The authors compared three methods of reading and learning by using paper, as well as a variety of interactive study forms. Thier work is part of the large Amsterdam E-Boekenstad (E-Book city) research project (www.e-boekenstad.nl and http://e-boekenstad.wikispaces.com/). They investigate to what extent the materiality of a book determines the usability of the book form. Their tests were conducted in 2010 and 2011. They compared; 1.learning from paper, a laptop and an e-ink e-reader 2.paper with reading from web pages 3.paper and material presented into a digital mind map. As it turns out, in a study situation, electronic reading can only beat reading from paper when it offers real added value. For example, by providing a better overview and shorter comprehensive texts, like they did in their second study. The most important conclusion from all tests is that a simple translation from paper format to electronic format is not enough. Publishers should take advantage of the possibilities new techniques offer, and perhaps discard ‘traditional thinking’ in terms of linear essay-type books and paragraphs.
The term ‘immersion’ is used frequently by professional video game developers (in both the entertainment and serious/applied industries), academics, journalists, and players. However, this word can refer to a range of different modes of engagement for players and standardisation would improve discussion of the topic. This paper suggests and explains four categories: 1. 'Systems immersion' can be used to describe when players are deeply engaged with the mechanics, challenges, and rules of a game, and is similar to a state of ‘flow’. 2. 'Spatial immersion' is the sense of a player being present in, or transported to, the virtual world, and is linked to the concept of embodiment. 3. 'Empathic/social immersion' describes the connection that a player may develop towards the characters (AI or human) and the social context of a game.4. 'Narrative/sequential immersion' can be used to describe a player’s compulsion to see how a sequence of events continues, typically in a narrative, but this is related to any progression, such as exploring new spaces or evolving gameplay mechanics.
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In this chapter, we propose an ethical framework for serious game design, which we term the Ecosystem for Designing Games Ethically (EDGE).EDGE expands on Zagal’s categorization of ethical areas in game design by incorporating the different contexts of design and their use. In addition, we leverage these contexts to suggest four guidelines that support Ethical Stewardship in serious game design. We conclude by discussing a number of specific areas inwhich ethics plays a role in serious game design. These include games in (a) amilitary context, (b) the consideration of privacy issues, and (c) the evaluation ofgame design choices.