Game Design Workshop. A Playcentric Approach to Creating Innovative Games
... Digital games have been explored as a space for intergenerational family play [36,50,54] but the various constraints make it a design challenge to foster meaningful shared experiences that are accessible and engaging for adults and children alike. In a symmetrical gaming experience-where all players are ruled by the same mechanics, goals, and skill demands [23]-this may mean that someone has to conform to a less engaging style of play. ...
... Asymmetry, in the context of game design, means that players are not bound to the same set of rules or goals [23]. There are several types of asymmetry, including asymmetry of information, ability, interface, challenge and goals [23,51]. ...
... Asymmetry, in the context of game design, means that players are not bound to the same set of rules or goals [23]. There are several types of asymmetry, including asymmetry of information, ability, interface, challenge and goals [23,51]. Some games ofer collaboration with asymmetry in controls, allowing the second player to join with a simpler role. ...
For families, where abilities, motivations, and availability vary widely, opportunities for intergenerational play are limited. Designing games that cater to these differences remains an open challenge. In this paper, we first identify barriers related with time and expertise. Next, we propose asymmetric game design and asynchronous play to reconcile children's and adults' requirements; and interdependent gameplay mechanics to foster real-world interactions. Following this approach, we designed a testbed game and conducted a mixed-methods remote study with six pairs of adult-child family members. Our results showcase how asymmetric, asynchronous experiences can be leveraged to create novel gaming experiences that meet the requirements of family play. We discuss how interdependent progress can be designed to promote real-world interactions, creating pervasive conversational topics that permeate the family routine.
... Karalar and Sidekli (2017) argue that parents cannot oppose the current context of technology, so they should use it as an advantage, exemplifying appropriate behaviour and in an educational purpose. Girmen and Kaya (2019) state that the methodology of Game-Based Learning should be explained to parents so that they can understand the process and the role they have to play. ...
... Students' speeches are in italics and identified by the initials of their names in upper case letters, in parentheses, or by the abbreviation AN (and the response order number) for anonymous forms. Fullerton (2008) clarifies that the challenge is not only a difficult task to accomplish; it is also dynamic. In this perspective, the psychologist Csikszentmihalyi (1990) identified the elements of pleasure that lead to the state of Flow. ...
... In this case, the levels are presented as a way to increase the competence of the students through the positive feedback that is provided in these moments, but also by the demonstration of progress that these achievements at levels will allow. According to Schoieb (2019), the existence of levels helps students to better understand when a certain goal or expected achievement has been achieved and provide an excellent opportunity for the design of informative and meaningful feedback, since, in particular, in relation to what remains to be achieved. The levels are thus closely related to indicators of progression in learning and feedback that is provided to the student at different points in the learning path that the gamification system allows him to go through. ...
... Artifacts derive as a product of a design methodology that guides the creative process and ensures the artifact's quality [17]. Games, as artifacts, are created from scratch [11], nonetheless, there is no fixed design process (only best practices [18]), in fact, new approaches may lead to innovative designs. Nevertheless, we should never overlook some game design basics, such as game mechanics and materials, and a theme [11]. ...
... In a more general approach, a game -to be created -needs to be conceptualized, written, built, and examined, consisting of the decision on what the game should be (e.g. design, rules, mechanics, scenarios, setbacks) by defining each of the game's elements [18]. Notwithstanding, diverse authors consider different approaches to this process: while Werbach & Hunter follow the Mechanics, Dynamics, Aesthetics (MDA) framework [19], Fullerton uses game elements to build a game, and Duke depicts a process of nine steps [18]. ...
... design, rules, mechanics, scenarios, setbacks) by defining each of the game's elements [18]. Notwithstanding, diverse authors consider different approaches to this process: while Werbach & Hunter follow the Mechanics, Dynamics, Aesthetics (MDA) framework [19], Fullerton uses game elements to build a game, and Duke depicts a process of nine steps [18]. These diverse approaches to game design emphasize that this process can be rethought according to the applied strategy to foster game implementation and the target audience that is going to be the game designer. ...
Games are engaging activities for students that can be applied in classes worldwide. Simultaneously, toolkit’s potential has been rising over the years due to its ability to encompass relevant tools on specific subjects. Moreover, toolkits can be applied as authoring tools transforming students into game designers, motivating the creation of digital and/or mobile games, and knowledge acquisition and engagement. The Gamers4Nature (G4N) project has been researching on environmental-themed games’ development, involving students in game development sessions. Aiming to support the whole game design process for upper-secondary and undergraduate education, the G4N project conceived a Toolkit to Game Design that has been used in formal and informal contexts of education fostering the creation of digital games on environmental themes. The G4N Toolkit, addressing both experienced and novice students, was design in a User-Centered approach with iterative sessions for validating aesthetics and contents. As it was understood that students sometimes lacked the skills to develop their games, preventing them to accomplish a finished product, a complement to the already produced resources (Game Construction cards, Rapid Game Design Document, environmental-themed cards, and Mobile Game Design Guidelines), was developed: the Development Cards Set. This chapter introduces the Development Cards Set creation process, to be validated through expert review (by experts in the game development field) and by end-users who will test and validate the development cards along dedicated workshops and game creation sessions.KeywordsGame creation processScratch programmingToolkit to game designGamers4Nature
... Selain itu, pendekatan pada studi ini menggunakan teknik analisis deskriptif berdasarkan teori elemen formal game dari Fullerton (Fullerton, 2018). Penggunaan elemen ini pada berbagai bentuk permainan, termasuk pada pendekatan pembelajaran melalui game, menjadikan teori elemen formal game ini dapat digunakan untuk memaparkan struktur aktivitas yang dilakukan siswa dalam usaha menyerap materi pembelajaran. ...
... Hasil ini sifatnya tidak setara (menang/kalah, berhasil/gagal) dan dapat berupa koin, bintang, atau ranking. Ketidakpastian (uncertainty) dalam hasil menjadi alasan pemain untuk terus melanjutkan permainan (Fullerton, 2018). Game edukasi seksual untuk anak usai dini berbasis smartphone yang menjadi bahan diskusi pada penelitian ini memiliki informasi dasar sebagaimana terlihat dalam Tabel 1. ...
Seiring meningkatnya kasus kekerasan seksual pada anak, berbagai upaya pencegahan melalui pendidikan seksual dilakukan. Salah satu bentuk media edukasi yang sesuai untuk diberikan kepada anak-anak adalah permainan. Meski game edukasi digital telah banyak dikembangkan, pengembangan game pada topik pendidikan seksual untuk anak usai dini masih sangat terbatas. Pembelajaran seks untuk anak usia dini melalui game memerlukan strategi khusus agar materi dapat tersampaikan dengan baik melalui aktivitas bermain yang dilakukan dalam game. Maka, struktur penyusun game menjadi elemen penting dalam proses pembelajaran. Tujuan dari penelitian ini adalah untuk membandingkan struktur formal game dengan topik pembelajaran seksual untuk anak usia dini dengan genre permainan role play dan quiz-simulasi. Penelitian dilakukan dengan metode kualitatif dan pendekatan analisis deskriptif pada konten game berdasarkan teori formal elements of game. Dari hasil penelitian, ditemukan bahwa kedua genre game memiliki perbedaan cara penyampaian materi melalui penyusunan elemen formal, namun keduanya dapat memberikan pemahaman praktis dalam lingkungan pembelajaran yang menyenangkan, nyaman, dan aman untuk membahas topik pembelajaran seksual yang sesuai untuk anak usai dini.
... Meskipun demikian, tidak semua metode pembelajaran orang dewasa tersebut dapat membantu kepemilikan pengetahuan dan keterampilan baru, karena metode belajar dan kondisi yang ada tidak dapat memfasilitasinya dengan baik (Koster, 2014;Rothwell, 2008). Hal ini memunculkan adanya kebutuhan untuk memeroleh metode lain yang menarik dan menyenangkan yang dapat membantu orang dewasa dalam meningkatkan kompetensinya (Fullerton, 2015). ...
... Meskipun demikian metode yang sering digunakan untuk proses pembelajaran orang dewasa saat ini kurang dapat membantu individu menangkap konsep baru, karena metode yang digunakan tidak dapat memfasilitasi proses tersebut (Forrest III & Peterson, 2006;Rothwell, 2008). Kondisi tersebut memunculkan adanya kebutuhan untuk menggunakan metode baru yang menyenangkan untuk membantu orang dewasa meningkatkan kapabilitasnya (Fullerton, 2015). ...
Pengembangan SDM memerlukan adanya perubahan pendekatan sebagai dampak dari Revolusi Industri 4.0. Dalam hal ini setiap individu haruts mau dan mampu meningkatkan kompetensinya untuk dapat beradaptasi dengan kondisi saat ini serta berkompetisi dengan sehat. Pada era revolusi Industri 4.0 kompetensi merupakan hal yang esensial, sehingga setiap individu harus memelajari kompetensi baru. Meskipun demikian, proses pembelajaran merupakan proses yang kompleks, tidak dapat demikian saja dilakukan. Dalam hal ini, boardgame dapat digunakan sebagai salah satu cara untuk membantu individu, khususnya orang dewasa dalam memelajari kompetensi baru maupun meningkatkan keterampilan yang sudah dimilikinya. Studi ini menggunakan 120 partisipan yang terdiri dari 60 partisipan karyawan dan 60 partisipan mahasiswa. Studi ini bertujuan untuk memberikan gambaran mengenai efektivitas boardgame sebagai salah satu alat/metode pelatihan bagi orang dewasa. Hasil penelitian menunjukkan bahwa boardgame adalah suatu metode yang dapat digunakan untuk orang dewasa memelajari hal-hal baru dengan menyenangkan, dan memeroleh hasil pembelajaran yang efektif.
... Games are artifacts that are inherent to societies, as playful behavior is observed throughout the animal kingdom (HUIZINGA, 1949). Despite being present in even the earliest human cultures (HUIZINGA, 1949), there is no formal definition for this activity (SCHELL, 2008;FULLERTON, 2008). (HUIZINGA) (1949) defines the play behavior as a biological function and summarizes the theories which attempt to explain the presence of such biological characteristic (SANTOS; GEUS; SCHEER et al., 2017;GEUS;SCHEER et al., 2019). ...
... Even though no formal definition of what a game is has been agreed on, some attempts were already made. Some were quite informal, as Sid Meyer's definition "a game is a series of interesting choices" (FULLERTON, 2008). In his book, (ROGERS, 2010) defines games as an activity in which at least one player takes part and that has both rules and a victory condition. ...
Professional training is a vital process for companies, as it allows for the the specialization of workforce, enhancing the company’s competitive stance and allowing to provide better service to the clients. In the context of high risk activities, such as live line maintenance, training assumes a pivotal stance as failures may result in the occurrence of infrastructure problems, harm to workers and in extreme cases, even loss of lives. To contribute to the training process, the RV2 research group was created aiming to develop a virtual reality system for substation live line training. Besides the pedagogical training, one of the project requirements was to create an environment in which the trainee would voluntarily engage in a recurrent manner. To allow for such interactions, the serious game theory was incorporated in the development of the virtual system, to enhance the motivation and satisfaction of the learners while interacting with the system. The project also defined that the pedagogical context should be observed during development, which prompted the research group to, out of numerous possibilities, choose Gagné’s Instructional Theory as the pedagogical framework for the system. However, these two theoretical frameworks still needed to be connected in order to create a unified base for the deployment and continued development of the virtual learning system. Such technique would have to allow to incorporate the needed pedagogical premises in the game design theory and allow for any future additions to fall in line with the preexisting framework. To satisfy this need, research was conducted to verify how the elements could be connected in order to describe the whole system. Initially, Model, Dynamics, Aesthetics game design framework was chosen to guide the analysis of the serious game aspect of the system. This framework was subsequently aligned in a conceptual manner to the Instructional Design process and the Instructional Events described by Gagné. The process initially had to be modelled, which evidenced the need to create an interview capable of harvesting specialist knowledge. The trainees’ experience also had to be asserted to be possible to analyze how the training environment fared in the opinion of the intended audience. To allow this data gathering, the discourse analysis theory was employed as a means to show how the trainees felt during the training exercises. The developed work allows for the conclusion that Gagné’s Instructinal Method can be aligned with the Model Dynamics Aesthetics framework to produce a comprehensive serious game framework, in which pedagogical and game design theories are both observed. Meanwhile, the player experience can be asserted by semi-structured interviews and the data gathered can be used in the continued development of the virtual learning system.
... Para Lupton el "Brainstorming consiste en atacar un problema desde diferentes posiciones a la vez, bombardeándolo con preguntas rápidas" y comenta que su dinámica "permite generar listas escritas, bocetos y diagramas rápidos (2005, p. 16). Adicionalmente, este método se recomienda para los procesos de diseño de los juegos análogos, videojuegos y juegos serios (Fullerton, 2019;Gilbert, 2016;Mackling y Sharp, 2016;Mildner y Mueller, 2018;Rogers, 2014;Schell, 2015). Para la sesión de Brainstorming se usó una variación al estilo Sesión de ideación (Kumar, 2013), que es más estructurada. ...
... A esta etapa se le dio seguimiento bajo un proceso colaborativo (Muratovski, 2006;Sanders y Stappers, 2008, 2014 conocido como Codiseño o cocreación. Según Lupton (2012) ideas con diversas especialidades contribuye a tener un proceso de creación más productivo; y porque los equipos que diseñan un videojuego o juego serio son interdisciplinarios Fullerton 2019;Mackling y Sharp 2016;Rogers, 2014). Y dado que en el Brainstorming se obtuvieron algunas ideas referentes para elaborar de manera colaborativa una propuesta conceptual de un juego serio en educación ambiental, en esta etapa de Codiseño se dividieron los/las diecinueve participantes en cinco grupos interdisciplinarios de trabajo. ...
Este artículo presenta la etapa de conceptualización de un juego serio en educación ambiental para el consumo responsable de alimentos. Las propuestas fueron realizadas por diecinueve jóvenes de la Universidad Veracruzana a lo largo de las actividades de conceptualización, diseño e implementación de un juego serio; y que previamente exploraron un juego serio como referente. Se incluyen aquí los resultados derivados del Brainstorming (técnica utilizada dentro del método de Pensamiento de diseño); y del proceso de Codiseño seguido por los equipos interdisciplinarios al crear sus propuestas conceptuales para un juego serio en educación ambiental, lo anterior en concordancia a la guía de un Documento de diseño para juegos. En esta fase de experimentación activa, los/las participantes identifican que estos métodos contribuyeron al desarrollo de su proceso creativo, a la claridad para conceptualizar, validar ideas grupales, construir con base en ellas nuevos conceptos y manifiestan interés por participar colaborativamente en proyectos de diseño de juegos serios para la educación ambiental.
... For example, dark game design patterns have existed for decades (Zagal et al., 2013) and compulsive use of mobile devices is a real issue (Tran et al., 2019). It is only a matter of time before the same will happen in IVEs (Hodent, 2017;Fullerton, 2019;Maloney et al., 2021). Moreover, the potential impacts might plausibly be greater for XR due to the ultrarealism nature that the technology could offer where IVEs are indistinguishable or even offer far richer experiences than one could ever encounter in the real world (Slater et al., 2020). ...
... During the ideation process, they were asked to consider their idea with four design attributes guided by previous research from XR research (Billinghurst et al., 2001;George et al., 2020) and game design (Schell, 2008;Fullerton, 2019). Once a technique has been proposed, the participants were asked to rate their own technique on a 7-point Likert scale for each design attribute: ...
This research explores visualisation and interaction techniques to disengage users from immersive virtual environments (IVEs) and transition them back to the Augmented Reality mode in the real world. To gain a better understanding and novel ideas, we invited eleven Extended Reality (XR) experts to participate in an elicitation study to design such techniques for disengagement. From the elicitation study, we elicited a total of 132 techniques for four different scenarios of IVEs: Narrative-driven, Social-platform, Adventure Sandbox, and Fast-paced Battle experiences. Through extracted keywords and thematic analysis, we classified the elicited techniques into six categories of Activities, Breaks, Cues, Degradations, Notifications, and Virtual Agents. We shared our analyses on users’ intrinsic motivation to engage in different experiences, subjective ratings of four design attributes in designing the disengagement techniques, Positive and Negative Affect Schedules, and user preference. In addition, we gave the design patterns found and illustrated the exemplary user cases of Ex-Cit XR. Finally, we conducted an online survey to preliminarily validate our design recommendations. We proposed the SPINED behavioural manipulation spectrum for XR disengagement to guide how the systems can strategically escalate to disengage users from an IVE.
... Kullanıcı ve oyuncunun yukarıda belirtildiği üzere kullanma ve oynama ayrımını ürün ve oyunun kendisi de belirlemektedir. Genel olarak bakıldığında ürün geliştirme ve oyun geliştirme süreçlerinin Şekil 3 ile Şekil 4'te gösterildiği gibi benzer aşamalara sahip oldukları söylenebilir (Lipusch, ve ark., 2018;Fullerton, 2008 Bütün bu bilgiler göstermektedir ki kullanıcı daha çok belirli bir amaç gözeterek belirli şartlarda, belirli zamanlarda, toplum içinde genellikle ortak olarak yerine getirilen ve gündelik hayatta ihtiyaç duyulan işlevsel ürünlere sahip olurken, oyuncular eğlence temelinde tamamen kişisel düşünceler çerçevesinde, zamandan ve mekandan bağımsız şekilde gündelik hayattan ayrılan dijital ortamlara dahil olurlar. Bu tanımlara bağlı olarak geçirdikleri deneyim süreçleri de farklılık gösterebilmektedir. ...
... Şekil 3. Ürün geliştirme süreci(Lipusch, ve ark., 2018)' den uyarlanarak Türkçeleştirilmiştir.Şekil 4. Oyun tasarımı süreci(Fullerton, 2008)' den uyarlanarak Türkçeleştirilmiştir. ...
Dijital teknolojinin ipleri eğlence dünyasının tasarımı olan oyuna konumlandırılmıştır. Dijitalleşen oyunun hızla artan payı inovasyonun ticari değere dönüşümünü elverişli kılmıştır. Bu bölümde dijital oyun ekonomisi mercek altına alınarak pazarının büyüklüğü ve ihracat potansiyeli performans ve rekabet perspektifinden değerlendirilmiştir. Dijital oyun pazarının kısaca gelişimi incelenmiştir. Dijital oyunların değer zinciri değerlendirilirken Porter yaklaşımı ile bağ kurulmuştur. Küresel ticarette dijital oyun pazarı uluslararası işletmeler, sanal pazarlar çerçevesinde değerlendirilmiştir. Dijital oyun pazarına ilişkin uluslararasılaşma sürecinin getirdiği ticari başarı ve ihracat potansiyeli vurgulanmıştır.
Link: https://acikkaynak.gim.org.tr/img/dijital-oyunlar-2.pdf
... Dramatic elements can be used as tools for game designers to elicit an emotional reaction from players. Fullerton's definition of games includes premise as a dramatic element [26]. Premise establishes meaning to the players' actions through a setting or metaphor, and its base-level effect is to make players easily understand and operate essential features in the games [29], [31]. ...
... A game premise is one of the dramatic elements commonly used in many games. The premise provides meaning to the players' actions through a setting or metaphor [26]. It helps players understand and operate essential features in the game effectively. ...
The development of cooperative serious games has specific challenges related to enabling players to achieve both gaming and learning goals in a cooperative fashion. The complexity of gameplay and learning objectives leads to the lack of guidance for the systematic development of cooperative serious games (SGs). To overcome the challenges, we propose a systematic approach to utilize elements of entertainment cooperative games to foster player engagement in SGs called “Transforming Game Premise” to overcome the difficulties. A three-phase guideline is proposed for transforming an existing cooperative entertainment game into a cooperative SG. To demonstrate the application of the proposed guideline, we developed a game prototype that follows the guided steps. We validate the guidelines by conducting two user studies. The first study aims at validating the game's effectiveness for learning purposes of a game developed according to our guidelines. The study showed that the developed game supports players in achieving the defined learning objectives. The second study is a qualitative study evaluating game developers' perception of the usability and usefulness of the Transforming Game Premise guideline. The latter study confirms that the proposed guideline is beneficial for systematically developing SGs. However, it also indicates that the guideline still needs more clarity in identifying the relation between game elements and players' interaction/cooperation.
... However, this model has needed to be updated over the years to adapt to new contexts and realities. For example, Fullerton proposed in 2014 [10] a new proposal with 9 types of players, and there are many other approaches aiming to categorize all possible existing types of players. ...
... ARP Adventure introduced the component of challenge into the educational experience, creating a more interactive game that incentivized the player to work towards a successful conclusion. This falls in line with the concept of challenge as a dramatic gaming element, which can "engage the players emotionally with the game experience and invest them in its outcome" [12]. Giving the player tasks that are fun and satisfying to complete, such as defeating monsters and navigating a room filled with obstacles, creates a sense of accomplishment for the player and encourages them to continue to play the game. ...
... Filmmaking methods, such as storyboard development and shot planning, have been applied in the development of VR experiences, as they help to create a narrative structure and visual coherence (Jerald, 2015). Game-based elements, including mapping, level-design, audio control, and remote action triggers, have been used in game design to create immersive and interactive experiences (Fullerton, Swain, & Hoffman, 2008). Finally, agile software development has been widely used in software engineering, as it enables the development team to quickly respond to changing requirements and deliver software in iterative cycles (Beck, Beedle, Van Bennekum, Cockburn, & Cunningham, 2001). ...
In this paper, we reflect upon the design process and the game-elements for developing a tool for patients. These reflections are based upon a case in where we developed six different Virtual Reality (VR) scenarios as a combined tool for treatment of social anxiety disorder (SAD) for usage within the Danish healthcare system. The core theory for this development is based upon behavioral therapy as a standardized treatment method and the exposure that occur within this. This research is a part of a larger funded project titled VR8, which also contains integration of biofeedback and the application of the practice in where the tool should be applied. The main goal of this paper is to explain the development of the six scenarios, to provide a deeper understanding for the patients on how their anxiety triggers unfolds when exposed to a variety of different scenarios. And to provide a tool for both patients and practitioners to use as an addition to existing treatment methods. The reason for this development is due to (among others) the cost-reduction, time-reduction, heighten of effectivity and user experience in using VR as a tool for treatment compared to regular in-vivo exposure therapy in where the practitioner guides the patient in a physical environment. In this environment a lot of factors can’t be controlled and often results in the patient giving up and abandoning the treatment. With VR it is a controlled and closed environment making it more suitable for the patient to interact and level out their anxiety. The combination of iterative design thinking, filmmaking methods, game-based elements and agile software development are used as the core methods to develop the six scenarios. The six scenarios are developed with the aid of specific game-based elements, such as: mapping, level-design, audio control and remote action triggers.
... Pensando assim, qualquer jogo pode conter algum tipo de ensinamento, mesmo não sendo classificado como um jogo sério. Entretanto, a diferença de um jogo comum para um jogo sério é que um jogo sério é primeiramente associado à seriedade, educação e aprendizado [5], já um jogo comum é muitas vezes associado à sua história, interface e jogabilidade, pouco importando se ele ensina algo. ...
... To evaluate our approach, we applied it to a selection of popular and highest-selling AAA FPSs. FPS is a video game genre centered on weapon-based combat from a firstperson perspective [32], with the player experiencing the action through the eyes of the protagonist and controlling the player character in a three-dimensional space [33]. ...
Video games are an established medium that provides interactive entertainment beyond pure enjoyment in many contexts. Game designers create dedicated tutorials to teach players the game mechanisms and rules, such as the conventions for interaction, control schemes, core game mechanics, etc. While effective tutorial design is considered a crucial aspect to support this learning process, the existing literature approaches focus on designing ad hoc tutorials for specific game genres rather than investigating the impact of different tutorial styles on game learnability and player engagement. In this paper, we tackle this challenge by presenting a general-purpose approach aimed at supporting game designers in the identification of the most suitable tutorial style for a specific genre of video games. The approach is evaluated in the context of a simple first-person shooter (FPS) mainstream video game built by the authors through a controlled comparative user experiment involving 46 players.
... Pero, este tipo de modelo ha necesitado ser actualizado, con el paso de los años, para ajustarse a los nuevos contextos y realidades. Luego Fullerton en el 2014 genero una nueva propuesta con 9 tipos de jugadores: Competidor o "competitor", explorador o "explorer", recolector o "collector", triunfador o "achiever", bromista o "joker", artista o "artist", narrador o "storyteller", interprete o "performer" y director (Fullerton, 2014). ...
Diferente a lo que se podría pensar, la población mayor tiene una alta participación en los sistemas basados en juego, haciendo uso de juegos que estimulan su cognitividad o su actividad física a través de dispositivos de entrada directa y natural. Aunque principalmente los juegos son orientados a este tipo de estimulaciones y generan una motivación en el adulto mayor, esta no es la única motivación que podría usarse para aumentar el tiempo dedicado a este tipo de experiencias. Actualmente no son aprovechados todas las diferentes motivaciones de esta población debido a que no han sido plenamente identificadas para ser llevados al campo de los sistemas basados en juego. Es por esto que el objetivo de este documento es plantear una caracterización de tipos de jugadores en adultos mayores cuando interactuaran con este tipo de sistemas, basados en diferentes motivaciones que han sido identificadas recientemente. Para lograrlo se aplicó un método de investigación cualitativo que permitió la identificación de estos tipos de jugadores junto a sus motivaciones específicas, ofreciendo una base con la finalidad de poder diseñar experiencias de juego más adecuadas a la población adulta mayor.
... During the refinement phase of game development in general and, in particular, refinement of the game's components, human intervention has traditionally been a necessary aspect. In a, usually, iterative process, once an executable prototype of a game is available, the designers obtain feedback through the play-testing process, considered one of the most important activities within the overall video game design task [Fullerton, 2014]. This information is key in technical aspects such as runtime performance or error detection, but it is also a fundamental point to refine certain parameters or components that affect directly both the gameplay and the user experience. ...
Usually, human participation is required in order to provide feedback during the game tuning or balancing process. Moreover, this is commonly an iterative process in which play-testing is required as well as human interaction for gathering all important information to improve and tune the game components’ specification. In this paper, a mechanism is proposed to accelerate this process and reduce significantly the costs of it, contributing with a solution to perform the game parameter tuning and game balancing using search algorithms and artificial intelligence (AI) techniques. The process is executed in a fully automated way, and just requires a game specification written in a particular video game description language. Automated play-testing, and game’s feedback information analysis, are related to perform game parameters’ tuning and balancing, leading to offer a solution for the problem of optimizing a video game specification. Recently, XVGDL, a new language for specifying video games which is based on the eXtensible Markup Language (XML), has been presented. This paper uses XVGDL + , an extension of this lan- guage that incorporates new components to specify, within the video game specification, desirable goals or requirements to be evaluated after each game execution. A prototypical implementation of a Game Engine (termed XGE + ) was also presented. This game engine not only enables the execution of an XVGDL + game specification but also provides feedback information once the game has finished.
The paper demonstrates that the combination of XVGDL + with XGE + offers a powerful mechanism for helping solving game AI research problems, in this case, the game tuning of video game parameters, with respect to initial optimization goals. These goals, as one of the particularities of the proposal presented here, are included within the game specification, minimizing the input of the process.
As a practical proof of it, two experiments have been conducted to optimize a game specification written in XVGDL via a hill climbing local search method, in a fully automated way.
... Gamification appropriates the formal elements of gameplay or game mechanics. These include elements such as the number of players, their roles, how they interact; the games goals and objectives; the permitted actions, procedures, and rules of play; available resources; and potential for conflict, boundaries or limits, and outcomes such as win/loss states [79]. Werbach and Hunter [80] identify generalized gamification mechanics that are also part of game design including: challenges, chance, competition, cooperation, feedback, resource acquisition, rewards, transactions, turns, and win states. ...
This book provides theoretical answers, applied methodological models, and didactic experiences that seek to reflect and analyze the potentialities and challenges of the active learning concept in STEAM disciplines and social sciences education. It also contributes to the understanding, intervention, and resolution of contemporary social problems and to the United Nations Sustainable Development Goals through the design, implementation, and evaluation of educational programs that incorporate integrated active learning as one of its explanatory axes.
... 139-157). En el trabajo de autores como Egenfeldt-Nielsen, Heide y Pajares (2008), Cuadrado y Planells (2020), Fernández-Vara (2019), Fullerton (2008), , , Pérez (2012), , Salen y Zimmerman (2004y 2006) o Upton (2015 podemos encontrar análisis pormenorizados en torno al videojuego y sus características propias desde diversas perspectivas y ámbitos de trabajo, por citar algunos de los más importantes. ¿Qué se debe primar, pues, a la hora de analizar un videojuego o emitir un veredicto sobre su valor? ...
Este estudio es una continuación de una primera
prospección sobre ficción interactiva transmedia, y tiene como intención ahondar en la temática a través
de una exploración del estado del arte, una exposición de referencias transmedia imprescindibles de la ficción interactiva i una primera propuesta de estructuras narrativas interactivas en los juegos de rol de mesa y en los videojuegos (Pons, 2021).
... Para que uma aplicação seja de fato considerada como jogo, algumas características são necessárias. Em síntese, é fundamental que possua jogadores, um objetivo (claro e bem definido), procedimentos e regras, um conflito que envolve a ação dos jogadores, os recursos que estão disponíveis para serem utilizados na resolução deste conflito, limites impostos de forma a definir a experiência e, por fim, os resultados das ações dos jogadores [83]. ...
There are several factors involved in functional rehabilitation, some of which are crucial for the effectiveness of the treatment performed, such as the patient's engagement in the activity and the physical therapist's active participation. Difficulties in accessing the therapy, because of many reasons, have given rise to initiatives of telerehabilitation, that is, holding sessions via telecommunication technologies. In this scenario, the therapist's active participation is compromised and, on the other hand, the exercises performed are often repetitive and boring, decreasing the patient's engagement and motivation, and that impacts on the sessions' results. Considering these issues, the present work aims to validate the hypothesis that an exergame (a serious game developed with the objective of motivating the performance of physical exercises) built from a distributed architecture is effective in carrying out telerehabilitation sessions that involve a cycle ergometer as a device - a bedside bicycle used in rehabilitation sessions for patients with motor disorders (affected by Cerebral Vascular Disorders, Cystic Fibrosis or who were hospitalized with COVID-19, for example). In order to validate this hypothesis, the construction of a prototype of the exergame was undertaken, followed by two validation steps done by 16 physical therapists from Hospital das Clínicas of UFG (based on the Delphi Method) and an experiment involving 12 volunteers (Player Experience assessment). About 88,8% of the specialists, after the two rounds of evaluation, considered that the exergame is appropriate for telerehabilitation sessions. Furthermore, 75% of the volunteers rated the experience as “very satisfying”, while the remaining 25% characterized it as “satisfactory”. Therefore, the results allowed to conclude the effectiveness and satisfiability of the game, proving the validity of the research hypothesis.
... A game must have certain characteristics, the main ones being: the presence of players, objective, well-defined rules and procedures, a conflict that involves the players' actions together with the resources available to perform these actions, as well as general limitations and results of the players' actions (Fullerton, 2008). ...
There are several factors involved in telerehabilitation therapy, such as the patient's engagement in the activity. In this context, the therapist's active participation is compromised and, on the other hand, the exercises performed are often repetitive and boring, decreasing the patient's engagement and motivation, directly impacting the results of the sessions. Considering this, this paper aims to present an approach based on an exergame (a serious game that aims to encourage physical exercise) with a distributed architecture. It was developed to assist in conducting telerehabilitation sessions that involve a cycle ergometer as a device-a bedside bicycle used in rehabilitation sessions for patients with motor disorders. In order to validate the effectiveness of this approach, the construction of an exergame prototype was undertaken, followed by two validation steps done by 16 physiotherapists from the Clinical Hospital of the Universidade Federal de Goiás-UFG (based on the Delphi Method). About 88, 8% of the specialists, after two rounds of evaluation, considered that the exergame was appropriate for telerehabilitation sessions.
... We do not put forward a specific methodology for game design, as we consider that as of today such methodologies remain invariably poor when it comes to the key issue: which mechanic would fit a given learning goal? We rather follow a classical iterative project development methodology [2], cycling around four steps -need analysis, design, implementation, evaluation-and rely on designers' creativity and multiple design iterations (including paper prototyping [3]) to come up with a suitable game mechanic. As a result, the developed games in the corpus propose a large spectrum of mechanics. ...
... However, once the full application is completed and free of most technical issues, there will be sessions for gathering data in a multi-phase study in order to evaluate it in a comprehensive and systematic way. The script of the user study will follow a modified version of the testing template suggested by Tracy Fullerton [7]. Each session would last approximately 50 minutes and potentially would provide qualitative insight into the effectiveness of the techniques used, particularly regarding the relationship between narrative, the sonic landscape, and the various levels of engagement while progressing in the game. ...
Ecstasy / Light / Inertia" is an interactive narrative-driven application that proposes a novel method to experience new music in a gamified setting. It is comprised of a 3d environment that allows navigation and interaction aiming to present a narrative-driven virtual alternative to a traditional concert setting/sound art gallery. "Ecstasy / Light / Inertia" exhibits multi-layered music installations in virtual spaces built with high-quality real-life 3d scans inside the Unreal Game Engine. It additionally combines spatial audio modeling, Nordic modernist architecture/nature, and gamified interaction paradigms to pursue a setting capable of delivering an engaging musical experience accompanying a narrative-driven design.
The current paper presents a summary of the justification for this project, documents the advances of the prologue and first level, and finally sets custom evaluation methodologies for the near future.
... Both of them can kill the enjoyment of the gaming experience. It is worth noting that video games do not generate stress per se; rather, it is the player's own interaction with the game that results in a more or less stressful personal experience, depending on the challenge level of the game, the skill level of the player and game genre preferences (Fullerton, 2014;Schell, 2008). ...
... Pero, este tipo de modelos necesita ser actualizado con el paso de los años para ajustarse a los nuevos contextos y realidades. Luego Fullerton en el 2014 [18] genero una nueva propuesta con 9 tipos de jugadores: Competidor o "competitor", explorador o "explorer", recolector o "collector", triunfador o "achiever", bromista o "joker", artista o "artist", narrador o "storyteller", interprete o "performer" y director. ...
Los sistemas basados en juego son utilizados tradicionalmente como un medio por el cual los adultos mayores puedan realizar actividad física o entrenamiento cognitivo, a través de dispositivos y tecnologías como son los dispositivos móviles, las consolas con sensores de movimiento como Kinect de Xbox o Nintendo Wii o periféricos hechos a medida. Aunque el propósito de la obtención de beneficios orientados a la salud ya es un motivador importante para los adultos mayores, esta no es la única motivación que se puede usar. No se está aprovechando otro tipo de motivaciones existentes como mecanismo facilitador para mejorar el nivel de interacción entre los juegos y los adultos mayores, debido a que estas motivaciones no están claramente identificadas y no han sido llevadas específicamente a un entorno de juegos digitales. El principal propósito de este artículo es la generación de una caracterización de los tipos de jugadores en la población adulta mayor. La identificación y clasificación de los tipos de jugadores brindará una base que se pueda considerar en futuros diseños de juegos y así lograr experiencias de usuario más ajustadas y agradables. Para lograrlo, se tomó de base resultados previos sobre la identificación de diferentes motivaciones en los adultos mayores, y a partir de esto se logró la caracterización de tipologías específicas de jugadores en adultos mayores, apoyados además en caracterizaciones existentes de tipos de jugadores orientadas a una población general.
... 68 This aspect of the class attracts a lot of attention but requires a dedicated future treatment. For game design in general, see Fullerton (2019); Schell (2015). 69 Schell (2015) 10. design and game-based writing exercises encourages the students to engage closely and explicitly with the ancient material and the process of reception. ...
... Here, Teachers and Designers listed the main augmentable elements that could be found in a classroom, from among which they selected the maps of the Cauca Department for team A and traditional symbols and calendar for Team B. Other augmentable elements included a set of markers for interaction and information retrieval concerning the game elements using relevant imagery chosen by the Teachers. The Teachers and Designers built a small set of paper prototypes (Fullerton, 2008) which consisted mainly on printing the markers-to-be images and specifying some rule testing for the team. When a prototype idea was accepted by the team, its details were then included in a set of design documents. ...
Augmented Reality Game-Based Learning (ARGBL) is becoming increasingly relevant in Technology-Enhanced Learning. Games with AR characteristics, or even AR applications structured with rules and game elements, are proving to be effective and successful learning experiences. There is a need to include teachers in the design, development and implementation process as to make it more effective. In this paper, two case studies where 6 teachers participated are shown in order to validate a methodological approach for the co-design of ARGBL. This is a co-design method that proposes a thorough, iterative process guided by design principles and mediated by dialogue between the stakeholders. Here, the process of co-design with teachers is analyzed and assessed using mixed-methods observations on the use of the produced ARGBL games with students on naturalistic environments. The validation process links the usefulness of the ensuing products with the use of the method and shows the benefits of using co-design methods to create ARGBL experiences.
... It was designed with the idea of promoting user engagement to prolong playtime. To do this, it leaned into game design theory [7], colour theory [5] and interaction design [9]. It also leaned into the gestalt principles of design for improved usability [2]. ...
Passwords are still the most common authentication method for various digital services. The majority of the research into passwords is focused on technical concerns rather than the human elements of password construction. In this paper, we aim at studying cultural aspects of leaked passwords with the usage of an online game. In particular, we introduce a novel web-based data collection tool utilizing gamification elements that benefits from appealing aesthetics and implemented narrative elements to engage users into prolonged play. The player's role is to label presented passwords with available descriptive tags. Our goal is to collect a large number of gaming data to identify prevalent tag choices through consensus, and as such, assign perceived meaning to the passwords through the tags. An initial field test of the prototype returned a high number of responses that were determined to be valid when assessed via internal controls.
This study is about the development of a Visual Novel game “SINGLE MINGLE: Career vs Marriage”. The game project focused on developing the game individually either in 2D or 3D. This game is created fully in 2D with its own message to be delivered. The objective of this study is to show the process of game development which can be used to solve several current issues that were chosen during pitching. This paper is to focus on the purpose and creation of the game “SINGLE MINGLE” from the very beginning. The project phases are divided into three main phases which include pre-production, production, and post-production. Marketing items such as posters and merchandise were designed and digitalized in the post-production phase. The affirmative end product from the players shows that in spite of single or married ladies, this game really makes them engaged because of the appealing game design interface and interesting gameplay.
Underneath their compelling audiovisual surface, games require players to carry out mundane interaction work, such as pointing, typing, or steering. However, many of these underlying building blocks are not defined rigorously, hampering synthesis and analysis. We elaborate on the origin of tasks within human-computer interaction (HCI) and define tasks' relationship to game terminology (game mechanics, goals, and actions). Our proposed framework draws on systemic-structural theory of activity to aid systematic analysis and exploration of game design by mapping gameplay to abstract core tasks. The framework contains four task tools, applicable when 1) uncovering design properties, 2) designing experimental manipulation, 3) creating behavioral measurements, and 4) describing gameplay in literature reviews of game genres and design techniques. We evaluated our framework as a lens to design purposeful games in three case studies within a scientific education. We invite researchers and practitioners to employ the framework as a microscope, to describe and design games rigorously.
Several works provided methods, models, and frameworks to support SG development. However, designers, developers, teachers, and researchers face challenges in creating SG with entertainment and learning balance, and many designed games still do not fulfill the main intended objectives. This article introduces an approach, called SGDA-IE with phases and steps to follow during the entire SG design process. It was built on literature review and SG design challenges designers need to consider from the early stages when creating SG. The proposed approach is founded on three perspectives: software engineering best practices, video game industry practices, and SG success factors and provides means to overcome the investigated design challenges. To assess our approach efficacy, we conceived a Health, Safety, and Environment (HSE) training SG for workers on fuel storage sites and petroleum installations. The SG playtesting reveals a significant involvement of participants and efficient tracking of the knowledge acquisition.
Introduction. The emergence of the cultural and creative industries market as a full-fledged business sector has given rise to new mechanisms for interaction between business entities in the cultural sector. This led to the emergence of a new type of manager – the producer. Its emergence in the cultural sphere necessitated a theoretical understanding of the production activity essence. However, today there is no single definition of the terms “producer” and “production”, and no coherent system of understanding the essence of production as a special type of management activity. Purpose and methods. The purpose of the article is to provide a comprehensive analysis of the essence of production activity and the role of a producer in the field of project management in the creative industries. The theoretical and methodological basis of the study is the principles of the project app-roach to management and their implementation in the field of cultural economy and creative industries. Results. The essence and content of production activity in the context of creative project management are revealed. The article analyses the areas of producers' responsibility and their hierarchy in the organisational structure of a creative project. The list of personal qualities and professional competences of the producer is studied and recorded. Conclusions. The scientific novelty of the obtained results lies in the clarification of the production activity essence and the producer's role in the organisation of creative cultural and artistic projects and processes. The significance of the research results lies in the fact that they can be used in the educational process when developing a list of competencies and standards for the speciality “producer of creative projects” and curricula.
This paper explores how the concept of life has been used in video games through time. Life is an essential element in different types of action games and several nuances have been used to provide various types of emotions and effects during gameplay. However, the details and patterns have not been extendedly analyzed. Primarily, we survey works regarding the description and formalization of game analysis with emphasis on works in which the concepts have impact in the arguably accepted notion of life. Multiple examples are provided to show different approaches to the concept of life and the impact of such approaches in overall gameplay, namely in the game difficulty and emotions. The examples are then generalized, resulting in a proposal of framework to describe life representation in games. The proposed framework was evaluated in a user study, having participants with gaming culture (professionals, academics, and students of game development courses). Each participant was assigned with the task of fitting a pre-selected set of games within the framework. The results indicate good coverage of the main concepts with satisfactory consistency.
Ever since MDA was publicized by Hunicke, Leblanc, and Zubek in 2004, it has become a building block for game developers and scholars. However, it has also incited several misconceptions that have spread among students and the gaming community. For example, players have overused the term “mechanics,” to the point that it is virtually meaningless. On the other side, the terms “dynamics” and “aesthetics” have been comparatively neglected, despite their value. Building upon our experiences of teaching an undergraduate game design course, we argue that these misconceptions stem from the ways that consumers have misinterpreted the MDA framework. Game educators are not necessarily working with experienced designers: they are working with students who are often more passionate about playing games than making them. Thus, game educators need to target this misconception in order to shed light on preconceived biases.
Technologies are becoming more accessible to both adults and young people. Although technology can form many opportunities, it exposes children to many threats, including cyberbullying. This research aims to develop an interactive game prototype to foster an understanding of cyberbullying in elementary school students. This research uses the User-Centered Design method with a qualitative approach in designing interaction designs based on user needs. Then, the prototype is piloted to users to evaluate user experiences and learning outcomes. Based on the evaluation results, the game prototype provides a positive user experience regarding satisfaction, learnability, effectiveness, immersion, motivation, and emotion. Participants were able to elaborate on positive ways of interacting through digital platforms. However, they had difficulties in responding appropriately to negative behavior and content on digital platforms. The findings of this research and suggestions for future improvements are presented.
Asymmetric gameplay allows players to engage with a game in different ways, resulting in unique experiences for each player. From slight variations to completely distinct experiences, asymmetric mechanics create fertile ground for interesting gameplay to occur. Asymmetric gameplay is prevalent in modern games, and yet there has been little discussion about it, the mechanics that generate it, and its repercussions. In this paper, we analyse six types of asymmetry described in the literature: Ability, Challenge, Goal, Responsibility, Information, and Interface. We examine how different games employ gameplay mechanics in order to create unique experiences by framing our discussion on a definition of asymmetry in games. Furthermore, we define six other types of asymmetry: Operation, Location, Time Frame, Interdependence, Outcomes, and Feedback; and how they exist or may exist in games. We conclude by hinting that asymmetry is not solely generated by a game’s mechanics but also by differences in the players themselves, be they human or non-human.KeywordsAsymmetric gameplayGameplay mechanicsGamesGame designMultiplayer
The games industry is one that continues to evolve and grow at an accelerated rate. Advances in technology in terms of how games are developed, the sophistication of gameplay, mechanics and their graphical representation span a multitude of game franchises. Furthermore, job roles within the games industry are as diverse as the game genres within it. One dilemma that sometimes confronts undergraduate game development students when entering university is what career path to undertake in the industry. Students in this discipline area are sometimes uncertain whether they want to pursue the aesthetical side of games development or implementational. When learning about the industry for the first time, it is important not only for students to be aware of the distinctive job roles within the industry but also how they interrelate with one another. From a higher educational standpoint, the concept of career pathways is associated with graduate employability. It is important to inform game development undergraduates from an early stage about the various routes into the games industry from a job role perspective. This paper provides a scoping overview of some of the salient job roles in the games industry and their associated hard and soft skill sets. Engagement with the literature associated with soft skills required for working in the games industry is presented. Focus is also provided on how to embed the concept of career pathways into games development higher educational curriculum. One proposed solution is the use of a serious game to teach students in this discipline about this topic. This paper also presents the development of a serious game designed to inform undergraduate game development students about different job roles within the games industry and what skill sets the industry requires. The paper advocates that a serious game can be one of many blended approaches to inform game development students about career pathways within the games industry. Acknowledgement is made that further empirical work is required to substantiate this pedagogical approach.
Cybersecurity faces a persistent problem with attracting and retaining diverse workers. Most exposure to cybersecurity as a discipline tends to come through formal experiences in higher education, often requiring extensive prior experience with computer science content. Therefore, informal learning environments that can serve to both introduce youth to concepts found within cybersecurity, as well as aiding them in building identities as the type of person who can ‘do’ cybersecurity, may be able to advance the goal of diversifying the field. Game-based learning is an effective approach for attracting new learners to specific domains of knowledge in informal contexts. Players who might not otherwise think of themselves as being capable participants within a field can use the structures and supports commonly found in well-designed digital games to build a personal identity as a novice practitioner of that domain. Previous work has found that while cybersecurity is represented in some commercial games, the depiction tends to be either superficial, or when there is a deeper engagement with content, tends to represent a stereotypical personage of a cybersecurity professional. In this paper, we present a digital game, called HEX of The Turtle Islands (HEX), designed to introduce players from historically underrepresented populations to the domain of cybersecurity. HEX leverages several gameplay elements to immerse players in a learning experience centered on cybersecurity: rich, multi-layered narratives; building player self-efficacy and identity within the domain of cybersecurity through challenges rooted in concepts that are authentic to the field; and making the game broadly accessible in terms of technology and design. In introducing HEX, we discuss how the design of the game can broaden participation in cybersecurity and conveys authentic cybersecurity concepts to players. Drawing from 2 years of playtesting data with a diverse group of youth play testers, we discuss both challenges and opportunities for introducing underrepresented youth to cybersecurity through play.
In this chapter, we conceptualize design thinking by examining two dominant discourses, which we call descriptive and prescriptive perspectives. The descriptive perspective aims to understand the way designers think and work but has been criticized for its absence of a clear definition of design thinking. On the other hand, the prescriptive perspective considers design thinking as a method to innovate and create value. The prescriptive design thinking perspective has been criticized for presenting a simplistic vision of design, which people without any previous training, knowledge, and skills in relevant disciplines may use out of context. This chapter attempts to provide a look “inside the box” by re-conceptualizing design thinking, not as a “doer method” but a cognitive process with a long research tradition. We argue for a synthesis of both perspectives in teaching and learning practices. In doing so, we present a pedagogical approach grounded in game-based learning to mediate an integrative perspective to design thinking, using an example from a higher education business class.KeywordsDesign-thinkingDesign cognitionGame-based learningIntegrative design-thinkingBusiness studies
288 How Feedback from Typical Gamers Can Help Avoid Disappointing Outcomes
- . . . . Methods Of Playtesting
Methods of Playtesting.............................................................. 288
How Feedback from Typical Gamers Can Help Avoid Disappointing Outcomes..... 289
A Primer for Playtesting: Don't Follow These Rules!.............................. 293