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Game Design Workshop : Designing, Prototyping, and Playtesting Games / T. Fullerton, C. Swain, S. Hoffman.
Abstract
Contenido: 1. Fundamentos del diseño de juegos: El papel del diseñador de juegos; La estructura de los juegos; Trabajo con elementos formales; Trabajo con elementos dramáticos; Trabajo con dinámica de sistemas; 2. Diseño de un juego: Conceptualización; Prototipos; Pruebas del juego; Funcionalidad, integridad y balance; Diversión y accesibilidad; Control e interfaces; 3. Trabajando como diseñador de juegos: Estructuras de equipos; Etapas de desarrollo; Documento de diseño; Comprensión de la industria del juego; Venta de uno mismo y de sus ideas a la industria del juego; Apéndices: Ejemplo de una hoja de de presupuesto; Revistas de la industria y sitios web.
... This, too, was deliberate. Fullerton (2004) notes that the premise of a game, defined as that which establishes "the action of the game within a setting or metaphor", is key to enable the players to be emotionally invested in the events of a game. Furthermore, Fullerton (2004) argues that bringing together the "formal elements" of a game, that is its action, with the "dramatic elements" which include the premise, can improve the overall play experience. ...
... Fullerton (2004) notes that the premise of a game, defined as that which establishes "the action of the game within a setting or metaphor", is key to enable the players to be emotionally invested in the events of a game. Furthermore, Fullerton (2004) argues that bringing together the "formal elements" of a game, that is its action, with the "dramatic elements" which include the premise, can improve the overall play experience. This is also supported by Malone (1980), who suggests that the goal of a game becomes more compelling, and thus more effective at teaching, when it is supported by the fantasy it presents. ...
... This is also supported by Malone (1980), who suggests that the goal of a game becomes more compelling, and thus more effective at teaching, when it is supported by the fantasy it presents. Furthermore, increasing player investment in the game by establishing a detailed setting as recommended by Fullerton (2004) increases player motivation through "cognitive curiosity" (Malone, 1980). This is because a player is more likely to want to fill gaps in their understanding of a fictional story if they care about its outcome. ...
Designing an intervention that can effectively develop critical thinking skills is challenging because of the problems of transfer and domain specificity. The authors describe the design and development of a text-based game that could teach players important critical thinking skills in the domain of history. This was achieved by combining Schon's reflective practitioner model with game-based learning principles. The work contributes to the existing literature because the combination of the models employed allowed the game design to address the problem of transfer, as well as developing critical thinking skills. The instrument used to evaluate the effectiveness of the game was a questionnaire based on the reflective practitioner model. The gathered qualitative data were analysed through affinity diagramming. The results show that the game that was developed has the potential to encourage advanced levels of historical thought, as well as critical thinking skills.
... The GaME method designs for reflective cognition within a game world that is analogous to the targeted conceptual domain. When games are successful, they evoke the focused, productive, intrinsically rewarding perception of experience known as flow (Csikszentmihalyi, 1990;Fullerton, Swain, & Hoffman, 2004;Salen & Zimmerman, 2004). GaME design is a technology to engineer reflective cognitive activity: ...
... A conceptual domain is composed of subconcepts, their properties, and the relations between them (Gentner, 1983). A game system is composed of objects, their properties, and the relations between them (Fullerton et al., 2004). And a mental model, as described for discourse, is composed of tokens, token properties, and the relations between them (Johnson-Laird, 2006). ...
... 2 (Fullerton et al., 2004) 3 (Johnson-Laird, 2006) domain. The relational structure of the game world is engineered isomorphic to the target domain. ...
Game-based, metaphor-enhanced (GaME) design is a process for engineering instructional games to prepare learners with the prior knowledge they need to learn later, more complex science concepts. The key step in the method is specifying a domain’s relational structure and then developing a game world based upon that structure. Reviewing relevant game design, cognitive science, and learning science theories, the author argues: (a) the need for GaME design; (b) that game worlds, complex concepts, and mental models are analogous systems; (c) how game-based technologies can provide a pragmatic and embodied context for making complex, introductory concepts intuitive; and (d) that the pragmatic, physical, and procedural aspects of games make them powerful learning tools that must be carefully designed. The author illustrates GaME design using Selene: A Lunar Creation GaME. Rigorous methods for design of instructional games will enhance control over learning outcomes.
... It has made use of two methods: narrative literature review, and experimental game design. The narrative literature review investigates the dramatic game 1524 elements, which are the elements that provide the emotional connection between the player and the game (Fullerton, Swain, and Hoffman, 2004). For user verification, this study has made use of the experimental game design (Waern and Back, 2015). ...
... This study follows the research of Fullerton, Swain, and Hoffman (2004), who propose a set of elements that take part in the game entertainment system. The mentioned authors have organized the game elements into two categories: formal elements and dramatic elements. ...
... These elements are: Players, Objective, Procedures, Rules, Conflict, Boundaries, Outcome. According to Fullerton, Swain, and Hoffman (2004), these formal elements can be combined in a number of ways and represent a simple game structure. However, for a game to be meaningful for the players, in the sense of allowing their imagination to flourish and providing them with a motivational and emotional experience, it is necessary to make use of the dramatic elements. ...
... Game development is a collaborative process of game art, animation, programming, management, audio design, and game design, with the overall aim of creating a video game (Bethke 2003). A typical entertainment development team includes a project manager, game designers, programmers, game artists, and developers of specialised media such as audio and quality assurance (Fullerton et al. 2004). The applied game development process makes use of additional co-designers, such as subject-matter experts, a patron (or client), transfer (e.g. ...
... In game design, paper-based prototyping means creating a rough working version of the game system. The goal of a prototype is to a have a crude model to allow the designer to wrap his/her brain around the game mechanics and sees how they function (Fullerton et al. 2004). Using paper-based prototyping to design applied games offers advantages such as quicker cycles of iterations, play-testing earlier in the development process, and codesigner accessibility to the game system (Stubbé et al. 2014). ...
... Play-testing is an extremely important design activity, which involves selection, recruiting, preparation, controls, and analysis. A play-test may range from informal and qualitative to structured and quantitative (Fullerton et al. 2004). Play-testing is something the game designer performs throughout the entire design process to gain an insight into how players experience the game. ...
The design of an applied game is complicated by needing to balance its usefulness, game- play experience, and sustainability. In the applied design process, game designers occupy a pivotal position between game design knowledge, development team, co-designers, and players. From this complex web of interaction, the designer is still expected to invent a new game. From a design investigation perspective, there is an opportunity to expand our general knowledge of game design by exploring first-hand the design and development of an applied game. The aim of this practice-led PhD research was to design and develop a pervasive multi- player applied video game as a tool for psychiatric healthcare workers treating patients suffering from depression and psychosis. The applied game Moodbot was co-designed during an intensive iterative process with healthcare experts and patients from Altrecht Mental Healthcare Institute and developers from the HKU University of the Arts. The following exegesis highlights game design knowledge gained from the development of the applied game Moodbot co-created with psychiatric healthcare workers, psychiatric patients, game artists, programmers, audio designers, and game designers. A design decision tool based on epistemic frameworks is used in this dissertation to structure and explore the applied game decision-making that shaped Moodbot and specifically examines a critical design decision moment, which looks at the influences from technology and co-designers on the design and designer.
... Before you can use your game to convey facts or start conversations, you need to make sure that it works [59], and to do this, you need to playtest it [60]. There are several stages to playtesting, beginning with prototyping in which you sit down and play the game yourself (maybe several dozen, or several hundred, times) to make sure that it is balanced and doesn't have any glaringly obvious barriers to play. ...
... Once you are confident that the game works (and that it is at least potentially fun to play), then you should give it to a few trusted colleagues or playtesters who can provide honest and critical feedback about your game. Once you have received feedback from this trusted "inner circle," then it is time to open it up to a wider audience [60]. Playtesters may be recruited from BoardGameGeek or other such communities, via specific playtesting sessions that you organise, or at gaming events such as the UK Games Expo or Gen Con, many of which will have playtesting areas for games designers to test out their latest work. ...
... Integrating DGBL into the Instruction One way to integrate innovative technologies in teaching involves the use of DGBL (Joyce et al. 2009). DGBL is a medium for teaching and an innovative and unique way to harness social interactions for the purpose of learning (Fullerton et al. 2004). Prensky (2006) defines DGBL as a way to achieve meaningful learning through an interactive game, which is designed to lead to cognitive change in its participants. ...
... Using simulations and virtual environments, the digital game provides a framework that promotes the development of twentyfirst-century skills (An and Cao 2017;Prensky 2006) and involves unique social interactions (Fullerton et al. 2004). The learning experience is at the center, enabling students to construct knowledge through the independent discovery of information (Bunch et al. 2014). ...
This is a case study of innovative teaching that examined how 28 elementary school teachers in Israel perceived their implementation of digital game-based learning (DGBL) in their classrooms. The study involved teachers in Israel, who implement DGBL into their classroom teaching. Qualitative analysis of semistructured in-depth interviews with the participants identified two dimensions in the teachers' narratives: the style of DGBL adoption (traditional/innovative), and the extent of DGBL implementation (high/medium/low). Based on these dimensions, four types of teachers were defined: the innovator and trailblazer, the implementer, the effort maker, and the struggler. The research findings can serve as an essential tool to help managers and decision-makers design professional development programs and tailor DGBL use to the four types of teachers identified in the study. Furthermore, once identified, trailblazer teachers could be recruited to serve as agents of change.
... While many specific aspects around potential experiences through interactions by users with (adaptive) GFH have been highlighted in the previous section, the user or player experience as an important recurring consideration and main endpoint for user-centered iterative (game) design (Fullerton et al., 2004) requires further discussion due to the complex nature of the goals and situated use of (motion-based) GFH. As this section will show, thinking merely along the lines of classic usability and user experience can endanger the successful realization and evaluation of MGH projects, since important aspects would not be explicitly considered. ...
... Interaction design and embodiment (Dourish, 2001); gamedesign (Adams, 2010;Fullerton et al., 2004) Appropriation of concepts from embodiment for MGH, tied to dual-flow serious targets; augmentated game design model with according player resources. ...
Physical activity plays a major role both in prevention and in the treatment of afflictions linked to a modern sedentary lifestyle and improvements on life expectancy, for example though the application area of physiotherapy. Motion-based games for health (MGH) are being discussed in research and industry for their ability to play a supportive role in health, by offering motivation to engage in treatments, objective insights on status and development, and guidance regarding treatment activities. Difficulty settings in games are typically limited to few discrete tiers. For most serious applications in health, more fine-grained and far-reaching adjustments are required. The need for applying adjustments on complex sets of parameters can be overwhelming for patient-players and even trained professionals. Automatic adaptivity and efficient manual adaptability are thus major concerns for the design and development of MGH. Despite a growing amount of research on specific methods for adaptivity, general considerations on human-computer interaction with adaptable and adaptive MGH are rare. This thesis therefore focuses on establishing and augmenting theory for adaptability and adaptivity in human-computer interaction in the context of MGH. Working with older adults and people with Parkinson's disease as frequent target groups that can benefit from tailored activities, explorations and comparative studies that investigate the design, acceptance, and effectiveness of MGH are presented. The outcomes encourage the application of adaptivity for MGH following iterative human-centred design that considers the respective interests of stakeholders, provided that the users receive adequate information and are empowered to exert control over the automated system when desired or required, and if adaptivity is embedded in such a way that it does not interfere with the users' sense of competence or autonomy.
... While many specific aspects around potential experiences through interactions by users with (adaptive) GFH have been highlighted in the previous section, the user or player experience as an important recurring consideration and main endpoint for user-centered iterative (game) design (Fullerton et al., 2004) requires further discussion due to the complex nature of the goals and situated use of (motion-based) GFH. As this section will show, thinking merely along the lines of classic usability and user experience can endanger the successful realization and evaluation of MGH projects, since important aspects would not be explicitly considered. ...
... Interaction design and embodiment (Dourish, 2001); gamedesign (Adams, 2010;Fullerton et al., 2004) Appropriation of concepts from embodiment for MGH, tied to dual-flow serious targets; augmentated game design model with according player resources. ...
Technological and medical advances are leading to great improvements in overall quality of life and life expectancy. However, these positive developments are accompanied by considerable challenges. The modern sedentary lifestyle and common afflictions that become more prevalent with age are contributing to considerable burdens on health care systems and on a great number of individuals. In addition to specific primary treatments, physical activity plays a major role both in prevention and in the treatment of such afflictions, for example though the application area of physiotherapy. Games for health (GFH) in general and motion-based games for health (MGH) in particular are being discussed in research and industry for their ability to play a supportive role in health, by offering (a) motivation to engage in treatments, (b) objective insights on the status and development of individuals or groups based on data collection and analysis, and (c) guidance regarding treatment activities, which is especially promising when health professionals are not available in person. However, applications in health need to be tailored to the individual needs and abilities of patients in order to facilitate the best possible outcomes. While most games can be adjusted to a general level of player abilities, this is typically achieved with a single difficulty setting with a limited number of discrete tiers, such as “easy”, “medium”, and “hard”. For most serious application use cases in health, more fine-grained and far-reaching adjustments are required. This can quickly lead to a need for applying adjustments on complex sets of parameters, which can be overwhelming for patient-players and even trained profession-als. Automatic adaptivity and efficient manual adaptability are thus major concerns for the design and development of GFH and MGH. Despite a growing amount of research on specific methods for adaptivity, general considerations on human-computer interaction with adaptable and adaptive MGH are rare and scattered across reports from specific developments. Based on a thorough consideration of the existing background and related work, this thesis therefore focuses on establishing and augmenting theory for adaptability and adaptivity in human-computer interaction in the context of MGH. The considerations are supported by a series of studies and practical developments. Working with older adults and people with Parkinson’s disease as frequent target groups that can arguably benefit from tailored activities, explorations and comparative studies that investigate the design, acceptance, and effectiveness of MGH are presented. The outcomes encourage the application of adaptivity for MGH following iterative human-centered design that considers the respective interests of the complex collage of involved parties and stakeholders, provided that the users receive adequate information and are empowered to exert control over the automated system when desired or required, and if adaptivity is embedded in such a way that it does not interfere with the users’ sense of competence or autonomy.
... Integrating DGBL into the Instruction One way to integrate innovative technologies in teaching involves the use of DGBL (Joyce et al. 2009). DGBL is a medium for teaching and an innovative and unique way to harness social interactions for the purpose of learning (Fullerton et al. 2004). Prensky (2006) defines DGBL as a way to achieve meaningful learning through an interactive game, which is designed to lead to cognitive change in its participants. ...
... Using simulations and virtual environments, the digital game provides a framework that promotes the development of twentyfirst-century skills (An and Cao 2017;Prensky 2006) and involves unique social interactions (Fullerton et al. 2004). The learning experience is at the center, enabling students to construct knowledge through the independent discovery of information (Bunch et al. 2014). ...
The present study examined teachers’ perceptions regarding the integration of digital game-based learning (DGBL) into their instruction at different stages of their career, in terms of: (a) inhibiting and encouraging factors (b) motivating factors. The research involved 28 elementary school teachers who were integrating DGBL into their instruction. The qualitative analysis of a semi-structured in-depth interview were based on grounded theory. The findings show that teachers at different career stages express different attitudes toward integrating DGBL. This finding is a common thread among all of the study’s findings: the career stage is a differentiating variable in relation to the factors that hinder, encourage, and motivate them to integrate DGBL. Thus, the teachers’ career stage revealed characteristic differences. The findings of the study have practical implications for teachers’ professional development at the various career stages.
... Modern game design work is broken into parts [23]. Designers start with a working concept and build upon it through iterative cycles [9,22]. Design thinking promotes failing fast and failing early. ...
... Fun, a very important factor for games, is sometimes fleeting and fickle. Finding the fun in an experience is not a linear process, both because players are unpredictable and because game systems can have emergent properties that are difficult to predict [9,24]. Prior work interviewing game designers has shown that companies employ a variety of strategies in guiding development of the player's experience [11,12]. ...
A wide variety of design strategies, tools, and processes are used across the game industry. Prior work has shown that these processes are often collaborative, with experts in different domains contributing to different parts of the whole. However, the ways in which these professionals give and receive peer feedback have not yet been studied in depth. In this paper we present results from interviews with industry professionals at two game studios, describing the ways they give feedback. We propose a new, six step process that describes the full feedback cycle from making plans to receive feedback to reflecting and acting upon that feedback. This process serves as a starting point for researchers studying peer feedback in games, and allows for comparison of processes across different types of studios. It will also help studios formalize their understanding of their own processes and consider alternative processes that might better fit their needs.
... We reflect on the ambiguity and metaphors of gaze that could serve as a starting point for designing gaze-based games. Specifically, approaches such as the EyePlay framework focus on the "formal elements" of a game (e.g., game rules, goals, procedures) [9]. Although these approaches cover a vast area of the design space, they are also limited by the fact that only the game (and not the player) is in the centre of attention. ...
... Following this line of argumentation, we aim at providing a broader view of gaze-based design in games. We discuss "dramatic elements" [9] (e.g., story, characters and context) that are strongly related to the players and their interpretations of the game world. ...
Gaze-based interactions have found their way into the games domain and are frequently employed as a means to support players in their activities. Instead of implementing gaze as an additional game feature via a game-centred approach, we propose a diegetic perspective by introducing gaze interaction roles and gaze metaphors. Gaze interaction roles represent ambiguous mechanics in gaze, whereas gaze metaphors serve as narrative figures that symbolise, illustrate, and are applied to the interaction dynamics. Within this work, the current literature in the field is analysed to seek examples that design around gaze mechanics and follow a diegetic approach that takes roles and metaphors into account. A list of surveyed gaze metaphors related to each gaze role is presented and described in detail. Furthermore, a case study shows the potentials of the proposed approach. Our work aims at contributing to existing frameworks, such as EyePlay, by reflecting on the ambiguous meaning of gaze in games. Through this integrative approach, players are anticipated to develop a deeper connection to the game narrative via gaze, resulting in a stronger experience concerning presence (i.e., being in the game world).
... The development process of a well thought-out GBL application therefore takes a long time and requires creativity, technical skills and comprehensive testing (Whitton 2012). The process of developing a traditional game is an iteration of conceptualization, prototyping and playtesting (Fullerton 2014). The development process of educational games is a little different. ...
... The development of the open source serious game in this paper was done after the game design process for entertaining games by Fullerton (2014) and was complemented by some aspects, caused by the learning context (Boller and Kapp 2017;. ...
The development effort of game-based learning applications is very time-consuming and costly, especially when applications are developed that provide students an enjoyable gaming experience and support them to achieve their learning objectives. This is largely to be explained by the iterative development process with the conduction of playtests. Therefore, this study analyzes whether an identical gaming and learning experience is achieved with the same game design but different learning contents. A serious game for learning information literacy that was developed and iteratively improved through three conducted playtests is used in this study. The results show that an identical gaming and learning experience is achieved. This makes it possible to re-use the game design in combination with other learning contents without negatively affecting the learner's playing and learning experience.
... Game design -particularly in an educational context -implies processes of participation, at least to verify the game mechanics. Playtesting practices have long been included and well-described in manuals (Fullerton et al., 2004;Schell, 2008;Tekinbaş & Zimmerman, 2003), not limited to the pre-release phases. ...
This paper delves into the concept of co-design, a collaborative approach involving stakeholders in the conceptualization and design phases to understand diverse perspectives and jointly define project directions. Examining the relationships between co-design, Design Thinking, and user-centred design, the paper emphasises distinctions in their goals and methods. It addresses potential biases in co-design processes, providing strategies to mitigate analogical relations, cognitive effort minimization, and emotional influences. Epistemological reflections highlight the efficacy of participatory methods in generating theoretical hypotheses while underscoring the need for evidence-based validation. The article explores co-design’s applications in speculative design and ludo-didactics (game design). In speculative design, co-design aids in framing problems and generating plausible contextualizations, while in game design, participatory processes, particularly playtesting, enhance the exploratory and refinement phases. The paper suggests avenues for further research, emphasising the strategic placement of Co-design processes in project phases, considering potential biases, and exploring its application in disruptive innovation contexts.
... 'Play' and 'games' are nebulous and closely entangled phenomena that warrant some disambiguation. The notion of 'play' encompasses not only freeform and formal activities (Caillois 1961) but a broader mindset applicable to near any situation, system or object (Fullerton, Swain and Hoffman 2004). Most scholars disavow the possibility of ever reaching a general definition of 'play' (Grieshaber and McArdle 2010;Kassabian and Jarman 2016;Moseley 2016) and focus on charting its varied forms, characteristics and associated activities. ...
This article explores strategies that allow electronic music performers to engage their audiences and environments in live acts of co-creation. We outline our existing musical practice relying on site-specific sampling and digital mobile technologies that have been tested across a range of participatory music performances. Salient challenges within this performance context are identified and several tools and techniques are proposed as solutions. We then consider how setting-based and sample-based participatory performances can be expanded through gamification strategies. After exploring how notions of playful experience can offer new insights into the nature of audience engagement, we propose several approaches for introducing gamified elements into performative music practices that can expand the scope of audience participation while preserving key aspects of using concert location recordings and musical improvisation. We conclude by discussing the implications of these approaches for the performer–audience relationship and the prospect of musical engagement with the environment before suggesting directions for future research.
... Clua (2011), também tomou como referência os testes de jogabilidade que, segundo Shuytema (2008), têm por objetivo verificar a existência de erros no jogo, seja de concepção ou de software, e averiguar se a curva de dificuldade está adequada ao público-alvo e se o desempenho dos jogadores é aceitável. Para alguns designers esses testes podem ser internos, feitos por especialistas, integrantes da equipe de construção do jogo, ou externos, envolvendo o público-alvo Fullerton, Swain & Hoffman, 2004). ...
... The reason for dividing the round into phases was to separate them into various situations that occur within the water supply-demand cycle, so that the participants could focus on what they should think about as each phase progresses. Separating games into phases is a feature of SGs with complex structures, making the game structure simpler [40]. In the real world, the scene also changes; it rains, water accumulates, and the player uses the water, encouraging them to think about each scenario while making associations to daily life. ...
To solve resource issues on coral reef islands, an understanding of the water cycle is essential. Water resource management is intricately linked to diverse occupational industries and coral reef ecosystems on these islands. To effectively promote sustainable natural resource management, we developed a board game as an environmental education and communication tool for school students and people of all ages. The concept of the game is that “clean water will always be available if it is used properly”. The board game was designed based on an island with an underground freshwater lens as its main water resource. Role-playing was used to enhance islander livelihoods such as with vegetable and livestock farming, fishing, and tourism. Players, while working collaboratively, have to use the island’s groundwater adequately and conserve it for future generations. The game was developed through a transdisciplinary process in collaboration with scientists, administrative officers, civic groups, and students. Additionally, the board game was tested in diverse communities. In this study, we elaborated on the board game after it was played by students at an elementary school on Tarama Island. We observed that participants learned that cooperation is important for the sustainable use of water resources. Moreover, the participants proposed two methods for cooperation: joint discussion and ‘assembly decisions’. The board game has the potential to be used as an effective environmental education tool to promote sustainable water resource management on coral reef islands.
... Using focus groups as an interactive survey method, allows deep insights into the experiences and intentions of users in a particular situation [20]. Furthermore, design workshops [21] can be used as a specific method within the HCD phases two and three to involve users in designing a product that focuses on creating meaningful patient benefits. Within design workshops, future users develop a version of the product themselves that fits their personal needs. ...
Purpose:
Problems with handwriting are a common referral to occupational therapy in children and are often associated with inadequate pen grip and tip pressure. Technologies providing immediate feedback on applied forces are currently not available. Therefore, the aim was to identify user's perspectives on the optimal functionality of a pressure-sensitive pen with an integrated feedback system.
Methods:
To ensure that the product meets the requirements of the users, user needs of paediatric occupational therapists, elementary or special education teachers and children were collected in two focus groups and a children's workshops before starting the technical development process. Focus group transcripts were analyzed and rephrased as user stories to identify user-centred requirements. In a second step, user stories were merged and ranked regarding importance and feasibility.
Results:
120 user story requirements were generated from the focus groups and children's workshops, indicating requirements regarding design and functionality for the pen and mobile application. Visual feedback, appropriate size and weight, customizability, ease of settings and usability of the pen were pivotal.
Conclusions:
This study comprehensively researched the requirements for a device that may facilitate children in adjusting their handwriting pressure and can guide further research and evaluation.
... Play-testing is an integral step of iterative game development. It allows game designers to test their assumptions about player behavior and to observe dynamics of the game system (Fullerton, Swain, and Hoffman 2004). In a sense, it is a partial mapping of the game space itself through observing where human players are capable of and interested in going within that space. ...
Is it possible to conduct player modeling without any players? In this paper we use Monte-Carlo Tree Search-controlled procedural personas to simulate a range of decision making styles in the puzzle game MiniDungeons 2. The purpose is to provide a method for synthetic play testing of game levels with synthetic players based on designer intuition and experience. Five personas are constructed, representing five different decision making styles archetypal for the game. The personas vary solely in the weights of decision-making utilities that describe their valuation of a set affordances in MiniDungeons 2. By configuring these weights using designer expert knowledge, and passing the configurations directly to the MCTS algorithm, we make the personas exhibit a number of distinct decision making and play styles.
... The study proved that information derived through these strategies relates to playtest metrics, however it differs. A chapter in the book about game design workshop [36] talks about the importance of playtesting in modern games, how to perform it properly, its challenges and contribution in game development. Moving to automated testing, C. Buhl and F. Gareeboo, by describing their work on developing a game, explained why automating the game testing procedure was a significantly assisted video game development [25]. ...
In the current project we present our study on automated video game testing. For our research, we apply our approach of automated agent-based testing, on NethackClone, a 2D, grid-based video game. Our implementation utilizes the Iv4xr framework, a tool that is able to apply and generalize automated testing on multiple types of video games, enabling us in that way to perform agent-based testing on the game, by creating agents and assigning goals to them. Alongside the testing tasks we implemented for our project, we also perform a number of checks on the SUT, checking whether the game behaves as intended when specific actions take place in it. Checks are related to the interaction between the player and the main elements of the game. We created two different tests, with 7 goals and more than 25 actions, tactics and utilities, running our experiments on a total of 307 unique test cases (171 on Test 1, 136 for Test 2). We evaluated our approach based on 3 main factors: coverage, success ratio and time, while the time and effort the framework needs to adapt for a new game each time is also of interest to us. Results derived through the experiments proved not only that our approach performs efficiently at a considerable level, but also our system was even able to detect an actual, unknown bug in the game. The functionality and the ability of the framework to adjust and generalize for multiple games is also promising, considering factors such as updates and adjustments on a game, or similarities between video games. The effort and time we devoted to the framework proved out to be a one-time investment, as once the integration of the SUT into the framework is complete, it can be repeatedly used for creating new testing tasks, checking on different assets of the game. In this way it can assist testers save important time and effort in further, future tests on the same SUT. However, our study also pointed out existing malfunctions in our approach, since our research was limited in terms of time and computational power, proving the need for extended research on a huge number of tests and test cases, in possible future studies.
... Once the narrative was defined, we started the development of the gameplay. We initially designed a paper prototype because the lower cost and higher adaptability [13]. It is noteworthy that the game must include concepts of testing, in such a case is inevitable testing several gameplays followed by multiple changes. ...
Software testing is essential to ensure the quality of a system. One
of the first levels of testing is the Unit Testing, which aims to
test the smallest part of the software, such as objects, methods
or classes or modules. Motivated by the relevance of unit tests in
the software development process and the lack of undergraduate
courses where students can relate the theoretical concepts of tests
to practical classes, we propose a game-based learning approach,
called GAMUT, linked by a narrative for teaching unit tests. The
approach consists of three steps: a game to introduce the concepts
of unit testing such as testing doubles and the given-when-then
structure; a video lesson that uses similar code of the game to
explain and exemplify the previous concepts; and an activity with
a challenge, in which the students can practice what they learned
for example the writing unit tests. The approach was applied to
an undergraduate class of a Verification and Validation course at a
university. The results showed that the approach helped to engage
the students in the learning process of unit testing since most of
them were able to successfully complete the proposed activity. Also,
the students enjoyed the game, the narrative and the lucidity of the
proposed activity.
... Game Design Elements can be understood as the building blocks of the sector to be gamified (Blohm & Leimeister, 2013). These elements serve as incentives to promote certain behavior of users or to guide them towards a defined goal (Fullerton et al., 2004;Witt et al., 2012). Thus, game design elements can promote motivation, stabilize player engagement, maintain players in the flow channel and strengthen the creativity of users as an integral part of the game (Scheiner & Witt, 2013). ...
Games accompany humanity all over the world. They can be powerful means to generate and impart knowledge and motivation in a playful way. Stereotypically, games are often associated with children. Still, throughout the last few years, the merits of games were also transferred into a corporate context, recognized there under the term gamification. By using game elements in a non-playful environment, this approach could help to stimulate innovation and to foster entrepreneurial as well as collaborative cultures among employees, managers, and customers. However, while gamification offers many positive aspects, the actual implementation and application within an organization remain subject to several obstacles. Hence for this study, twentyeight expert interviews from seven different industries were conducted to identify and describe those hurdles. Subsequently, an approach was developed, enabling organizations to reduce or even to avoid them.
... 7.5 are an example of design documentation work products from this process that were used to manage design changes during successive iterations as we revised the simulation to meet course-specific and university learning outcomes. Design documentation can include but is not limited to mind maps of core components and play sequence, back-of-the-napkin calculations of mechanics, spreadsheets to codify and test mechanics and storyboards of game assets to help them to plan the process (Adams & Dormans, 2012;Fullerton, Hoffman, & Swain, 2004). ...
Between 2014 and 2016, the Syria Simulation was delivered as an in-person, tabletop role-playing game to over 700 students at a liberal arts university in Texas. This low-fidelity, 3-h simulation was designed to address global learning programs and course outcomes by asking students to analyze events from multiple geopolitical perspectives while role-playing key actors and organizations in the Syria conflict. Game design was grounded in high-impact curriculum design and instructional design practice while employing game design mechanics to target twenty-first-century competencies and enhance student engagement. A diverse faculty team used a gameful, experiential strategy to challenge students to tackle the complex problem of achieving peace in the Middle East. This gameful approach to learning immersed students within an authentic, experiential setting, challenged their decision-making, and provided opportunities for reflection. Role-play enabled students to play conflict actors and supported cooperative learning goals while shaping student perspectives on the conflict. In this chapter, we discuss the Syria Simulation project through these theoretical lenses and describe the ways in which the game’s design reflects an experiential system of rules, play, and culturally responsive design. We will also describe the game’s design and development process, and its impact on student engagement, and we will explain its integration into a liberal arts curriculum. We also present a model for how narrow identification of learning problems, threshold concepts, strategic design of game mechanics, and an engagement ethos can be used to support powerful, playful, high-impact learning for a range of learning outcomes and student participation.
... The second module manages the first level of the "real" game, which content varies in a continuum from "completely adventure" to "completely horror" relying on the value assumed by F for the specific player. It is a single player game, developed according to the User Cantered Design approach [42] set in an underground network of caves from which the player should escape alive while understanding what is going on. The appearance of the caves (colours, light, ambience sounds, etc.), some aspects that suggests a hidden story (e.g., wall graffiti, abandoned objects, etc.) and several gameplay-related objects (e.g., traps) can vary deeply according to the "fear profile" of the player, while all the other elements remain fixed (map topology, main path, puzzles, etc.). ...
... The MDA model is a well-known framework that describes the game concerning three mutually-dependent layers: Mechanics (M), Dynamics (D) and Aesthetics (A) [39]. Fullerton et al. provided another theoretical framework that assists game analysts and designers to investigate all kinds of games from the Formal elements, Dramatic elements and Dynamic elements [40]. The Elemental Tetrad of Games is another model that has been widely acknowledged and accepted in both the academia researchers and practitioners in the games industry [41]. ...
In recent years, there has been extensive research on serious games for edu-cational purpose. However, the design space for collaboration in games re-mains substantially unexplored. In this study, we systematically reviewed 31 empirical research articles regarding game-based collaborative learning published from 2006 to 2020 and attempted to provide new information about designing serious games for collaborative learning. We surveyed a number of games and investigated their design features that encourage col-laborative learning. Twenty game mechanics were identified and grouped in-to six main domains: (1) Space, (2) Objects, attributes and states, (3) Ac-tions, (4) Rules and goals, (5) Skill, (6) chance. The analysis of user studies they performed indicated that most of the game projects relied on self-report methods to test their learning effectiveness, and only a few studies adopted the data mining method based on game logs. The implications for research into facilitating collaborative learning and recommendations for future re-search directions are discussed.
... Listeners are then asked to manipulate time, by imagining a space they 1 http://ameyyzhang.com/ 2 Play testing is a practice in game design where players are invited to play the game and give feedback regarding their play experience to the designer as they play. There are many forms of play testing that are conducted at nearly all stages of game design and development [35] were often in as a six-year-old and imagining how the soundscape of the room changed over time. ...
Our inner sound worlds are varied, brilliant, and banal. Phantasm is an inter-disciplinary exploration of imagined sound consisting of a brain imaging study, creative works, and interviews. Musicians trained in Western tonal music were asked to imagine musical notes while inside an MRI scanner. These scans were then decoded and the notes they imagined were classified with statistically significant accuracy. Multimedia compositions and video-diagrams were created to explore deliberately imagined, implied, and decoded imagined sound as material for creative exploration. Finally, a series of transcribed interviews, as well as many informal conversations, were conducted to gain foundational insight into the lived experiences of imagined sound.
... Clua (2011) also took as reference tests gameplay that according to Shuytema (2008), aim to verify the existence of errors in the game, either by design or software, and ascertain whether the difficulty curve is appropriate for the target audience and if the player's performance is acceptable. For some designers these tests can be internal, made by experts, members of the building team of the game, or external, involving the audience (Fullerton, 2004). ...
The development of a game with educational purposes, similar to a game focusing on fun, requires an analysis process, which must evaluate positive and negative points, to support a plan of product improvement. The game A mansão de Quelícera, supported by the CNPq project "Diálogos entre Arte e Design" (Dialogues between Art and Design), was reviewed by a group of researchers from different institutions of higher education in Brazil. Different parts of the game were the subject of evaluation and redesign, as presented in two articles presented in SBGames 2012. In this article, the research explores parameters, strategies and analysis' techniques of digital games, pointing out existing approaches and the ones organized by researchers of the group, whose action part of the game-player interaction. The theoretical foundation for this research considered the parameters of quality for computer games and the parameters defined by the MEC (Ministry of Education-Brazil) to evaluate educational technologies, as well as made use of strategies and techniques for data collection.
... During the design phase, students break their game idea down to the formal and dramatic elements, e.g., describing them in a game design document (Fullerton, Swain, & Hoffman, 2004). In order to measure students' performance, regarding the designing and analysing skills, one common technique is to assess the deliverables of the designing phase (e.g., Game design document, storyboard or flowcharts), which help students to visualize these game elements and enrich the game design (Akcaoglu, 2016;Burke & Kafai, 2012;Rankin, Thomas, Irish, & Hawkins, 2014). ...
In the last few years, engaging students to create digital games has been a pole of attraction for many teachers and researchers, resulting in highly positive learning experiences and promoting their thinking skills, e.g., programming and computational thinking (CT) skills. Researchers have already stated about the need for further research not only around the evaluation techniques and tools of the quality of these complex educational interventions, but mainly about ways to ease the assessment of students’ performance from multiple perspectives with authenticity. This paper contributes to proposing a multifaceted assessment framework of the degree of students’ acquisition of multiple skills, when they get involved in digital motion-based touchless game-making course-projects with the MIT Scratch tool. The results of its implementation during a pilot study with computer science undergraduate students, which are presented, highlight the positive effects of combining and extending various assessment techniques and tools to draw holistic conclusions about students’ higher skills including computational and spatial thinking skills.
For decades, research on technology use and mental health has been based on the assumption that identifiable structures of ‘design’ are psychologically relevant for their users. This has been central especially for the nosological emergence of ‘behavioural addictions’, which currently include two formal diagnoses on technology use: problems related to playing gambling games (gambling disorder) and videogames (gaming disorder). Alas, the research on identifying ‘addictive’ design structures has suffered from major construct validity issues. To make progress over those issues, I draw from the history of ‘vitality affects’ in psychiatry and introduce vitality structures as a design-phenomenological framework that can help researchers conceptualise psychologically relevant ‘bonds’ between entities of game design and corresponding player phenomenology. Vitality structures are not natural kinds to be discovered but pragmatic constructs to be used—and useful as long as they communicate what is both identifiable and empirically prevalent. As a demonstration of practice, I propose working conceptualisations of three vitality structures, which surface in videogames played by gaming treatment-seekers. Systematic research programs for identifying relevant vitality structures can lead to construct-valid and replicable design effects.
Gamification becomes trending to increase learning engagement. Yet it is rarely attempted by teachers for flipped classroom approach due to time constraint, the need for creativity and technology literacy. In this paper, I share my experience in gamification design to promote communication, collaboration, critical thinking, and creativity (4Cs) among students. Faced with stagnancy in using traditional cooperative strategies, I took on the challenge of designing the game “Mystery of Super Ball” for the Polymer topic, involving a group of pre-service teachers as Agents in a mystery-mission game. The study design was motivated by the gap in action research’s reflective practitioner philosophy. Data was gathered through video recording, semi-structured interviews, and student reflections. The findings indicate that students demonstrated strong communication and collaboration skills while immersing themselves in their detective roles. Triangulating with quantified episodes, communication (31.01%) and collaboration (25.58%) were substantively prevalent in the students’ problem-solving tasks. However, critical thinking (22.79%) and creativity (20.62%) showed relatively lower occurrences, suggesting the need for revising my strategies. Among the 24 subconstructs of the 4Cs themes, two were minimally observed: ‘Create new and worthwhile ideas (both incremental and radical concepts)’ and ‘Analyze and evaluate major alternative points of view’, falling under creativity and critical thinking, respectively. These insightful findings strongly advocate for reevaluating the current critical essay assessment on the Polymer topic. A more innovative approach is needed, one that challenges students to showcase their creative and critical problem-solving abilities. Noteworthy, students’ perceptions of my creativity shed light on my strengths and weaknesses in game design, providing valuable insights for future research recommendations. This study highlights the importance of being a reflective practitioner, both for my pre-service student-teachers and myself as a lifelong learner.
In most Indian cities, the littering problem stems from a lack of awareness and the unavailability of resources. The new smart cities call for more innovative approaches to solve challenges related to waste disposal. Hence, engaging people and spreading awareness about the appropriate use of dustbins are essential. HappyBin is a design project that tries to modify people’s behavior by harnessing the power of positive reinforcement, IoT, and behavioral theories. The project aimed to change the perception of dustbins in India and make them an integral part of the urban landscape. This behavioral change will lead to efficient dustbins and improved waste disposal. The research project includes designing and prototyping HappyBin, testing and conducting a user survey. The various feedbacks from the users were analyzed to improve the product. We found that “HappyBin” achieved two critical goals: Firstly, it generated curiosity among the users due to its innovativeness and instant gratification. Secondly, the overall design of the HappyBin changed the perception of dustbins through its simple functionality and engagement with the users. Thus, this research paper highlights that the power of smart design combined with behavioral studies can develop a new genre of interactive products that leads to a better society.
Günümüzde üniversite sınıflarında yerini alan Z kuşağının öğrenmeye ilişkin tercihleri,
öğrenme ortamlarına ve süreçlerine ilişkin beklentileri önceki kuşaklardan farklı olmaktadır. Oyun tabanlı öğrenmenin Z kuşağının bu beklentileriyle örtüşen yaklaşımlardan biri olduğunu söylemek mümkündür. Ancak oyun tabanlı öğrenmeye yönelik oyun geliştirme pek de basit bir süreç değildir. Başta belli bir satın alma karşılığı hediye kahve kazanılan kahve dükkanlarından, 10.000 adım atmaya teşvik eden fitness programlarına farklı uygulamalarla kendine günlük yaşamlarımızda yer edinen oyunlaştırmanın; birçok eğitimci tarafından tercih edilmeye başlanmasının nedeninin oyun geliştirmenin zorluğu olduğunu düşünmek yerinde olacaktır. Diğer bir neden, ister istemez yaşanan acil uzaktan eğitim süreci olarak görülmektedir. Uzaktan eğitim uygulamaları arttığında, çevrimiçi öğrenci katılımını artıracak çözümlerden birinin oyunlaştırma olduğu düşünülmüş, çevrimiçi derslerdeki oyunlaştırma uygulamaları artmıştır. Oyunlaştırma, oyun öge ve ilkelerini kullanarak oyun hissini ve oynamanın etkilerini oyunsuz yakalamayı sağlayan uygulama olarak tanımlanabilir. Eğitsel oyunlaştırmaya dair yapılan araştırmalar, oyunlaştırmanın öğrencinin derse bağlılığını, performansını, motivasyonunu artırdığını göstermiştir. Terim olarak “oyunlaştırma” son 10 yılda gündemimize girmiş olsa da aslında
eğitimcilere uzak bir kavram değildir. Ancak tanımlanarak araştırmalara konu oluşu, oyunlaştırma tasarımının modellenerek etkilerinin görülmesine olanak sağlamıştır. Eğitsel oyunlaştırma hakkındaki araştırmalar arttıkça, oyunlaştırmanın hangi şartlarda daha iyi sonuçlar verdiği tartışılır olmuştur. Bu noktada alanyazın görselleştirmenin oyunlaştırmanın etkisini güçlendireceğine dair ipuçları sunmaktadır. Diğer bir ifade ile, puanlar ve lider tahtalarının ötesine geçerek görsel yoğun oyunlaştırmaya doğru bir dönüşüm yaşamanın zamanı gelmiştir. Bu noktadan hareketle, bu bölümde oyunlaştırmanın nasıl görselleştirileceğine ilişkin bir çerçeve oluşturulmuş; oyunlaştırmanın görselleştirilmesinde izlenebilecek adımlara dair bir süreç yapılandırılmıştır. Bu bölümün amacı, görselleştirme ve oyunlaştırmanın teorik temellerini bir araya getirerek, oyunlaştırmanın görselleştirilmesine ilişkin sürecin aşamalarını paylaşmaktır.
Authoring stories and designing interactions are often discussed separately, within differing communities. At the same time, it would be useful to regard these two tasks as actually one integrated process for the creation of interactive narratives. With a focus on non-standardized interaction styles, this chapter discusses the authoring challenges involved in conceiving IDNs for location-based and immersive experiences with novel technologies, one example being Augmented Reality. These challenges include the necessity to understand technologies and their users, as well as potential gaps between the platforms and circumstances of creation and experience. This chapter suggests approaches to these authoring problems, placing an emphasis on the integration of the story with repeatable interaction patterns.KeywordsInteraction designAuthoringInteractive digital narrativeAuthoring augmented realityAugmented reality storytelling
Game petualangan adalah salah satu genre game populer yang memungkinkan pemain bersimulasi menjadi karakter tertentu yang dipandu melalui cerita diikuti dengan eksplorasi dan pemecahan teka-teki sebagai gameplay utamanya. Selain menyenangkan, menghibur dan menarik, game juga mampu menyampaikan konten serius seperti memberikan pembelajaran tertentu atau meningkatkan kesadaran pada fenomena sosial, termasuk edukasi dan kesadaran tentang keberadaan satwa. Penelitian ini bertujuan untuk mengidentifikasi potensi game petualangan sebagai media penyadartahuan terhadap isu perlindungan dan pelestarian satwa melalui penggunaan elemen dramatis dalam fitur game petualangan. Terdapat dua game bertema satwa yang dipelajari dalam penelitian ini: Rhino Raid dan A Street Cat's Tale. Dalam penelitian ini dilakukan analisis kedua game secara komparatif dalam bentuk kualitatif deskriptif yang dibedah dengan teori elemen dramatis pada metode Playcentric Approach. Hasil penelitian dan temuan diharapkan dapat digunakan sebagai dasar untuk mengembangkan game sejenis yang dimanfaatkan sebagai media edukasi dan kesadaran terhadap satwa khususnya satwa langka Indonesia. Kata Kunci: game petualangan; penyadartahuan; satwa; elemen dramatis; playcentric.
We present our interdisciplinary research on gamification as a communication tool in urban planning. Approaching the topic from a user-centered perspective, we combine knowledge from the domains of architecture and human-computer interaction and define domain-specific requirements and areas of interest. To substantiate our findings, we present a prototypical case study of a public participation application, developed in consultation with the urban planning project driver and evaluated on-location with members of the public. Our results highlight the opportunities in pursuing a new sub-field of gamification within urban planning and include concepts of game interfaces and spaces in this research. In our case study, we present a methodological approach to assessing gamification in urban planning participation and provide findings on how gamification changes the users’ relationship to participation as well as evidence that the “avatar” game element can affect the motivational affordances meaning of task, perceived competence, and social relatedness.
In this article, we posit ‘game system building’ as a paradigm for game design. Inspired by earlier perspectives on cybernetic art, and current practices in game development and education, we consider the creation of dynamic game systems as a creativeartistic practice where the consideration of complex and often unpredictable behavior and effects are as foundational as the individual elements (rules, graphics, characters, UI etc.) of a game. The paradigm of ‘game system building’ has important implications for the education of designers and games scholars. In this article, we introduce the paradigm and its lineage, and propose an educational approach that reflects ‘game system building’.
Gaze interaction has been growing fast as a compelling tool for control and immersion for gameplay. Here, we present a conceptual framework focusing on the aesthetic player experience and the potential interpretation (meaning) players could give to playing with gaze interaction capabilities. The framework is illustrated by a survey of state of the art research-based and commercial games. We complement existing frameworks by reflecting on gaze interaction in games as the attention relationship between the player (the subject) and the game (the object) with four dimensions: Identity; Mapping; Attention; and Direction. The framework serves as a design and inquiry toolbox to analyse and communicate gaze mechanics in games, reflect on the complexity of gaze interaction, and formulate new research questions. We visualise the resulting design space, highlighting future opportunities for gaze interaction design and HCI gaze research through the framework's lens. We deem, this novel approach advocates for the design of gaze-based interactions revealing the richness of gaze input in future meaningful game experiences.
The desired outcome of instructional game design is to combine the powerful attraction of games and the proven effectiveness of instructional system design (ISD). This combination would have the capacity to focus player concentration on game play and learning the planned content in order to successfully complete the game. Conjoining game design elements (e.g., rules, goals and objectives, outcomes and feedback, conflict and challenge, interaction, representation or story) with ISD elements (e.g., analysis, design, development, implementation, evaluation) may be the means of reaching the desired outcome. Applying recent findings (e.g., working memory capacity, mental models, memory consolidation) from cognitive psychology may provide further assistance.
Over the past few years scientific research has opened up to the idea of using digital games for human-based studies. Fields such as Neuroscience, Medical and Affective Computing are currently using games to study human-based phenomena. Even though a vast amount of work exists within the field, rarely is the subject of designing such games ever touched upon. In fact a common problem within the field is that the games themselves are often an afterthought, where certain gameplay limitations are never truly acknowledged and tend to be mostly ignored. Thus, this paper intends to provide some game design guidelines to the most common problems found in literature from work specifically using games for human physiological data-collection purposes. Furthermore, a brief description of the most popular physiological recording methods: Skin Conductance (SC), Heart-Rate Variability (HRV), Electromyogram (EMG), Electroencephalogram (EEG) and Functional Magnetic Resonance Imaging (fMRI); are provided as the game-play ``limitations'' of using such devices are an important factor to take into consideration in the game design process. As such, the objective of this paper is to provide awareness of specific game design limitations found in literature and analyse them from a game design perspective.
A digital/physical installation part a series of pilots developed for Habo Municipality, Sweden, in the context of a public co-design effort aimed at creating a shared understanding of the possibilities offered by digital transformation and the development of a connected city framework, “Read Ahoy!” provides children with a simple game-like challenge: find books randomly distributed in a number of locations by matching conceptual, spatial, aural, and verbal clues. Built as an embodied experience for library spaces, “Read Ahoy!” is narratively centered on a Viking crew in need of help after they have lost much of their precious cargo of books in a storm, on their way back after a trade expedition. The story grounds the challenge in tropes familiar to Swedish culture and gives children a playful setup and well-defined goals as they search for books. “Read Ahoy!” explores how children entering the school system search and make sense of information in a blended space, structurally recreating the way they customarily mix action in digital and physical space. Theoretically anchored in Benyon’s conceptualization of blended spaces, in Bates’ information seeking theory and information search tactics, and in Resmini and Lacerda’s formalization of information-based experience ecosystems, “Read Ahoy!” was designed and implemented as a low-budget end-of-year project for the students in the Master’s in Information Architecture and Innovation at Jönköping International Business School, Jönköping, Sweden, under the supervision of the authors. It was framed to meet the UN SDG4’s sub-targets on “Early childhood development” and “Universal Youth Literacy” and installed in Habo Library from June through August 2019 where it was used extensively by local children under the supervision of librarians during the summer. A full description of the installation and preliminary post-mortem reflections are offered in the paper.
Використання технології «Воркшоп» у роботі зі студентами класичних університетів
У статті розглянуто проблему застосування в освітньому процесі закладу вищої освіти технології воркшоп. Проаналізовано особливості сучасних здобувачів освіти в університеті та вплив цих особливостей на трансформацію освітнього процесу. Проведено аналіз визначення поняття «воркшоп» вітчизняними та закордонними науковцями. Розглянуто технологію воркшоп та виокремлено особливості його проведення. Узагальнено результати впровадження воркшопу в студентську аудиторію класичного університету. Визначено, що воркшоп сприяє розвитку професійних компетенцій та лідерських якостей студентів; дозволяє за короткий термін засвоїти альтернативні розумові моделі, отримати навички, що дозволяють мислити більш вільно та креативно; зміцнює «командний дух», формує атмосферу довіри в міжособистісних взаєминах, почуття задоволення від виконаної роботи; розвиває творчість студентів.
Ключові слова: активні методи навчання; воркшоп, здобувачі освіти; новітні психолого-педагогічні технології; університет.
Links are the most important new punctuation mark since the invention of the comma, but it has been years since the last in-depth discussions of link poetics. Taking inspiration Raymond Queneau'sExercices De Style, we explore the poetics of contemporary link usage by offering exercises in which the same piece of text is divided and linked in different ways. We present three different exercises---varying the division of a text into lexia, varying links among lexia, and varying links within lexia---while pointing toward potential aesthetic considerations of each variation. Our exercises are intended descriptively, not prescriptively, as a conversational starting point for analysis and as a compendium of useful techniques upon which artists might build.
In game jams, the jammer constellations and teams are essential elements for successful and engaging game jams and game jam outcomes. In this paper, we discuss and analyze group forming behavior in jam environments but also look at jammers who want to prefer to jam by themselves. In jam environments, especially the group forming task at the beginning of every game jam is essential for the success of the event and the outcomes. However, it is also one of the most challenging tasks. For this paper, we analyzed the data of the Global Game Jams between 2015-2018 with a focus on the formed groups as well as the linked Github profiles. Based on first results, we build an early prototype for recommending groups for the Global Game Jam automatically.
Game design is an important elements in Game Development. A good game design is not only for determining how good the game it will be, but also crucial as a development guideline for game developer to complete their project. Game Design starts from as early as ideation, conceptual phase and subsequently to the process of block out stages in the early game design phases. Game Design might seem easy, always misunderstood and taken for granted. Thus one must consider to understand about game design in general, its discussions and also its design techniques.
Each chapter of this book are written by distinguished experts from each respective area. Discussions start by recognizing the features of a good game design and its implementation throughout game development. The author further discusses the game design model known as user-centered Game Design (UCGD). This model can be used as a guide in designing and developing games.
In addition, there are also topic that covers educational game, gamification, augmented reality game design, game monetization design and other. It is hoped that each chapter that are written can be used as references and guides to fans or readers who need knowledge related to game design.
ResearchGate has not been able to resolve any references for this publication.