the game plus sufficient resources to run a video recording in the background.
+                     To guarantee an equivalent setup, we first asked the participants to join a
+                        <ref target="https://discord.com/">discord</ref> server instance established
+                     for this purpose that was used for the screencast of this experiment and
+                     installed and preconfigured <ref target="https://obsproject.com/">OBS
+                        Studio</ref> for redundant on-site recording in higher quality. Video
+                     connection was deactivated to save bandwidth during the screencast and
+                     resources for parallel recording. We guided the participants through the
+                     installation process of our example game. Depending on network connectivity and
+                     load the technical setup took in between 30 and 45 minutes.</p>
+               </div>
+               <div type="subchapter">
+                  <head>3.3 Lab setup for experiment</head>
+
+                  <p>After the first start of the game, we guided the participants through the
+                     configuration process of the game to make sure the same preconditions applied.
+                     All participants were asked to choose the survival mode of the game which
+                     focuses on surviving in a snowy landscape and doesn’t offer a rich narrative.
+                     All participants were told to choose ›Pleasant Valley‹ as the starting region.
+                     As the starting location is generated by a random seed in the game, all
+                     participants started in different locations, but with comparable visual access
+                     to landscape and infrastructure. <ref type="graphic"
+                        target="#landscape_2022_003">Figure 3</ref> shows a fan-made map of the game region. The easiest level
+                     of difficulty, ›Pilgrim‹, was advised. Only the player can choose to pick
+                     another gender than his own. In the end of the configuration process, the
+                     game’s main mission was shown to the user.<note type="footnote"> Cf. <ref type="graphic"
+                        target="#landscape_2022_004">Figure 4</ref>. </note> All close
+                     playing sessions were held in German, the mother tongue of all
+                     participants.</p>
+                  <figure>
+                     <graphic xml:id="landscape_2022_003" url=".../medien/landscape_2022_003.png">
+                        <desc>
+                           <ref type="graphic" target="#abb3">Fig. 3</ref>: Fan made map of
+                           ›Pleasant Valley‹. [<ref type="bibliography" target="#xhead_longdark_2019">XHead / stmSantana 2019</ref>]<ref type="graphic"
+                              target="#landscape_2022_003"/>
+                        </desc>
+                     </graphic>
+                  </figure>
+                  <figure>
+                     <graphic xml:id="landscape_2022_004" url=".../medien/landscape_2022_004.png">
+                        <desc>
+                           <ref type="graphic" target="#abb4">Fig. 4</ref>: Main quest of The Long
+                           Dark. [Kremer et al. 2022]<ref type="graphic"
+                              target="#landscape_2022_004"/>
+                        </desc>
+                     </graphic>
+                  </figure>
+                  <p>After the game launched, we gave the participants a short introduction into the
+                     game controls and answered their questions. After that we gave them the main
+                        instruction: <quote>Now play the game the way you explore new games. Speak
+                        to it!</quote>
+                     <note type="footnote"> Cf. <ref type="bibliography" target="#hinterlandstudio_longdark_2019">Hinterland Studio 2017</ref>. </note> No further
+                     information on the target of the study was given. While playing, we only
+                     intervened to keep the participants speaking and to ask for their mindset on
+                     interesting situations. All players reacted instantly to the loud background
+                     music especially with respect to the communication via Discord and reduced the
+                     master volume of the game. If we observed problems with game control within the
+                     running gameplay, we offered assistance only concerning the underlying
+                     interaction metaphor of the game and not for the toolbox provided. After around
+                     45 minutes, we concluded the sessions and did a short 5-10 minutes guided
+                     interview on the experiences during the game. The main questions were:</p>
+                  <list type="unordered">
+                     <item>
+                        <quote>What did you experience?</quote>
+                     </item>
+                     <item>
+                        <quote>How do you evaluate the game mechanics?</quote>
+                     </item>
+                     <item>
+                        <quote>Would you keep on playing, if it was your game?</quote>
+                     </item>
+                  </list>
+                  <p>The first question was meant to reveal insights into active mindsets that might
+                     have been not discovered by observation yet. The second question gave us the
+                     opportunity to check to what degree the participants were consumed with
+                     complying to the game mechanics and to what degree there was time for random
+                     exploration or perception. The last question helped us to understand how
+                     motivated the participants were during gameplay. The findings largely verified
+                     what we had observed so far.</p>
+               </div>
+               <div type="subchapter">
+                  <head>3.4 Example Game</head>
+
+                  <p>As an example, we use the video game <bibl>
+                        <title type="desc">The Long Dark</title>
+                     </bibl>, a game with simple game mechanics that is easily accessible even to
+                     inexperienced participants. As a cultural artifact in the sense of critical
+                     Canadiana wilderness discourses,<note type="footnote"> Cf. <ref type="bibliography" target="#henderson_canadia_2001">Henderson 2001</ref>, p.
+                        809. </note> the game is located in a northern Canadian wilderness<note
+                           type="footnote"> <ref type="bibliography" target="#bonner_wildnis_2018">Bonner 2018</ref> problematizes the notion of a wilderness in
+                        video games that appears to be visually constructed as pristine.</note>. <bibl>
+                        <title type="desc">The Long Dark</title>
+                     </bibl>
+                     <note type="footnote"> Initially financed by the Canada Media Fund,
+                        subsequently realized via crowd-funding.</note> is ideally suited for the
+                     present study because landscape here functions simultaneously as a
+                     socioculturally charged construct, as a playing field, and as a game element,
+                     which allows for a broad range of connective actions on the part of the
+                     players. Moreover, as a so-called independent title,<note type="footnote"
+                        > Cf. <ref type="bibliography" target="#martin_production_2009">Martin / Deuze 2009</ref>. </note> it is not subject to the mechanisms of
+                     the mass market for video games, so that its reception by gamers seems not
+                     easily predictable.</p>
+                  <p>Despite the fact that <bibl>
+                        <title type="desc">The Long Dark</title>
+                     </bibl> does not require violent actions to survive, the game presents itself
+                     from a first-person perspective known from shooter games. While this is
+                     absolutely reasonable for the sake of impersonation and the game tries even to
+                     intensify this impression by both auditive response on even smaller bodily
+                     deficiencies and partially blurring the screen, when players are at the edge of
+                     falling unconscious by thirst, cold or injuries, this might influence the way
+                     participants perceive the game in general. Beside of <ref type="graphic"
+                        target="#landscape_2022_004">Figure 4</ref> no other narrative is superimposed
+                     on the game, which in sum creates a perfect playground for individual
+                     sense-making of the landscape. </p>
+                  <p>Large parts of the game map are covered by snowed woods and fields,<note
+                     type="footnote"> Cf. <ref type="graphic"
+                        target="#landscape_2022_005">Figure 5</ref>.</note> nested with a variety of build environments that
+                     provide resources and shelter. Roads and power lines connect the different
+                     parts of the map and can be used for navigation. ›Pleasant Valley‹ is
+                     surrounded by a scenic mountain range, whose edges can be used for orientation.
+                     As our key interest was to identify to what degree landscape was perceived as a
+                     scenic setting, as a set of sheer affordances or if there were more individual
+                     ways of spacing, <bibl>
+                        <title type="desc">The Long Dark</title>
+                     </bibl> provides all of these elements. Consistent with the game mechanics, the
+                     game even offers the experience of different weather conditions, daylight and
+                     night. Every action taken consumes a certain number of calories and even phases
+                     of sleeping come at the cost of calories. As opportunities for interaction
+                     exist both in the build and non-build environment in <bibl>
+                        <title type="desc">The Long Dark</title>
+                     </bibl>, landscape is usable as a field of affordances and not only evocating
+                     mood or atmosphere.</p>
+               </div>
+            </div>
+            <div type="chapter">
+               <head>4. Results</head>
+
+               <p>All results were either obtained from our notes during the digital walk-alongs or
+                  the guided interviews. Information from notes was then related back to the video
+                  recordings we obtained from the participants after the sessions. Videos were used
+                  both for verification of observations and quotes. In the temporal context of these
+                  observations, videos were probed for other examples of interaction with
+                  landscape.</p>
+               <p>We focussed on the experience of landscape in the narrow sense and thus excluded a
+                  number of elements from our study.</p>
+               <list type="unordered">
+                  <item>bodily environment: the systemic importance of the human body for starving
+                     and freezing in a survival game was reflected only by actions on the
+                     landscape</item>
+                  <item>built environment: only outside views of built environment were considered
+                     part of the landscape</item>
+               </list>
+               <p>Assigning image schemata, we further followed a prototypical approach identifying
+                  screenshots that reflected most the applicability of a scheme. We did not look
+                  deeper into the lifecycle of an active scheme from its early beginnings to its
+                  resolution.</p>
+               <p>Of course, our annotations reflect our experiences as players as well. We were
+                  able to reflect the following skill levels useful to understand our
+                  participants:</p>
+               <list type="unordered">
+                  <item>very skilled player, who has played <bibl>
+                        <title type="desc">The Long Dark</title>
+                     </bibl> for some hours</item>
+                  <item>casual player with little experience in first-person perspective games, who
+                     has played <bibl>
+                        <title type="desc">The Long Dark</title>
+                     </bibl> only for study preparation purposes.</item>
+               </list>
+               <p>After having identified the prototypical key frames of image schemata we used the
+                  web tool <ref target="https://recogito.pelagios.org/">Recogito</ref> to do
+                  explorative annotations of the scenes.<note type="footnote"> Cf. <ref type="graphic"
+                     target="#landscape_2022_005">Figure 5</ref>. </note> Beside its
+                  primary use case to annotate maps, it can be used to analyse any 2D-graphics as
+                  well.</p>
+               <figure>
+                  <graphic xml:id="landscape_2022_005" url=".../medien/landscape_2022_005.png">
+                     <desc>
+                        <ref type="graphic" target="#abb5">Fig. 5</ref>: Annotated key frame with
+                        possible anchor regions wood, bridge, road, snowed meadow, building and
+                        mountain range. Feature categories can be annotated in the data scheme of
+                        Recogito, but not visualized as labels. Blurred edges in the field of
+                        perception reflect that the avatar is hurt at the moment (bottom right
+                        symbol). The four icons on the bottom left show the state of the four main
+                        elements of the game mechanics: cold, tiredness, thirst and hunger. [Kremer
+                        et al. 2022]<ref type="graphic" target="#landscape_2022_005"/></desc>
+                  </graphic>
+               </figure>
+               <p>In essence, our coding did a three-stage annotation of our key observations:</p>
+               <list type="unordered">
+                  <item>Identify the key frame representing the scene of interaction</item>
+                  <item>Identify the possible anchor regions in each scene. For each anchor region
+                     we noted the scale as well loosely following Daniel Montello:<note
+                        type="footnote"> Cf. <ref type="bibliography" target="#montello_scale_1993">Montello 1993</ref>. </note> S: nearby or haptic space; M:
+                     vista space; L: visible, but not instantly reachable space</item>
+                  <item>Identify the image schemata active at a specific anchor region according to
+                     the behaviour or self-attributed mindset of the participant.</item>
+               </list>
+               <p>In the sense of an explorative study, we now discuss the edge cases found in the
+                  individual spacings of landscape in detail.</p>
+
+               <div type="subchapter">
+                  <head>4.1 Participant <hi rend="italic">i</hi>
+                  </head>
+
+                  <p>Due to limited gaming skills, participant <hi rend="italic">i</hi> was not able
+                     to perceive landscape any other than a game setting. Interaction with the
+                     environment in general was a testing behaviour of real world induced hypotheses
+                     (Can I burn this? Can I light up a fire there? Will the ice break?). Navigation
+                     reacted strongly on salient features in the scene. During the whole session,
+                     participant <hi rend="italic">i</hi> was completely challenged by complying to
+                     the game mechanics and showed no other types of performing landscape.</p>
+                  <table>
+                     <row>
+                        <cell>
+                           <hi rend="bold">Situation 1: Wayfinding</hi>
+                        </cell>
+                     </row>
+                     <row>
+                        <cell>active schemata</cell>
+                        <cell>path, attraction</cell>
+                     </row>
+                     <row>
+                        <cell>anchor region</cell>
+                        <cell>M: bridge</cell>
+                     </row>
+                     <row>
+                        <cell>
+                           <figure>
+                              <graphic xml:id="landscape_2022_006"
+                                 url=".../medien/landscape_2022_006.png">
+                                 <desc>
+                                    <ref type="graphic" target="#abb6">Fig. 6</ref>: Bridge far back
+                                    in the forest. [Kremer et al. 2022]<ref type="graphic"
+                                       target="#landscape_2022_006"/>
+                                 </desc>
+                              </graphic>
+                           </figure>
+                        </cell>
+                        <cell>
+                           <graphic xml:id="landscape_2022_007"
+                              url=".../medien/landscape_2022_007.png">
+                              <desc>
+                                 <ref type="graphic" target="#abb7">Fig. 7</ref>: Bridge appears
+                                 behind an edge of rock. [Kremer et al. 2022]<ref type="graphic"
+                                    target="#landscape_2022_007"/></desc>
+                           </graphic></cell>
+                     </row>
+
+                     <trailer xml:id="tab02">
+                        <ref type="intern" target="#tab2">Tab. 2</ref>: Situation 1: Wayfinding.
+                        [Kremer et al. 2022]<ref type="graphic" target="#landscape_2022_t2"/>
+                     </trailer>
+                  </table>
+
+                  <p>In this context, wayfinding tasks were observed. When looking for signs of
+                     civilization, elements far in the background were discovered and followed
+                     continuously. On first discovery as well as on arrival the element was
+                     named:</p>
+                  <p>
+                     <quote>Da kommt ne Brücke.</quote> – <quote>There’s a bridge back
+                        there.</quote>
+                     <note type="footnote"> Participant <hi rend="italic">i</hi>, close playing
+                        session on 2021-3-26, originally stated in German, authors’
+                        translation.</note>
+                  </p>
+                  <p>
+                     <quote>Da ist die Brücke wieder.</quote> – <quote>There’s that bridge
+                        again.</quote>
+                     <note type="footnote"> Participant <hi rend="italic">i</hi>, close playing
+                        session on 2021-3-26, originally stated in German, authors’ translation.
+                     </note>
+                  </p>
+                  <table>
+                     <row>
+                        <cell>
+                           <hi rend="bold">Situation 2: Ignored affordance</hi>
+                        </cell>
+                     </row>
+                     <row>
+                        <cell>active schemata</cell>
+                        <cell>attraction</cell>
+                     </row>
+                     <row>
+                        <cell>inactive schemata</cell>
+                        <cell>path, enablement</cell>
+                     </row>
+                     <row>
+                        <cell>anchor region</cell>
+                        <cell>M: power lines, road, bridge</cell>
+                     </row>
+                     <row>
+                        <cell><graphic xml:id="landscape_2022_008"
+                              url=".../medien/landscape_2022_008.png">
+                              <desc>
+                                 <ref type="graphic" target="#abb8">Fig. 8</ref>: Crossing street
+                                 and power-line. [Kremer et al. 2022]<ref type="graphic"
+                                    target="#landscape_2022_008"/></desc>
+                           </graphic></cell>
+                     </row>
+
+                     <trailer xml:id="tab03">
+                        <ref type="intern" target="#tab3">Tab. 3</ref>: Situation 2: Ignored
+                        affordance. [Kremer et al. 2022]<ref type="graphic"
+                           target="#landscape_2022_t3"/>
+                     </trailer>
+                  </table>
+                  <p>While following this route, any other affordances were ignored, including roads
+                     and power lines, which could have led to infrastructure elements much
+                     quicker.</p>
+                  <table>
+                     <row>
+                        <cell>
+                           <hi rend="bold">Situation 3: Realism</hi>
+                        </cell>
+                     </row>
+                     <row>
+                        <cell>active schemata</cell>
+                        <cell>blockage</cell>
+                     </row>
+                     <row>
+                        <cell>anchor region</cell>
+                        <cell>M: frozen lake</cell>
+                     </row>
+                     <row>
+                        <cell><graphic xml:id="landscape_2022_009"
+                              url=".../medien/landscape_2022_009.png">
+                              <desc>
+                                 <ref type="graphic" target="#abb9">Fig. 9</ref>: Frozen lake.
+                                 [Kremer et al. 2022]<ref type="graphic"
+                                    target="#landscape_2022_009"/></desc>
+                           </graphic></cell>
+                     </row>
+
+                     <trailer xml:id="tab04">
+                        <ref type="intern" target="#tab4">Tab. 4</ref>: Situation 3:
+                        Realism. [Kremer et al. 2022]<ref type="graphic" target="#landscape_2022_t4"
+                        />
+                     </trailer>
+                  </table>
+
+                  <p>Shortly after having crossed the road and reaching a frozen lake, this was
+                     found to be some blockage:</p>
+                  <p>
+                     <quote>Mal gucken, ob ich da einbrech.</quote> – <quote>Let's see if I can
+                        break in there.</quote>
+                     <note type="footnote"> Participant <hi rend="italic">i</hi>, close playing
+                        session on 2021-3-26, originally stated in German, authors’
+                        translation.</note>
+                  </p>
+               </div>
+               
+               <div type="subchapter">
+                  <head>4.2 Participant <hi rend="italic">b</hi>
+                  </head>
+
+                  <p>Participant <hi rend="italic">b</hi> showed a very strong preference for
+                     aesthetic qualities right from the beginning. He reacted to attractions of any
+                     kind, even if it was not clear if it would endanger him with respect to the
+                     game mechanics or cost at least time for backtracking. He also showed a strong
+                     collection behaviour which led to an overweight backpack before end of the
+                     short explorative session.</p>
+                  <table>
+                     <row>
+                        <cell>
+                           <hi rend="bold">Situation 4: Landscape as attraction</hi>
+                        </cell>
+                     </row>
+                     <row>
+                        <cell>active schemata</cell>
+                        <cell>attraction</cell>
+                     </row>
+                     <row>
+                        <cell>anchor region</cell>
+                        <cell>M: mountain range</cell>
+                     </row>
+                     <row>
+                        <cell><graphic xml:id="landscape_2022_010"
+                              url=".../medien/landscape_2022_010.png">
+                              <desc>
+                                 <ref type="graphic" target="#abb10">Fig. 10</ref>: Mountain view.
+                                 [Kremer et al. 2022]<ref type="graphic"
+                                    target="#landscape_2022_010"/></desc>
+                           </graphic></cell>
+                        <cell>
+                           <graphic xml:id="landscape_2022_011"
+                              url=".../medien/landscape_2022_011.png">
+                              <desc>
+                                 <ref type="graphic" target="#abb11">Fig. 11</ref>: Repeated
+                                 Mountain view. [Kremer et al. 2022]<ref type="graphic"
+                                    target="#landscape_2022_011"/></desc>
+                           </graphic></cell>
+                     </row>
+
+                     <trailer xml:id="tab05">
+                        <ref type="intern" target="#tab5">Tab. 5</ref>: Situation 4: Landscape as
+                        attraction. [Kremer et al. 2022]<ref type="graphic"
+                           target="#landscape_2022_t5"/>
+                     </trailer>
+                  </table>
+                  <p>In the very first seconds of the game, the mountain range in the background
+                     gained his attention making up his plans:</p>
+                  <p>
+                     <quote>Natürlich, mich ziehen die Berge da hinten an.</quote> – <quote>Of
+                        course, I'm attracted to the mountains back there.</quote>
+                     <note type="footnote"> Participant <hi rend="italic">b</hi>, close playing
+                        session on 2021-3-24, originally stated in German, authors’
+                        translation.</note>
+                  </p>
+                  <p>Later on, he affirmed his intent to go to the mountains, and even when elements
+                     of civilization offering better shelter were already discovered, he only used
+                     them for preparing:</p>
+                  <p>
+                     <quote>Ich weiß natürlich nicht, ob das überlebenstechnisch sinnvoll wäre, aber
+                        ich würde hier in den Wald hinten reingehen, also die Berge, aber erst mal
+                        schau ich, was es hier so gibt.</quote> – <quote>I don't know if that would
+                        make sense survival-wise, of course, but I would go in the back of the woods
+                        here, so the mountains, but first I'll see what's around.</quote>
+                     <note type="footnote"> Participant <hi rend="italic">b</hi>, close playing
+                        session on 2021-3-24, originally stated in German, authors’
+                        translation.</note>
+                  </p>
+                  <table>
+                     <row>
+                        <cell>
+                           <hi rend="bold">Situation 5 / 6: Landscape as atmospheric aura</hi>
+                        </cell>
+                     </row>
+                     <row>
+                        <cell>active schemata</cell>
+                        <cell>attraction</cell>
+                     </row>
+                     <row>
+                        <cell>anchor region</cell>
+                        <cell>S: footprint, L: wood</cell>
+                     </row>
+                     <row>
+                        <cell><graphic xml:id="landscape_2022_012"
+                              url=".../medien/landscape_2022_012.png">
+                              <desc>
+                                 <ref type="graphic" target="#abb12">Fig. 12</ref>: Footprints in
+                                 the snow. [Kremer et al. 2022]<ref type="graphic"
+                                    target="#landscape_2022_012"/></desc>
+                           </graphic></cell>
+                        <cell><graphic xml:id="landscape_2022_013"
+                              url=".../medien/landscape_2022_013.png">
+                              <desc>
+                                 <ref type="graphic" target="#abb13">Fig. 13</ref>:Snowy tree
+                                 trunks. [Kremer et al. 2022]<ref type="graphic"
+                                    target="#landscape_2022_013"/></desc>
+                           </graphic></cell>
+                     </row>
+
+                     <trailer xml:id="tab06">
+                        <ref type="intern" target="#tab6">Tab. 6</ref>: Situation 5 / 6: Landscape
+                        as atmospheric aura. [Kremer et al. 2022]<ref type="graphic"
+                           target="#landscape_2022_t6"/>
+                     </trailer>
+                  </table>
+                  <p>He paid attention to details of the game visualization itself, taking notice of
+                     footprints as special effects and showed signs of irritation to visualizations
+                     not consistent with real-world experiences. In detail, he complained about the
+                     tree trunks being snow covered from all directions which is in conflict with a
+                     major wind heading during a precipitation event.</p>
+                  <table>
+                     <row>
+                        <cell>
+                           <hi rend="bold">Situation 7: Atmospheric indoor scenes</hi>
+                        </cell>
+                     </row>
+                     <row>
+                        <cell>active schemata</cell>
+                        <cell>attraction, enablement</cell>
+                     </row>
+                     <row>
+                        <cell>anchor region</cell>
+                        <cell>S: grill</cell>
+                     </row>
+                     <row>
+                        <cell><graphic xml:id="landscape_2022_014"
+                              url=".../medien/landscape_2022_014.png">
+                              <desc>
+                                 <ref type="graphic" target="#abb14">Fig. 14</ref>: Grill fire.
+                                 [Kremer et al. 2022]<ref type="graphic"
+                                    target="#landscape_2022_014"/></desc>
+                           </graphic></cell>
+                     </row>
+
+                     <trailer xml:id="tab07">
+                        <ref type="intern" target="#tab7">Tab. 7</ref>: Situation 7: Atmospheric
+                        indoor scenes. [Kremer et al. 2022]<ref type="graphic"
+                           target="#landscape_2022_t7"/>
+                     </trailer>
+                  </table>
+                  <p>When he reached a barn building, he discovered a grill inside which imposed the
+                     strong affordance to him to light up a fire, evaluating his efforts with:</p>
+                  <p>
+                     <quote>Romantischer wird’s nicht.</quote> – <quote>It doesn't get more romantic
+                        than that.</quote>
+                     <note type="footnote"> Participant <hi rend="italic">b</hi>, close playing
+                        session on 2021-3-24, originally stated in German, authors’
+                        translation.</note>
+                  </p>
+                  <p>After he realized:</p>
+                  <p>
+                     <quote>Verdammt, ich hab nichts zum Grillen dabei!</quote> – <quote>Damn, I
+                        didn't bring anything to grill!</quote>
+                     <note type="footnote"> Participant <hi rend="italic">b</hi>, close playing
+                        session on 2021-3-24, originally stated in German, authors’
+                        translation.</note>
+                  </p>
+                  <p>He looked up his bag and finally discovered that the game allowed him to grill
+                     a can of peaches.</p>
+                  <p>Even if it does not precisely fit our understanding of landscape defined above
+                     and even if this scene doesn’t lack a portion of self-stated irony, it shows
+                     how much situational pleasure can be obtained from simply staging explorative
+                     game play that does not relate to the core game mechanics at all.</p>
+                  <table>
+                     <row>
+                        <cell>
+                           <hi rend="bold">Situation 8: Trap</hi>
+                        </cell>
+                     </row>
+                     <row>
+                        <cell>active schemata</cell>
+                        <cell>blockage, container</cell>
+                     </row>
+                     <row>
+                        <cell>anchor region</cell>
+                        <cell>M: farm building</cell>
+                     </row>
+                     <row>
+                        <cell><graphic xml:id="landscape_2022_015"
+                              url=".../medien/landscape_2022_015.png">
+                              <desc>
+                                 <ref type="graphic" target="#abb15">Fig. 15</ref>: Darkness.
+                                 [Kremer et al. 2022]<ref type="graphic"
+                                    target="#landscape_2022_015"/></desc>
+                           </graphic></cell>
+                     </row>
+
+                     <trailer xml:id="tab08">
+                        <ref type="intern" target="#tab8">Tab. 8</ref>: Situation 8: Trap.
+                        [Kremer et al. 2022]<ref type="graphic" target="#landscape_2022_t8"/>
+                     </trailer>
+                  </table>
+                  <p>In the same barn, shortly after the grill session, he realized that his joy of
+                     grilling peaches led to a blockage situation, because he had no light source to
+                     find his way back to the door:</p>
+                  <p>
+                     <quote>Oh verdammt, ich find den Ausgang wahrscheinlich nicht mehr!</quote> –
+                        <quote>Oh damn, I probably won't be able to find the exit.</quote>
+                     <note type="footnote"> Participant <hi rend="italic">b</hi>, close playing
+                        session on 2021-3-24, originally stated in German, authors’
+                        translation.</note>
+                  </p>
+               </div>
+               
+               <div type="subchapter">
+                  <head>4.3 Participant <hi rend="italic">n</hi>
+                  </head>
+
+                  <p>Being the most experienced one amongst our participants, player <hi
+                        rend="italic">n</hi> acted so controlled and calm that he had the
+                     opportunity to do some exploration tasks and even took his time to visualize
+                     his mindset by movement for the audience. Especially on that low level of
+                     difficulty he never got close to failing. Over time he grew more and more
+                     bored, especially unsatisfied with the amount of time it took to cross the
+                     landscape between different points of interaction. In his approach, landscape
+                     acted as a rich context for decision making and explorative tasks.</p>
+                  <table>
+                     <row>
+                        <cell>
+                           <hi rend="bold">Situation 9: Contextualization on the move</hi>
+                        </cell>
+                     </row>
+                     <row>
+                        <cell>active schemata</cell>
+                        <cell>path, enablement</cell>
+                     </row>
+                     <row>
+                        <cell>anchor region</cell>
+                        <cell>M: road</cell>
+                     </row>
+                     <row>
+                        <cell><graphic xml:id="landscape_2022_016"
+                              url=".../medien/landscape_2022_016.png">
+                              <desc>
+                                 <ref type="graphic" target="#abb16">Fig. 16</ref>: Following a
+                                 road. [Kremer et al. 2022]<ref type="graphic"
+                                    target="#landscape_2022_016"/></desc>
+                           </graphic></cell>
+                        <cell><graphic xml:id="landscape_2022_017"
+                              url=".../medien/landscape_2022_017.png">
+                              <desc>
+                                 <ref type="graphic" target="#abb17">Fig. 17</ref>: Context view
+                                 from road. [Kremer et al. 2022]<ref type="graphic"
+                                    target="#landscape_2022_017"/></desc>
+                           </graphic></cell>
+                     </row>
+
+                     <trailer xml:id="tab09">
+                        <ref type="intern" target="#tab9">Tab. 9</ref>: Situation 9:
+                        Contextualization on the move. [Kremer et al. 2022]<ref type="graphic"
+                           target="#landscape_2022_t9"/>
+                     </trailer>
+                  </table>
+                  <p>He never followed a path exclusively like in situation 2 (<ref type="graphic"
+                     target="#tab03">table 3</ref>). Situation 9 (<ref type="graphic"
+                        target="#tab09">table 9</ref>) shows an example of quick
+                     orientation glances he routinely integrated in the performance of a path. This
+                     behaviour gave him the opportunity to always think of further options.</p>
+                  <table>
+                     <row>
+                        <cell>
+                           <hi rend="bold">Situation 10: Backtracking behaviour</hi>
+                        </cell>
+                     </row>
+                     <row>
+                        <cell>active schemata</cell>
+                        <cell>blockage, path</cell>
+                     </row>
+                     <row>
+                        <cell>anchor region</cell>
+                        <cell>M: power line</cell>
+                     </row>
+                     <row>
+                        <cell><graphic xml:id="landscape_2022_018"
+                              url=".../medien/landscape_2022_018.png">
+                              <desc>
+                                 <ref type="graphic" target="#abb18">Fig. 18</ref>: End of
+                                 power-line. [Kremer et al. 2022]<ref type="graphic"
+                                    target="#landscape_2022_018"/></desc>
+                           </graphic></cell>
+                     </row>
+
+                     <trailer xml:id="tab010">
+                        <ref type="intern" target="#tab10">Tab. 10</ref>: Situation 10: Backtracking
+                        behaviour. [Kremer et al. 2022]<ref type="graphic"
+                           target="#landscape_2022_t10"/>
+                     </trailer>
+                  </table>
+                  <p>When he reached the end of a power line, but not the end of the road yet, he
+                     instantly realized that he must have reached a level boundary of ›Pleasant
+                     Valley‹, which caused him to backtrack immediately.</p>
+                  <table>
+                     <row>
+                        <cell>
+                           <hi rend="bold">Situation 11: Shortcut</hi>
+                        </cell>
+                     </row>
+                     <row>
+                        <cell>active schemata</cell>
+                        <cell>blockage, path</cell>
+                     </row>
+                     <row>
+                        <cell>anchor region</cell>
+                        <cell>M: tree trunk</cell>
+                     </row>
+                     <row>
+                        <cell><graphic xml:id="landscape_2022_019"
+                              url=".../medien/landscape_2022_019.png">
+                              <desc>
+                                 <ref type="graphic" target="#abb19">Fig. 19</ref>: Path blockage by
+                                 tree trunk. [Kremer et al. 2022]<ref type="graphic"
+                                    target="#landscape_2022_019"/></desc>
+                           </graphic></cell>
+                     </row>
+
+                     <trailer xml:id="tab011">
+                        <ref type="intern" target="#tab11">Tab. 11</ref>: Situation 11: Shortcut.
+                        [Kremer et al. 2022]<ref type="graphic" target="#landscape_2022_t11"/>
+                     </trailer>
+                  </table>
+                  <p>Returning from an exploration lap to the starting point, he once more
+                     complained about the time it took. After facing a tree trunk as a visual
+                     blockage, he started to walk right in the woods, what he hoped to be a
+                     shortcut:</p>
+                  <p>
+                     <quote>Wo läufst Du jetzt grad hin?</quote> [observer] <quote>Ich hab keine
+                        Ahnung!</quote> – <quote>Where are you going right now?</quote> [observer]
+                        <quote>I have no idea!</quote>
+                     <note type="footnote"> Participant <hi rend="italic">n</hi>, close playing
+                        session on 2021-4-7, originally stated in German, authors’
+                        translation.</note>
+                  </p>
+                  <p>Interestingly, this decision point marked the beginning of him growing bored.
+                     Shortly thereafter, he tested if a steep slope would do harm to his avatar and
+                     after eventually experiencing some injuries, he fell out of impersonation and
+                     started to talk about his avatar as <quote>you</quote> and not as
+                        <quote>I</quote> further on.</p>
+                  <table>
+                     <row>
+                        <cell>
+                           <hi rend="bold">Situation 12 / 13: Non-human actors</hi>
+                        </cell>
+                     </row>
+                     <row>
+                        <cell>active schemata</cell>
+                        <cell>counterforce</cell>
+                     </row>
+                     <row>
+                        <cell>anchor region</cell>
+                        <cell>S: animal</cell>
+                     </row>
+                     <row>
+                        <cell><graphic xml:id="landscape_2022_020"
+                              url=".../medien/landscape_2022_020.png">
+                              <desc>
+                                 <ref type="graphic" target="#abb20">Fig. 20</ref>: Wolf back the
+                                 road. [Kremer et al. 2022]<ref type="graphic"
+                                    target="#landscape_2022_022"/></desc>
+                           </graphic></cell>
+                        <cell><graphic xml:id="landscape_2022_021"
+                              url=".../medien/landscape_2022_021.png">
+                              <desc>
+                                 <ref type="graphic" target="#abb21">Fig. 21</ref>: Nearby passing
+                                 deer. [Kremer et al. 2022]<ref type="graphic"
+                                    target="#landscape_2022_021"/></desc>
+                           </graphic></cell>
+                     </row>
+
+                     <trailer xml:id="tab012">
+                        <ref type="intern" target="#tab12">Tab. 12</ref>: Situation 12 /
+                        13: Non-Human actors. [Kremer et al. 2022]<ref type="graphic"
+                           target="#landscape_2022_t12"/>
+                     </trailer>
+                  </table>
+                  <p>Animals are usually distant encounters on the easiest level of difficulty, if
+                     the player does not explicitly intend to fight or to hunt. A wolf far down the
+                     road did not scare participant <hi rend="italic">n</hi>. The more he startled,
+                     when a deer overtook him in high speed, just to turn around in an erratic
+                     movement pattern and pass his other side:</p>
+                  <p>
+                     <quote>Jesus! Der Hirsch hat mich erschreckt!</quote> – <quote>Jesus! The deer
+                        scared me!</quote>
+                     <note type="footnote"> Participant <hi rend="italic">n</hi>, close playing
+                        session on 2021-4-7, originally stated in German, authors’
+                        translation.</note>
+                  </p>
+                  <p>In this case it was less due to gameplay then to the unanticipated movement
+                     pattern.</p>
+                  <table>
+                     <row>
+                        <cell>
+                           <hi rend="bold">Situation 14: Spatial decision making</hi>
+                        </cell>
+                     </row>
+                     <row>
+                        <cell>active schemata</cell>
+                        <cell>path, enablement</cell>
+                     </row>
+                     <row>
+                        <cell>anchor region</cell>
+                        <cell>S: road signs, M: road, M: path</cell>
+                     </row>
+                     <row>
+                        <cell><graphic xml:id="landscape_2022_022"
+                              url=".../medien/landscape_2022_022.png">
+                              <desc>
+                                 <ref type="graphic" target="#abb22">Fig. 22</ref>: Road signs
+                                 indicating mining. [Kremer et al. 2022]<ref type="graphic"
+                                    target="#landscape_2022_022"/></desc>
+                           </graphic></cell>
+                        <cell><graphic xml:id="landscape_2022_023"
+                              url=".../medien/landscape_2022_023.png">
+                              <desc>
+                                 <ref type="graphic" target="#abb23">Fig. 23</ref>: Path followed so
+                                 far. [Kremer et al. 2022]<ref type="graphic"
+                                    target="#landscape_2022_023"/></desc>
+                           </graphic></cell>
+                     </row>
+
+                     <trailer xml:id="tab013">
+                        <ref type="intern" target="#tab13">Tab. 13</ref>: Situation 14: Spatial
+                        decision making. [Kremer et al. 2022]<ref type="graphic"
+                           target="#landscape_2022_t13"/>
+                     </trailer>
+                  </table>
+                  <p>Similar to situation 9 (<ref type="graphic"
+                     target="#landscape_2022_t9">table
+                        9</ref>), he stopped on his path when he reached signs and a path pointing
+                     to a mine up in the mountains. He oscillated a few times back and forth between
+                     the two views, clarifying his decision making with the words:</p>
+                  <p>
+                     <quote>Mine oder Zivilisation?</quote> – <quote>Mine or civilization?</quote>
+                     <note type="footnote"> Participant <hi rend="italic">n</hi>, close playing
+                        session on 2021-4-7, originally stated in German, authors’
+                        translation.</note>
+                  </p>
+                  <table>
+                     <row>
+                        <cell>
+                           <hi rend="bold">Situation 15: Heading calibration</hi>
+                        </cell>
+                     </row>
+                     <row>
+                        <cell>active schemata</cell>
+                        <cell>path</cell>
+                     </row>
+                     <row>
+                        <cell>anchor region</cell>
+                        <cell>L: mountain</cell>
+                     </row>
+                     <row>
+                        <cell><graphic xml:id="landscape_2022_024"
+                              url=".../medien/landscape_2022_024.png">
+                              <desc>
+                                 <ref type="graphic" target="#abb24">Fig. 24</ref>: Mountain view.
+                                 [Kremer et al. 2022]<ref type="graphic"
+                                    target="#landscape_2022_024"/></desc>
+                           </graphic></cell>
+                     </row>
+
+                     <trailer xml:id="tab014">
+                        <ref type="intern" target="#tab14">Tab. 14</ref>: Situation 15: Heading
+                        calibration. [Kremer et al. 2022]<ref type="graphic"
+                           target="#landscape_2022_t14"/>
+                     </trailer>
+                  </table>
+                  <p>During his way up to the mine, he repeatedly raised his head to get feedback
+                     from a nearby mountain on his heading, because the path to the mine was not
+                     clearly visible in all places. This marked one of a few key frames that showed
+                     the usability of vertical elements of a landscape as landmarks.</p>
+                  <table>
+                     <row>
+                        <cell>
+                           <hi rend="bold">Situation 16: Landscape as atmospheric glance</hi>
+                        </cell>
+                     </row>
+                     <row>
+                        <cell>active schemata</cell>
+                        <cell>attraction</cell>
+                     </row>
+                     <row>
+                        <cell>anchor region</cell>
+                        <cell>L: waterfall, L: mountain scene</cell>
+                     </row>
+                     <row>
+                        <cell><graphic xml:id="landscape_2022_025"
+                              url=".../medien/landscape_2022_025.png">
+                              <desc>
+                                 <ref type="graphic" target="#abb25">Fig. 25</ref>: Panorama with
+                                 waterfall. [Kremer et al. 2022]<ref type="graphic"
+                                    target="#landscape_2022_025"/></desc>
+                           </graphic></cell>
+                     </row>
+
+                     <trailer xml:id="tab015">
+                        <ref type="intern" target="#tab15">Tab. 15</ref>: Situation 16: Landscape as
+                        atmospheric glance. [Kremer et al. 2022]<ref type="graphic"
+                           target="#landscape_2022_t15"/>
+                     </trailer>
+                  </table>
+                  <p>After leaving the mine and before returning to the path downhill he stood for a
+                     few seconds perceiving an atmospheric mountain scene with a waterfall. Whereas
+                     this must not be overstated, he would not have done so, if nothing had
+                     attracted him.</p>
+               </div>
+               <div type="subchapter">
+                  <head>4.4 Observed patterns and similarities</head>
+
+                  <p>As expected, we were able to identify <hi rend="italic">landscape</hi> both </p>
+                  <list type="ordered">
+                     <item>as means of complying to game mechanics (find resources and survive) and </item>
+                     <item>as a rich setting that invites exploration and interaction (grill some
+                        peaches). </item>
+                  </list>
+                  <p>Nevertheless, amongst the two more experienced players two very individual ways
+                     of performing gameplay on a landscape were observed:</p>
+                  <list type="unordered">
+                     <item>Landscape as aura: participant <hi rend="italic">b</hi> made the plan to
+                        hide in the forest and try to reach the mountain from the very first glance
+                        on the mountain scene and regarded all possible shelters as only a possible
+                        source of equipment afterwards. He also reacted very strongly to the
+                        aesthetic quality of the visualization of footprints and the performative
+                        quality to grill food.</item>
+                     <item>Landscape as context: participant <hi rend="italic">n</hi>, never happy
+                        with the game setting right from the beginning, systematically scanned the
+                        landscape for game elements providing the experience of joy and took any
+                        opportunity for explorative backtracking behaviour. When the relation of
+                        playtime and played time started to bother him and he started to get bored,
+                        he focused on the exploration of the game mechanic.</item>
+                  </list>
+                  <p>In essence, individual spacing in video games varies not only with gaming
+                     skills, but also with individual preferences of enacting landscape-like
+                     environments.</p>
+                  <p>Methodically, all types of pre-chosen image schemata can be observed.
+                     Non-recurring patterns cover <hi rend="italic">container</hi> and <hi
+                        rend="italic">counterforce</hi>. Container as a cognitively very productive,
+                     hierarchy building pattern<note type="footnote"> Cf. <ref type="bibliography" target="#tversky_maps_1993">Tversky 1993</ref>.</note> was
+                     not observed, as exploration of the valley did not last long enough to either
+                     identify different regions of the ›Pleasant Valley‹ or neighbouring top level
+                     regions. Counterforces are not observed as the landscape does not present
+                     itself as immediately hostile in terms of aggressive animals or avalanches, but
+                     starts a silent process of freezing and starvation on a more subtle level. All
+                     other image schemata resample a rich variety of opportunities for interaction
+                     with the landscape and obstacles blocking them. Attractions can be both an
+                     iconic view or an object offering an affordance to act upon (<ref type="graphic"
+                        target="#landscape_2022_t16">Table 16</ref>).</p>
+                  <table>
+                     <row>
+                        <cell>
+                           <hi rend="bold">Image schema</hi>
+                        </cell>
+                        <cell>
+                           <hi rend="bold">Number of scenes (n=16)</hi>
+                        </cell>
+                     </row>
+                     <row>
+                        <cell>Container</cell>
+                        <cell>1</cell>
+                     </row>
+                     <row>
+                        <cell>Enablement</cell>
+                        <cell>4</cell>
+                     </row>
+                     <row>
+                        <cell>Blockage</cell>
+                        <cell>4</cell>
+                     </row>
+                     <row>
+                        <cell>Path</cell>
+                        <cell>7</cell>
+                     </row>
+                     <row>
+                        <cell>Attraction</cell>
+                        <cell>6</cell>
+                     </row>
+                     <row>
+                        <cell>Counterforce</cell>
+                        <cell>1</cell>
+                     </row>
+                     <row>
+                        <cell>Link</cell>
+                        <cell>1</cell>
+                     </row>
+
+                     <trailer xml:id="tab016">
+                        <ref type="intern" target="#tab16">Tab. 16</ref>: Number of image schemata
+                        applied (multiple tagging). [Kremer et al. 2022]<ref type="graphic"
+                           target="#landscape_2022_t16"/>
+                     </trailer>
+                  </table>
+                  <p>A simple similarity measure can be applied. A scene is therefore represented by
+                     its vector of all image schemata. Each component is assigned to one of the
+                     ordinal values <hi rend="italic">active</hi>, <hi rend="italic">inactive</hi>
+                     or <hi rend="italic">non-existent</hi>. Formally:</p>
+                  <p>An image scene is a vector: s = (Container, Enablement, Blockage, Path,
+                     Attraction, Counterforce, Link) with s ∈ {active, inactive, non-existent}⁷ </p>
+                  <p>Similarity is then computed by a simple component distance measure on the
+                     defined ordinal scale divided by maximum value of 14 for normalization
+                     purposes. The derived index ranges from 0 (maximal similarity) to 1 (maximal
+                     dissimilarity). The measure is symmetric.</p>
+                  <p>Taken from the scenes above, <ref type="graphic"
+                     target="#landscape_2022_026">Figure 26</ref> shows an example of two different scenes with maximal
+                     structural similarity (index: 0), both tagged with ›blockage‹. In contrast,
+                     <ref type="graphic"
+                        target="#landscape_2022_027">Figure 27</ref> shows two
+                     pictures of a road but in completely different tasks and perspectives (index:
+                     0,36).</p>
+                  <figure>
+                     <graphic xml:id="landscape_2022_026" url=".../medien/landscape_2022_026.png">
+                        <desc>
+                           <ref type="graphic" target="#abb26">Fig. 26</ref>: Example of structural
+                           equivalent scene (blockage; participant i vs. participant n). [Kremer et
+                           al. 2022]<ref type="graphic" target="#landscape_2022_026"/>
+                        </desc>
+                     </graphic>
+                  </figure>
+                  <figure>
+                     <graphic xml:id="landscape_2022_027" url=".../medien/landscape_2022_027.png">
+                        <desc>
+                           <ref type="graphic" target="#abb27">Fig. 27</ref>: Example of structural
+                           different scene (functions of road and power-line, participant i vs.
+                           participant n). [Kremer et al. 2022]<ref type="graphic"
+                              target="#landscape_2022_027"/>
+                        </desc>
+                     </graphic>
+                  </figure>
+               </div>
+            </div>
+            <div type="chapter">
+               <head>5. Discussion</head>
+
+               <p>All pre-identified image schemata are useful to provide information on individual
+                  spacings of landscape in our close playing walk-along sessions. Due to the
+                  exclusion of the systemic environment of the avatar body and the exclusion of
+                  build environment, tasks of landmark driven navigation (paths) are most
+                  productive. Because the experiment was laid out to observe early appropriation of
+                  a game unknown before to the players, a lot of explorative behaviour including
+                  reaction on attractions as affordances<note type="footnote"> Cf. <ref type="bibliography" target="#gibson_umwelt_1982">Gibson
+                     1982</ref>.</note> or back-tracking<note type="footnote"> Cf. <ref type="bibliography" target="#kremer_coices_2013">Kremer et al. 2013</ref>, p.
+                     3.</note> was taking place. From our limited sample, we can raise the
+                  hypothesis that skilled players are more likely to show curiosity or enjoying
+                  familiarization of a new game, as they have the capabilities to adapt quickly to
+                  game control and are trained to anticipate the core principles of any game
+                  mechanic. Observations made during the digital walkalongs reveal that the
+                  comparison to other known games are made on early appropriation in order to
+                  accommodate with the game. Of course, the sheer aesthetics of the visualization of
+                  landscape in video games can be observed several times while watching mountain
+                  scenes. As <bibl>
+                     <title type="desc">The Long Dark</title>
+                  </bibl> as a survivable game doesn’t offer rich possibilities of interaction
+                  outside shelters and puts a focus on a proportional relation of played time and
+                  play time, not many other agents were perceived as counterforce.</p>
+               <p>Although our coding scheme is designed to annotate partonomies of anchor regions
+                  or taxonomies of image schemata, we were not able to observe such complex
+                  patterns. Our observations indicate that active image schemata are always bound to
+                  a set of higher-level intentions rendering other potential image schemata
+                  inactive. Only participant <hi rend="italic">n</hi> performed a continuous active
+                  scan for context. Partially due to a lack of recognition capabilities with less
+                  experienced players, we know from computer and cognitive science that intentions
+                  are a powerful filter mechanism in general.<note type="footnote"> Cf. <ref type="bibliography" target="#kiefer_intention_2012">Kiefer 2012</ref>.
+                  </note> In detail, we saw:</p>
+               <list type="ordered">
+                  <item>Active intention sets effectively block affordances.<note type="footnote"
+                     > Cf. <ref type="bibliography" target="#kiefer_intention_2012">Kiefer 2012</ref>; situation 1, wayfinding (<ref type="graphic"
+                        target="#tab02">table 2</ref>): <quote>There’s something red
+                           back there!</quote>.</note>
+                  </item>
+                  <item>Empty intention sets<note type="footnote"> For information on the
+                     computational approach of mobile intention recognition see Cf. <ref type="bibliography" target="#kiefer_intention_2012">Kiefer 2012</ref>;
+                        due to boredom: cf. <ref type="bibliography" target="#kiefer_starting_2014">Kiefer et al. 2014</ref>.</note> react to almost any
+                     environmental affordance.<note type="footnote"> E. g. situation 11, shortcut (<ref type="graphic"
+                           target="#tab011">table 11</ref>).</note>
+                  </item>
+                  <item>Higher level intentions stay active for a long time.<note type="footnote"
+                     > This is reoccurring in situation 4, landscape as attraction (<ref type="graphic"
+                        target="#tab05">table 5</ref>) with the wish to
+                        visit the mountains.</note>
+                  </item>
+               </list>
+               <p>In addition, very strong occurrences of the scheme ›attraction‹ like the farm
+                  building in scene 8 that reveal to provide major blockage schemata on entering
+                  simply by darkness can be classified as a trap. </p>
+               <p>We showed that similarity of (active) image schemata provides solid means to
+                  compare the visual relevance of scenes to different players. Other than close
+                  readings of sceneries that superimpose external attribution by the coder on the
+                  one hand and intention sets that focus completely on the player’s mindset on the
+                  other, image schemata provide structural means to identify task oriented active
+                  and inactive visualities and thus act as a link between the other two approaches.
+                  Of course, similarity measures can be easily fine-grained to include the scale and
+                  feature type of anchor regions and tested on their specific effect sizes.</p>
+               <p>Our study setup proved to provide a solid ground for testing of our hypotheses as
+                  we used a widely controlled lab setup, a well-established method of observation
+                  (walk-alongs) and a well-understood annotation technique (image schemata). The
+                  game itself revealed to be the right choice as a playground for different
+                  sense-makings of landscape. Neither a dense narrative nor a common-sense context
+                  of fighting was superimposed to the game situation, which encouraged individual
+                  intentions. As opportunities for interaction exist both in build and non-build
+                  environment in <bibl>
+                     <title type="desc">The Long Dark</title>
+                  </bibl>, landscape was usable as a field of affordances and not only evocating
+                  mood or atmosphere.</p>
+               <p>Nevertheless, as our study setup was experimental, we can ex post recommend
+                  several opportunities for optimization. As the study setup was held in private via
+                  screencast, it was not possible to control a number of factors including hardware
+                  resources, incidence of light, brightness of monitor on site and effect of
+                  possible other persons present. Also, due to the experimental setting, we tried to
+                  focus widely on observation and only encouraged ongoing verbalization of
+                  perceptions, plans and (inter)action. With the coding scheme derived from the
+                  data, it should be easy now to ask in detail for active intentions to distinguish
+                  between not recognized game elements and those filtered by task orientation. To
+                  keep on not disturbing the participants in their choice making in the game,
+                  confronting the participants with the video material captured directly after the
+                  playing sessions for cross validation purposes would provide optimal results. This
+                  approach would accelerate the check for usable material at the same time. The
+                  skill level of the participants now relies on self-attribution and observation. A
+                  more structured approach would be to hold a questionnaire in front of the playing
+                  session or even on sample generation.</p>
+               <p>A variety of future research is fostered by our findings. As image schemata are a
+                  structural query ontology suitable for carrying different semantics, it should be
+                  easy to transfer the method of digital walk-alongs back to real world situations.
+                  Especially interesting is to capture not only video material of these walks, but
+                  also to record eye tracking data from the first-person perspective.<note
+                     type="footnote"> Cf. <ref type="bibliography" target="#kiefer_starting_2014">Kiefer et al. 2014</ref>.</note> This would also allow for
+                  verification of relevant features and measure focus times. Using such temporal
+                  structured data would also allow for an analysis of the temporal lifecycle of
+                  active image schemata, i. e. from their very beginning (discovering) to the end of
+                  relevance (leaving behind). </p>
+            </div>
+            <div type="chapter">
+               <head>6. Conclusion</head>
+
+               <p>In our experimental approach to obtain more detailed information on individual
+                  sense-making of the geographic concept of landscape in video games, first, we used
+                  a phenomenological framework to look for individual differences in both perception
+                  and conception of landscape. We frame landscape as primarily visual accessible,
+                  (re-)constructed by socio-cultural assumptions in the very moment of watching.
+                  While on the move, landscapes can be understood as a stream of consciousness
+                  continuously reshaped and evaluated according to the intentionality and (silent)
+                  expectations of the player. Landscapes can be used to create a certain mood or
+                  atmosphere but can also offer a rich field of affordances, evocative spaces that
+                  hide their opportunities for interaction behind visual clues. Taking advantage of
+                  that, narratives in the game do not necessarily have to be told explicitly, but
+                  are produced by players on interaction with the game environment.</p>
+               <p>Second, we extended the established practice of close playing to accompanied
+                  digital walk-alongs, separating the roles of player and observer. In doing so, we
+                  mitigated priming biases and context switches and were able to strengthen our
+                  results in an experiment-like situation. Following the well-understood instrument
+                  of image schemata, we developed a simple coding scheme to annotate active visual
+                  elements of engagement and interaction in screencast videos obtained from playing
+                  sessions. Our expectation was to observe individual ways of sense-making of
+                  landscape in video game environments, varying by skill of player and type of
+                  enacting. We selected the game <bibl>
+                     <title type="desc">The Long Dark</title>
+                  </bibl>, a survival game in the Canadian wilderness that does neither superimpose
+                  a strong narrative nor a context of fighting used in many other games. This gave
+                  us the opportunity to watch different types of gameplay unfold.</p>
+               <p>In essence, we found that an individual sense-making beyond sheer affordances can
+                  only happen with a certain skill level in the familiarization process of games.
+                  Our participant not used to playing video games was continuously challenged by the
+                  task of managing the game mechanics and simply had no time for individual
+                  sense-making. One of our more experienced participants used landscape intensely as
+                  context for exploration behaviour, both to learn about evocative spaces and game
+                  mechanics. A third participant strongly reacted to the visual quality of landscape
+                  as an aura which significantly determined his intentions for the whole session.
+                  Making use of our structural annotation scheme of image schemata we proposed a
+                  simple similarity measure to compute the degree of congruence between different
+                  styles of interaction in comparable scenes. Interestingly, we were able to observe
+                  that intentions can act as an effective filter for visual-sense making, rendering
+                  different conceptions of similar views.</p>
+               <p>Next steps cover the opportunity to use our study setup, which proved to provide
+                  solid ground for observation, in real-world environments. Our current approach can
+                  be further enhanced by focusing more on the influence of active intentions on
+                  visual sense-making of landscapes. Technically, this could be assisted by using
+                  eye-tracking to identify specific areas of interest of focus regions, and in doing
+                  so, will enable the development of a more thorough understanding of the entire
+                  lifecycle of player-landscape interactions.</p>
+            </div>
+            <div type="bibliography">
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+               </listBibl>
+
+            </div>
+            <div type="abbildungsnachweis">
+               <head>List of Figures and Tables with Captions</head>
+               <desc type="graphic" xml:id="abb1">Key question analysing visual material.
+                  [Rose 2016, p. 25]<ref type="graphic" target="#landscape_2022_001"/></desc>
+               <desc type="graphic" xml:id="abb2">Selective list of image schemata. [Johnson 1987,
+                     p. 126]<ref type="graphic" target="#landscape_2022_002"/></desc>
+               <desc type="table" xml:id="tab1"><ref target="#tab01" type="intern">Tab. 1</ref>:
+                  Participants and amount of analysed screencast. [Kremer et al. 2022] <ref
+                     type="graphic" target="#landscape_2022_t1"/></desc>
+               <desc type="graphic" xml:id="abb3">Fan made map of ›Pleasant
+                  Valley‹. [XHead / stmSantana 2019]<ref type="graphic" target="#landscape_2022_003"
+                  /></desc>
+               <desc type="graphic" xml:id="abb4">Main quest of The Long Dark. [Kremer et al.
+                     2022]<ref type="graphic" target="#landscape_2022_004"/></desc>
+               <desc type="graphic" xml:id="abb5">Annotated key frame with possible anchor regions
+                  wood, bridge, road, snowed meadow, building and mountain range. Feature categories
+                  can be annotated in the data scheme of Recogito, but not visualized as labels.
+                  Blurred edges in the field of perception reflect that the avatar is hurt at the
+                  moment (bottom right symbol). The four icons on the bottom left show the state of
+                  the four main elements of the game mechanics: cold, tiredness, thirst and
+                  hunger. [Kremer et al. 2022]<ref type="graphic" target="#landscape_2022_005"
+                  /></desc>
+               <desc type="table" xml:id="tab2"><ref target="#tab02" type="intern">Tab. 2</ref>:
+                  Situation 1: Wayfinding. [Kremer et al. 2022] <ref type="graphic"
+                     target="#landscape_2022_t2"/></desc>
+               <desc type="graphic" xml:id="abb6">Bridge far back in the forest. [Kremer et al.
+                     2022]<ref type="graphic" target="#landscape_2022_006"/></desc>
+               <desc type="graphic" xml:id="abb7">Bridge appears behind an edge of rock. [Kremer et
+                  al. 2022]<ref type="graphic" target="#landscape_2022_007"/></desc>
+               <desc type="table" xml:id="tab3"><ref target="#tab03" type="intern">Tab. 3</ref>:
+                  Situation 2: Ignored affordance. [Kremer et al. 2022]<ref type="graphic"
+                     target="#landscape_2022_t3"/></desc>
+               <desc type="graphic" xml:id="abb8">Crossing street and power-line. [Kremer et al.
+                     2022]<ref type="graphic" target="#landscape_2022_008"/></desc>
+               <desc type="table" xml:id="tab4"><ref target="#tab04" type="intern">Tab. 4</ref>:
+                  Situation 3: Realism. [Kremer et al. 2022]<ref type="graphic"
+                     target="#landscape_2022_t4"/></desc>
+               <desc type="graphic" xml:id="abb9">Frozen lake. [Kremer et al. 2022]<ref
+                     type="graphic" target="#landscape_2022_009"/></desc>
+               <desc type="table" xml:id="tab5"><ref target="#tab05" type="intern">Tab. 5</ref>:
+                  Situation 4: Landscape as attraction. [Kremer et al. 2022]<ref type="graphic"
+                     target="#landscape_2022_t5"/></desc>
+               <desc type="graphic" xml:id="abb10">Mountain view. [Kremer et al. 2022]<ref
+                     type="graphic" target="#landscape_2022_010"/></desc>
+               <desc type="graphic" xml:id="abb11">Repeated Mountain view. [Kremer et al. 2022]<ref
+                     type="graphic" target="#landscape_2022_011"/></desc>
+               <desc type="table" xml:id="tab6"><ref target="#tab06" type="intern">Tab. 6</ref>:
+                  Situation 5 / 6: Landscape as atmospheric aura. [Kremer et al. 2022]<ref
+                     type="graphic" target="#landscape_2022_t6"/></desc>
+               <desc type="graphic" xml:id="abb12">Footprints in the snow. [Kremer et al. 2022]<ref
+                     type="graphic" target="#landscape_2022_012"/></desc>
+               <desc type="graphic" xml:id="abb13">Snowy tree trunks. [Kremer et al. 2022]<ref
+                     type="graphic" target="#landscape_2022_013"/></desc>
+               <desc type="table" xml:id="tab7"><ref target="#tab07" type="intern">Tab. 7</ref>:
+                  Situation 7: Atmospheric indoor scenes. [Kremer et al. 2022]<ref type="graphic"
+                     target="#landscape_2022_t7"/></desc>
+               <desc type="graphic" xml:id="abb14">Grill fire. [Kremer et al. 2022]<ref
+                     type="graphic" target="#landscape_2022_014"/></desc>
+               <desc type="table" xml:id="tab8"><ref target="#tab08" type="intern">Tab. 8</ref>:
+                  Situation 8: Trap. [Kremer et al. 2022]<ref type="graphic"
+                     target="#landscape_2022_t8"/></desc>
+               <desc type="graphic" xml:id="abb15">Darkness. [Kremer et al. 2022]<ref type="graphic"
+                     target="#landscape_2022_015"/></desc>
+               <desc type="table" xml:id="tab9"><ref target="#tab09" type="intern">Tab. 9</ref>:
+                  Situation 9: Contextualization on the move. [Kremer et al. 2022]<ref type="graphic"
+                     target="#landscape_2022_t9"/></desc>
+               <desc type="graphic" xml:id="abb16">Following a road. [Kremer et al. 2022]<ref
+                     type="graphic" target="#landscape_2022_016"/></desc>
+               <desc type="graphic" xml:id="abb17">Context view from road. [Kremer et al. 2022]<ref
+                     type="graphic" target="#landscape_2022_017"/></desc>
+               <desc type="table" xml:id="tab10"><ref target="#tab010" type="intern">Tab. 10</ref>:
+                  Situation 10: Backtracking behaviour. [Kremer et al. 2022]<ref type="graphic"
+                     target="#landscape_2022_t10"/></desc>
+               <desc type="graphic" xml:id="abb18">End of power-line. [Kremer et al. 2022]<ref
+                     type="graphic" target="#landscape_2022_018"/></desc>
+               <desc type="table" xml:id="tab11"><ref target="#tab011" type="intern">Tab. 11</ref>:
+                  Situation 11: Shortcut. [Kremer et al. 2022]<ref type="graphic"
+                     target="#landscape_2022_t11"/></desc>
+               <desc type="graphic" xml:id="abb19">Path blockage by tree trunk. [Kremer et al.
+                     2022]<ref type="graphic" target="#landscape_2022_019"/></desc>
+               <desc type="table" xml:id="tab12"><ref target="#tab012" type="intern">Tab. 12</ref>:
+                  Situation 12 / 13: Non-Human actors. [Kremer et al. 2022]<ref type="graphic"
+                     target="#landscape_2022_t12"/></desc>
+               <desc type="graphic" xml:id="abb20">Wolf back the road. [Kremer et al. 2022]<ref
+                     type="graphic" target="#landscape_2022_020"/></desc>
+               <desc type="graphic" xml:id="abb21">Nearby passing deer. [Kremer et al. 2022]<ref
+                     type="graphic" target="#landscape_2022_021"/></desc>
+               <desc type="table" xml:id="tab13"><ref target="#tab013" type="intern">Tab. 13</ref>:
+                  Situation 14: Spatial decision making. [Kremer et al. 2022]<ref type="graphic"
+                     target="#landscape_2022_t13"/></desc>
+               <desc type="graphic" xml:id="abb22">Road signs indicating mining. [Kremer et al.
+                     2022]<ref type="graphic" target="#landscape_2022_022"/></desc>
+               <desc type="graphic" xml:id="abb23">Path followed so far. [Kremer et al. 2022]<ref
+                     type="graphic" target="#landscape_2022_023"/></desc>
+               <desc type="table" xml:id="tab14"><ref target="#tab014" type="intern">Tab. 14</ref>:
+                  Situation 15: Heading calibration. [Kremer et al. 2022]<ref type="graphic"
+                     target="#landscape_2022_t14"/></desc>
+               <desc type="graphic" xml:id="abb24">Mountain view. [Kremer et al. 2022]<ref
+                     type="graphic" target="#landscape_2022_024"/></desc>
+               <desc type="table" xml:id="tab15"><ref target="#tab015" type="intern">Tab. 15</ref>:
+                  Situation 16: Landscape as atmospheric glance. [Kremer et al. 2022]<ref
+                     type="graphic" target="#landscape_2022_t15"/></desc>
+               <desc type="graphic" xml:id="abb25">Panorama with waterfall. [Kremer et al. 2022]<ref
+                     type="graphic" target="#landscape_2022_025"/></desc>
+               <desc type="table" xml:id="tab16"><ref target="#tab016" type="intern">Tab. 16</ref>:
+                  Number of image schemata applied (multiple tagging). [Kremer et al. 2022]<ref
+                     type="graphic" target="#landscape_2022_t16"/></desc>
+               <desc type="graphic" xml:id="abb26">Example of structural equivalent scene (blockage;
+                  participant <hi rend="italic">i</hi> vs. participant <hi rend="italic">n</hi>).
+                  [Kremer et al. 2022]<ref type="graphic" target="#landscape_2022_026"/></desc>
+               <desc type="graphic" xml:id="abb27">Example of structural different scene (functions
+                  of road and power-line, participant <hi rend="italic">i</hi> vs. participant <hi
+                     rend="italic">n</hi>). [Kremer et al. 2022]<ref type="graphic"
+                     target="#landscape_2022_027"/></desc>
+            </div>
+         </div>
+      </body>
+   </text>
+</TEI>