Physical reaction on the events in the game
Some of the players react physically on the events in the game. A movement observed was feet movement while shooting
in the game. This reaction can be considered as the player living the came and reacting spontaneously on the events on the screen. According to
Bianchi-Berthouz this behavior can be seen as a sign for presence in the virtual environment1, as the player behaves as if he was on the
football-field. This behavior is an evidence for FiFa 16 provoking wii experiences as the player is physically immersed in the game.
 Bianchi-Bertouze, N. (n.y.): Understanding the role of body movement in player engagement,
Playing FIFA 16, some players react as a fan of a football team. One gamer, after he scores, celebrates his goal.
According to Merleau Ponty for him, the goal itself became the “sensitive” and creates a “sensation” for the body because of its composition quality1.
The celebration was equivocal because he acted as if his favourite team would have scored. Besides, his reaction shows, that he cannot believe .
He got consciousness of his own action and was waiting for the replay to confirm his excitement.
 Merleau-Ponty, M. (1945): Phénoménologie de la perception, Paris: Editions Gaillard, p.11.
Loosening during stoppages
Two players have a physical reaction, everytime the game stops. The rhythm of the game influences their gestures and corporal
behaviour. During gaming phases, their bodies are frozen and there is no explicit movement. In contrast to that, during stoppages, they start moving again.
According to M.Merleau Ponty : “Le corps est l’être temporel et il est le temps, mais il n’est pas le créateur du temps, pas plus que des battements de son cœur,
ce n’est pas lui qui prend l’initiative de la temporalisation ; il n’a pas choisi de naître, et, une fois qu’il est au monde le temps fuse à travers lui.”
The body takes part of the time, but does not influence or determine it1.By having this kind of corporal behaviour, theses players show some signs that
the game forces them to act in a certain way. They need to respect the rhythm of the game and they move when the game allows them to do so.
 Merleau-Ponty, M. (1964): L’œil et l’Esprit, Paris: Editions Gaillard.