Designing Playful Math: How to design autonomy-supportive math games. DiGRA 2011. Presented at the Think Design Play, Hilversum: DiGRA.
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In deze rede wil ik ingaan op de paradox van serious games. Over het spel en de knikkers. Het lijkt tegenstrijdig dat je met een spel naast plezier ook serieuze verandering of kennisoverdracht wilt bewerkstelligen. De paradox gaat echter nog een stap verder, want voor wie is het spel eigenlijk en van wie zijn dan de knikkers. In ons vakgebied is de partij die het spel ontwikkelt veelal een andere dan de partij die het spel speelt en zelfs binnen de partij van potentiële spelers wordt er gewezen naar medespelers: “het zou toch zo goed zijn voor de buurman"
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The study used a research-through-design approach and organized game jams as a method to examine game design processes, with the aim to investigate how the diverse identities of designers affect and inspire their game designs. During the Game [4Diversity] Jams we hypothesised that homogeneity in groups may lead to a single-minded message in their games, and diversity in groups may result in games that allow more freedom for players to create their own personal interpretation(s) of the game's content and mechanics. The results of this study suggest that a narrow theme and diverse team composition may assist designers in creating novel games. As such, designers can find diverse gameplay and content from additional specificity in the game jam's organisation.
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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.
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Roleplaying, acting out the part of a character other than yourself, is a very popular pasttime. There exist a wide range of possible experiences from friendgroups playing Dungeons & Dragons around a kitchen table, to players going on weekend trips where they don costumes and act out being elves and wizards with like-minded people, and many steps in between. It is possible for a player's emotions while playing to affect them outside of the game as well, and the other way around too. This phenomenon is called bleed, and is the subject of much discussion in roleplaying design circles, with creators actively designing their games with bleed in mind. A game might intentionally seek to invoke bleed, which can create powerful emotional experiences, or seek to mitigate its effects by using a variety of common safety tools and good design practices. This talk will introduce Raymond Vermeulen's Professional Doctorate research project, which studies the mechanisms of bleed in analogue roleplaying games, the emotional design of this genre of game, and how this can be applied to the creation of digital narrative games as well.
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The entertainment games industry is still in its early years regarding storytelling, and the field of 'narrative design' is a growing area of attention for students, professionals, and researchers. Like many forms of 20th century media, games use many forms of communication beyond the written word to tell their stories, but they also explicitly centre on the audience's power to interact with the world. This talk gives a brief overview of a narrative designer's toolbox which has previously been shared by Prof. Haggis-Burridge at entertainment industry conferences.
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A short presentation summarising the activities of BUas in the Greening Games project, primarily focused on the ideas of 'systemic' or 'theming' of pro-environmental content in video games.
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This chapter discusses educational aspects and possibilities of serious games. For researchers as well as game designers we describe key learning theories to ground their work in theoretical framework. We draw on recent metareviews to offer an exhaustive inventory of known learning and affective outcomes in serious games, and to discuss assessment methods valuable not only for research but also for efficient serious game design. The implementation and design of serious games are outlined in separated sections. Different individual characteristics that seem to be strongly affecting process of learning with serious games (learning style, gender and age) are discussed with emphasis on game development.
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In the face of a global ecological crisis, culturally dominant framings of subjective experience as separate from living ecologies are no longer sufficient. Games might offer ways to break down these divisions. Alenda Chang has proposed bringing game ecologies to life. To complement her position, in this paper, we aim to inspire game designers and researchers to explore ways in which video games can remodel the perceived player subject as a pathway to ecological entanglement. We investigate four strategies for decentering and deconstructing the subject. These are: (1) deconstructing the subject to foreground internal sources of entanglement; (2) dismantling, distorting, ignoring, and/or invading the visual perspective; (3) conceptual deconstruction and reframing of a sense of self; and (4) decentering the subject through shifting contexts. For each of these, we introduce relevant examples of narrative and gameplay design in existing video games and suggest steps for further development in each direction.
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In many Real-Time Strategy (RTS) games, players develop an army in real time, then attempt to take out one or more opponents. Despite the existence of basic similarities among the many different RTS games, engines of these games are often built ad hoc, and code re-use among different titles is minimal. We created a design pattern called "Resource Entity Action" (REA) abstracting the basic interactions that entities have with each other in most RTS games. The paper discusses the REA pattern and its language abstraction. We also discuss the implementation in the Casanova game programming language. Our analysis shows that the pattern forms a solid basis for a playable RTS game, and that it achieves considerable gains in terms of lines of code and runtime efficiency. We conclude that the REA pattern is a suitable approach to the implementation of many RTS games.
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