Dit proefschrift presenteert twee theoretische kaders voor het ontwerpen van games en beschrijft hoe game designers deze kunnen inzetten om het game ontwerpproces te stroomlijnen. Er bestaan op dit moment meerdere ontwerptheorie¨en voor games, maar geen enkele kan rekenen op een breed draagvlak binnen de game industrie. Vooral academische ontwerptheorie¨en hebben regelmatig een slechte reputatie. Het eerste kader dat game designers inzicht biedt in spelregels en hun werking heet Machinations en maakt gebruik van dynamische, interactieve diagrammen. Het tweede theoretische kader van dit proefschrift, Mission/Space, richt zich op level-ontwerp en spelmechanismen die de voortgang van een speler bepalen. In tegenstelling tot bestaande modellen voor level-ontwerp, bouwt Mission/Space voort op het idee dat er in een level twee verschillende structuren bestaan. Mission-diagrammen worden gebruikt om de structuur van taken en uitdagingen voor de speler te formaliseren, terwijl space-diagrammen de ruimtelijke constructie formaliseren. Beide constructies zijn aan elkaar gerelateerd, maar zijn niet hetzelfde. De verschillende wijzen waarop missies geprojecteerd kunnen worden op een bepaalde ruimte speelt uiteindelijk een belangrijke rol in de totstandkoming van de spelervaring.
Promoting inclusive school cultures and, more specifically, addressing inequality of opportunity is high on the European education agenda. Equipping teachers to be able to identify and address inequality of opportunity requires them to develop sensitivity, multi-perspectivity and agency, and these are complex attributes that require personal experiences and deep reflection. Following the principles of design research, five Dutch teacher-researchers developed IQ110 - a game that does just that. It helps both beginning and experienced teachers reflect on the hidden mechanisms of inequality, particularly on the effects of socio-economic status (SES), and it stimulates them to ad-dress these mechanisms. In the card game, that is played by 3-5 teachers, each teacher first draws a persona card: each player becomes a pupil with a given SES-background. Then the players, in turn, draw situation cards. These situations have three possible outcomes, each resulting in getting green (positive) or red (negative) chips. For each situation the other players discuss the most likely scenario and thus determine the pupil’s score. The persona cards are based on Bourdieu’s ideas on economic, cultural and social capital. The situation cards and scores are informed by SES research.The impact of the card game, both in terms of outcomes and its driving mechanisms, is now the subject of a study, funded by the Centre of Expertise Urban Education of the Amsterdam University of Applied Sciences. To this end, the canvasses on which the individual participants record their learning outcomes are analyzed, and there is a retrospective questionnaire that is filled in after having played the game.The preliminary results are promising: especially identifying with low SES pupils and feeling the accu-mulation of negative experiences raises teachers’ awareness. The participants report that through the individual and collective reflections afterwards they are better equipped to address the issue.In our presentation we would first like to briefly demonstrate the game and then discuss the results and possible implications and applications. As we are now working on an international version of the game, we would also like to discuss with you the game’s potential outside of the Dutch context.
In order for techniques from Model Driven Engineering to be accepted at large by the game industry, it is critical that the effectiveness and efficiency of these techniques are proven for game development. There is no lack of game design models, but there is no model that has surfaced as an industry standard. Game designers are often reluctant to work with models: they argue these models do not help them design games and actually restrict their creativity. At the same time, the flexibility that model driven engineering allows seems a good fit for the fluidity of the game design process, while clearly defined, generic models can be used to develop automated design tools that increase the development’s efficiency.
Evaluating player game experiences through biometric measurementsThe BD4CG (Biometric Design for Casual Games project) worked in a highly interdisciplinary context with several international partners. The aim of our project was to popularize the biometric method, which is a neuro-scientific approach to evaluating the player experience. We specifically aimed at the casual games sector, where casual games can be defined as video or web-based games with simple and accessible game mechanics, non threatening themes and generally short play sessions. Popular examples of casual games are Angry Birds and FarmVille. We focussed on this sector because it is growing fast, but its methodologies have not grown with it yet. Especially the biometrics method has so far been almost exclusively used domain by the very large game developers (such as Valve and EA). The insights and scientific output of this project have been enthusiastically embraced by the international academic arena. The aim of the grant was to focus on game producers in the casual sector, and we have done so but we also established further contacts with the game sector in general. Thirty-one outputs were generated, in the form of presentations, workshops, and accepted papers in prominent academic and industry journals in the field of game studies and game user research. Partners: University of Antwerpen, RANJ, Forward Games, Double Jungle, Realgames, Dreams of Danu, Codemasters, Dezzel, Truimph Studios, Golabi Studios
The Dutch Environmental Vision and Mobility Vision 2050 promote climate-neutral urban growth around public transport stations, envisioning them as vibrant hubs for mobility, community, and economy. However, redevelopment often increases construction, a major CO₂ contributor. Dutch practice-led projects like 'Carbon Based Urbanism', 'MooiNL - Practical guide to urban node development', and 'Paris Proof Stations' explore integrating spatial and environmental requirements through design. Design Professionals seek collaborative methods and tools to better understand how can carbon knowledge and skills be effectively integrated into station area development projects, in architecture and urban design approaches. Redeveloping mobility hubs requires multi-stakeholder negotiations involving city planners, developers, and railway managers. Designers act as facilitators of the process, enabling urban and decarbonization transitions. CARB-HUB explores how co-creation methods can help spatial design processes balance mobility, attractiveness, and carbon neutrality across multiple stakeholders. The key outputs are: 1- Serious Game for Co-Creation, which introduces an assessment method for evaluating the potential of station locations, referred to as the 4P value framework. 2-Design Toolkit for Decarbonization, featuring a set of Key Performance Indicators (KPIs) to guide sustainable development. 3- Research Bid for the DUT–Driving Urban Transitions Program, focusing on the 15-minute City Transition Pathway. 4- Collaborative Network dedicated to promoting a low-carbon design approach. The 4P value framework offers a comprehensive method for assessing the redevelopment potential of station areas, focusing on four key dimensions: People, which considers user experience and accessibility; Position, which examines the station's role within the broader transport network; Place-making, which looks at how well the station integrates into its surrounding urban environment; and Planet, which addresses decarbonization and climate adaptation. CARB-HUB uses real cases of Dutch stations in transition as testbeds. By translating abstract environmental goals into tangible spatial solutions, CARB-HUB enables scenario-based planning, engaging designers, policymakers, infrastructure managers, and environmental advocates.
The production, use, disposal and recovery of packaging not only generates massive volumes of waste, it also consumes raw materials, water and energy (Fitzpatrick et al. 2012). Simultaneously, consumers have shown an increasing interest in products incorporating sustainable and social attributes (Kletzan et al., 2006). As a result, environmentally friendly packaging, also called ecofriendly or sustainable packaging, has become mainstream. In this context, packaging is more than just ensuring the product's protection and easing transportation, it is also a communicative tool (Palmer, 2000) and it becomes associated with multiple drivers of the purchasing process. Consequently, companies face pressure to innovate responding to consumer demands, and focusing on sustainable solutions that reduce harmful materials and favour green alternatives for both, the product and the packaging. Although the above has triggered research on consumer choice for sustainable products and alternatives on sustainable packaging, the relation between sustainable packaging and consumer behaviour remains underexplored. This research unpacks this relationship, i.e., empirically verifies which dimensions (recyclability, biodegradability, reusability) of sustainable packaging are perceived and valued by consumers. Put differently, this research investigates consumer behaviour towards the functions of sustainable packaging in terms of product protection, convenience, reliability of information and promotion, and scrutinises the perceived credibility of the associated ethical responsibility claims. It aims to identify those packaging materials and/or sustainability characteristics perceived as more sustainable by consumers as well as the factors influencing actual consumer choice towards sustainable packaged products. We aim to gain more insights in the perceptual frame that different types of consumers apply when exposed to sustainable packaging. To this end, we will make use of revealed preference methods to measure consumer valuations of sustainable packaged products. This game-theoretic approach should provide a more complete depiction of consumers' perceptions and preferences.
