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.
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This paper examines the selection criteria for design roles in the videogame industry and examines the profiles of students undertaking game design studies at NHTV in the expectation of working in the industry. A total of four analyses were conducted: job advertisements for design and production roles; an industry survey; MBTI profiling of a cross-section of IGAD students; and a survey of Design and Production students. In 2010 NHTV University of Applied Sciences initiated the Design and Production (D&P) specialization within its existing International Game Architecture Design (IGAD) bachelor degree. In preparing the specialization the authors analyzed a range of job advertisements for design and production staff in the videogame development industry and profiled its first intake of students according to gender, age, personality (Myers-Brigg (MBTI), Brainhex) and play preferences. Which students were successful in their first year of game studies? How did they compare to programmers and artists? In recent years, design positions in the game industry have increased in direct correlation with the focus on producing sequel titles/levels in established franchises. These titles require more design staff, namely game designers, level designers and narrative designers. The need to critically examine the role and personality of a designer in the game industry is vital to replicating them on a scale that surpasses previous production pipelines where one game designer envisioned the game on a macro level and a handful of level designers implemented gameplay on a micro level. NHTV initiated this first stage of research to gain insight into what the videogame industry needs in terms of design and production skills and personnel and what NHTV, in terms of students and curriculum, is providing. Ultimately the authors hope their research will innovate the game design production pipeline.
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The World Health Organization (WHO) strives to assist and inspire cities to become more “age-friendly”, and the fundamentals are included in the Global Age-Friendly Cities Guide. An age-friendly city enables residents to grow older actively within their families, neighbourhoods and civil society, and o ers extensive opportunities for the participation of older people in the community. Over the decades, technology has become essential for contemporary and future societies, and even more imperative as the decades move on, given we are nearly in our third decade of the twenty-first century. Yet, technology is not explicitly considered in the 8-domain model by the WHO, which describes an age-friendly city. This paper discusses the gaps in the WHO’s age-friendly cities model in the field of technology and provides insights and recommendations for expansion of the model for application in the context of countries with a high human development index that wish to be fully age-friendly. This work is distinctive because of the proposed new age-friendly framework, and the work presented in this paper contributes to the fields of gerontology, geography urban and development, computer science, and gerontechnology. Original article at MDPI; DOI: https://doi.org/10.3390/ijerph16193525 (This article belongs to the Special Issue Quality of Life: The Interplay between Human Behaviour, Technology and the Environment)
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