Dit artikel vergelijkt de typische spelmechanismen voor karakterontwikkeling in twee game genres: role‐playing games en action‐adventure games. Voor beide genres zijn avatars en hun ontwikkeling belangrijk. Maar, zoals zal blijken, gebruiken beide genres heel ander type spelregels en geven hierdoor een geheel andere invulling aan karakterontwikkeling in games.
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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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Aim. Although cultural dimensions theory is a topical strand of quantitative cultural research, few intercultural simulation games use it. We present the design and review of the application of OASISTAN, an intercultural role-playing simulation game that is specifically based on cultural dimensions theory. Method. OASISTAN was first designed in 1999 for use in Master’s courses on cross-cultural management at Delft University of Technology in the Netherlands, attracting 20-23 year old students with a Bachelor degree in engineering and from various cultural backgrounds. Since its first design the game has been played approximately 45 times at Delft University of Technology in the Netherlands and three times at Harbin Institute of Technology in China in the years 2006-2008. We reviewed their experiences designing and facilitating OASISTAN since 1999. Results. The game has a no-tech role-play design and revolves around the geopolitically complex region of the Caspian Sea, specifically the fictional country of ‘Oasistan’. The game consists of students forming small teams of Oasistani, Western and non-Western public/private actors collaborating with each other to try and reach the common goal of oil exploration and production in this country. In total 15-30 students were involved. We found that OASISTAN allowed its players not only to intensely experience the difficulty and awkwardness of being confronted with cultural differences, but also to interpret and understand these differences through cultural dimensions. Students who played OASISTAN identified ten out of the 12 dimensions by Maleki and De Jong. The two dimensions that students were not able to identify are uncertainty avoidance and collaborativeness. Conclusion. OASISTAN shows how a game design field (i.e., intercultural simulation gaming) can be reinvigorated in light of new or updated scientific theories pertaining to the field’s subject matter (i.e., cultural dimensions). Several opportunities for future research are identified.
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Introduction: Given the complexity of teaching clinical reasoning to (future) healthcare professionals, the utilization of serious games has become popular for supporting clinical reasoning education. This scoping review outlines games designed to support teaching clinical reasoning in health professions education, with a specific emphasis on their alignment with the 8-step clinical reasoning cycle and the reflective practice framework, fundamental for effective learning. Methods: A scoping review using systematic searches across seven databases (PubMed, CINAHL, ERIC, PsycINFO, Scopus, Web of Science, and Embase) was conducted. Game characteristics, technical requirements, and incorporation of clinical reasoning cycle steps were analyzed. Additional game information was obtained from the authors. Results: Nineteen unique games emerged, primarily simulation and escape room genres. Most games incorporated the following clinical reasoning steps: patient consideration (step 1), cue collection (step 2), intervention (step 6), and outcome evaluation (step 7). Processing information (step 3) and understanding the patient’s problem (step 4) were less prevalent, while goal setting (step 5) and reflection (step 8) were least integrated. Conclusion: All serious games reviewed show potential for improving clinical reasoning skills, but thoughtful alignment with learning objectives and contextual factors is vital. While this study aids health professions educators in understanding how games may support teaching of clinical reasoning, further research is needed to optimize their effective use in education. Notably, most games lack explicit incorporation of all clinical reasoning cycle steps, especially reflection, limiting its role in reflective practice. Hence, we recommend prioritizing a systematic clinical reasoning model with explicit reflective steps when using serious games for teaching clinical reasoning.
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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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In this paper, we study cross-cultural differences in strategic reasoning in turn-taking games, as related to game-theoretic norms as well as affective aspects such as trust, degrees of risk-taking and cooperation. We performed a game experiment to investigate how these aspects play a role in reasoning in simple turn-based games, known as centipede-like games, across three cultures, that of The Netherlands, Israel and India. While there is no significant main effect of nationalities on the behaviour of players across games, certain unexpected interactive effects are found in their behaviour in particular games.
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In this paper, we study cross-cultural differences in strategic reasoning in turn-taking games, as related to game-theoretic norms as well as affective aspects such as trust, degrees of risk-taking and cooperation. We performed a game experiment to investigate how these aspects play a role in reasoning in simple turn-based games, known as centipede-like games, across three cultures, that of The Netherlands, Israel and India. While there is no significant main effect of nationalities on the behaviour of players across games, certain unexpected interactive effects are found in their behaviour in particular games.
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Virtual, Augmented and Mixed Reality technologies are embraced by designers, scholars and charities alike, some primarily for their entertaining properties, others also for the opportunities in education, motivation or persuasion. Applications with the latter objective, that of persuasion, are designed not only to be entertaining, but are also designed (or framed) to shape how players think and feel about issues in reality. However, despite the growing interest in the persuasive opportunities of these immersive technologies, we still lack the design strategies and best-practices that could support in the design of these ‘immersive persuasive games’. To address this still-unexplored and fragmented design space, we organize a design-oriented workshop that brings together academia and industry. The workshop is informed by a Research through Design approach in which the primary focus is to generate knowledge through designing. Participants design and evaluate ideas on-the-spot in an iterative manner using low-fidelity, life-size, prototyping and role-playing techniques, thereby mimicking an embodied interactive immersive environment. By reflecting on design practices and player experiences, we construct a body of knowledge, built exemplar work and distil best-practices to formulate design strategies for the design of immersive persuasive games.
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Providing users with a sense of place – related to a specific geographic location in which one is situated, or linked to a faraway place, or even giving place-like qualities to virtual spaces such as massively multiplayer online role-playing games – has been deemed central for several forms of digital interactions. In the past decade, studies from human-computer interaction and computer-supported cooperative work have specifically addressed this theme, but the scarcity of works of place specificity focusing expressly on interactive TV suggests a gap in the current research, whereas the latest developments in mobile TV would seem highly coherent with such topic. To contribute to closing this gap, some initial directions are suggested here by pointing at compatible treatments of the notion of place in related fields, for example, the design of pervasive urban games. Game designers and game scholars might provide operational concepts that help understanding the role and the potentialities of places for interactive TV. Two general types of artifacts are selected here: works that are anchored to the experience of faraway places and works that leverage the physical location in which the user is. Their analysis yields three design strategies (experience anchoring, place permeability, and distributed storytelling), offered here as “objects to think with” and to spur further research and design. By pointing at them and at other similar strategies, similarities between digital games, ITV products, and other similar artifacts emerge and allow us to speculatively trace possible future convergences.
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