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An investigation into perception-altering lighting concepts for supporting game designers in setting certain atmospheres within a videogame environment

I'd like to have a house like that

This qualitative interview study explores the practices of adult female gamers who play the videogame The Sims, focusing on the motivations they have for playing and how playing a video game might influence their digital competence. We address the wider context of leisure and the household, investigating to what extent playing videogames has become domesticated in the daily life of the family. It is found that female gamers play The Sims because they enjoy the particular way it allows them to take control, fantasize, and be challenged. For some, it is clear that playing this video game has increased their digital skills. We notice that there is an interesting similarity between the pleasures of playing this videogame and more traditional ways of female media engagement such as reading women’s magazines or romance novels and watching soap operas. Our gamers similarly enjoy The Sims as leisurely moments for themselves, clearly and intentionally separated from domestic and family duties. We conclude that playing a videogame can be seen as a highly modern and liberating practice, as both playing in general and using ICT have traditionally not been a part of the female leisure domain.

The contribution of branded games for the LEGO ninjago brand narrative

This study will examine how branded games in the LEGO Ninjago franchise communicate the brand narrative through their mechanical, semiotic and referential design. Digital games as communicative tools facilitate a new paradigm of marketing focusing on experience creation through integrated marketing communication plans. The LEGO brand creates highly successful games that communicate the brand effectively. To explore the possibilities and counteract the simplistic use of branded games, this study introduces an innovative framework to formally analyze branded games and their communication of a brand narrative through mechanical, semiotic and referential layers. This framework introduces formal game design to advertising studies, while dragging game studies into branded ecosystems. Using the framework, we analyze LEGO Ninjago the Movie – The Videogame, to identify how this paid digital game expands the Ninjago universe and fulfills specific marketing purposes oriented to LEGO toy sets. Our analysis shows that on a mechanical and semiotic layer, the game presents a standalone experience catering to the universe of the Ninjago movie and the values of the Ninjago brand narrative. However, by framing the whole game as LEGO – in its materiality and interactable objects – the LEGO brand narrative of creative construction informs the act of play. The referential design in these games makes use of playful disruption of rules to instill additive comprehension in the player related to purchasable sets and content.

Felino: the philosophical practice of making a interspecies videogame

Exploring players’curiosity-driven behaviour in unknown videogame environments

Curiosity is a fundamental trait of human nature, and as such, it has been studied and exploited in many aspects of game design. However, curiosity is not a static trigger that can just be activated, and game design needs to be carefully paired with the current state of the game flow to produce significant reactions. In this paper we present the preliminary results of an experiment aimed at understanding how different factors such as perceived narrative, unknown game mechanics, and non-standard controller mapping could influence the evolution of players’ behaviour throughout a game session. Data was gathered remotely through a puzzle game we developed and released for free on the internet, and no description on potential narrative was provided before gameplay. Players who downloaded the game did it on their free will and played the same way they would with any other game. Results show that initial curiosity towards both a static and dynamic environment is slowly overcome by the sense of challenge, and that interactions that were initially performed with focus lose accuracy as result of players’ attention shift towards the core game mechanics.

Forces in play : the business and culture of videogame production

This paper is a cultural analysis of the business of videogame production, the industry's personalities, its development practices and market influences. It is a critique of the 'I' methodology of game design and its influence on game content, especially characterization. It provides insight into the impact of US publishers and markets on Australian game development 2004 - 2009. Results of related studies and literature are reviewed and supplemented with anecdotal reports to construct a picture of the current forces in play in videogame production. While it may be fun to play games, it is often far from fun to make them.