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Deceptive design practices have been identified and studied in games but, to date, there have been no substantial explorations of deceptive design practices within 3D environments typically found in PC games. These offer a new set of affordances for interacting with the player, and game developers may be able to utilize these in order to shape gameplay experiences. The goal of this work was to explore users’ perceptions of deceptive design present in a popular free-to-play 3D game. A survey was carried out with 259 adult respondents identifying and explaining instances of deceptive design within video clips of gameplay from a popular Roblox game. Thematic analysis of the responses revealed six new categories of deceptive design pattern within a 3D gameplay context: Predatory Monetization, Default to Purchase, UI Misdirection, Emotional Interpersonal Persuasion, Physical Placement, and Narrative Obligation. Through our work we hope to highlight the use of deceptive design both within current 3D games and future 3D gaming environments. This work is particularly important as 3D and VR gaming grow in popularity alongside game publishers increasingly moving towards “freemium” monetization models for income.

Meteorological records at Signy Station in the South Orkney Islands (SOIs) have recently been digitized to cover the period of 1947–1995. This study compares the newly available near-surface air temperatures at Signy with those from a nearby station, Orcadas and with reanalysis datasets to provide a more comprehensive picture of the weather and climate variability in the SOIs. Temperatures from both stations show a higher degree of variability in winter than summer, but the variability differs in terms of its relationship to the dominant wind directions and sea ice influences. The two stations differ markedly in terms of their respective warm temperature events, largely due to orography-induced föhn winds at Signy Station as northwesterlies flow over Coronation Island. ERA5 reproduces the monthly to annual averages exceedingly well but underestimates both cold and warm tails of station temperatures. Temperature trends in the SOIs are also considered in terms of changes in large-scale circulation and the sea surface temperature over the Brazil-Falkland Confluence. However, caution is required in interpreting the long-term temperature trends estimated from reanalysis data as most of the reanalyses show a cold bias before 1979, which is most likely caused by misrepresentation of the sea ice.

This paper explores the unique methods and strategies employed by a team of artists, in collaboration with engineers, programmers, a climate scientist, researchers and members of the public, who have come together to create the Future Machine, with the aim to continue this longitudinal project for 30 years. We explore the process of designing Future Machine – the provenance and sustainability of the materials, the participatory design process, how Future Machine's interactivity is evolving over time and how the technology might be sustained for 30 years. We investigate the role that Future Machine plays in engaging the human populations across these diverse places, exploring how the artists used strategies of entanglement and myth-making to support the interactions between the ecologies, technologies, non-human inhabitants, narratives and neighbourly relations that are emerging as the project evolves over time. In conclusion we propose that the artist strategies of entanglement and encouraging myth-making reveal new approaches to experiential design. We propose that these strategies provide opportunities to open up a set of disruptive/radical/novel design challenges for HCI, that encourage sustainable and positive forms of interactions for a world increasingly impacted by anthropogenic climate and environmental change