Making Deep Games - Designing Games with Meaning and Purpose
Abstract
Like movies, television, and other preceding forms of media, video games are undergoing a dynamic shift in their content and perception. While the medium can still be considered in its infancy, the mark of true artistry and conceptual depth is detectable in the evolving styles, various genres, and game themes. Doris C. Rusch's Making Deep Games combines this insight along with a discussion of the expressive nature of games, various case studies, and hands.on design exercises. This book offers a perspective into how to make games that tackle the whole bandwidth of the human experience; games that teach us something about ourselves; enable thought-provoking, emotionally rich experiences; and promote personal and social change. Grounded in cognitive linguistics, game studies and the reflective practice of game design, Making Deep Games explores systematic approaches for how to approach complex abstract concepts, inner processes, and emotions through the specific means of the medium. It aims to shed light on how to make the multifaceted aspects of the human condition tangible through gameplay experiences.
... The multidisciplinary nature of video game development allows the experiential knowledge from people with lived experiences of depression and anxiety to be translated through different platforms, such as through narrative and game mechanics (Rusch, 2017). According to Rusch, there are two different approaches that game developers can take, incorporating it in its narrative using a literal approach, and representing it through game mechanics using a metaphor (Rusch, 2017). ...
... The multidisciplinary nature of video game development allows the experiential knowledge from people with lived experiences of depression and anxiety to be translated through different platforms, such as through narrative and game mechanics (Rusch, 2017). According to Rusch, there are two different approaches that game developers can take, incorporating it in its narrative using a literal approach, and representing it through game mechanics using a metaphor (Rusch, 2017). ...
... While Rusch advocates the use of metaphorical game design, which uses game mechanics to portray metaphors (Rusch, 2017). Even though the literal approach can portray the observable aspects of depression, particularly the symptoms such as the loss of control shown in Actual Sunlight, metaphors can portray not just the symptoms, but the inside view of what depression feels like (Rusch, 2017). ...
The Rosetta Wheel framework is a framework for design teams to guide the development of games for health behaviour change. The framework is grounded in evidence-based research of the psychology of behaviour change. It is further informed by game analysis and expert design techniques in order to understand how psychological processes map with game design patterns.
The Rosetta Wheel has 10 Change Keys, assisting design teams to create game mechanics which foster the psychological processes of change, alongside 19 Key Considerations which support the overall development process.
The presentation will cover the research process that led to the development of the framework, along with an overview of the Rosetta Wheel Framework, and will finish off by introducing some implementation ideas of how the framework can be applied in practice.
... Existing work has looked at player experiences ranging from emotionally challenging [8,16,21] and discomforting experiences [13,29] to emotionally moving moments [6]. Others have addressed how games aford emotional [34] and deep [52] experiences, and developed ideation tools to facilitate the design for such experiences [50]. ...
... Historically, games have been, and still largely are, associated with entertainment, and so PX research has mostly focused on fun and enjoyment as the desired player experiences [45]. However, video games are a diverse medium that allows for a range of nuanced and subtle experiences besides fun -video games may also aford profound emotional experiences [34,38,43,52]. Over the past few years, emotional player experiences have received increasing attention within PX research, addressing topics such as emotionally moving [6] and emotionally challenging moments [8,21,49], discomforting experiences [13,29], and emotional attachment to game characters [7]. ...
... In a recent study, Cole and Gillies [17] suggested that games providing only a minimal outline of the story involve interpretive fctional agency, which encourages players to build their own understanding of the story and foster personally nuanced interpretation. Similarly, focusing on deep games, Rusch [52] discussed how cultivating vagueness with regards to, for example, the game's goal can inspire players to contemplate their own meaning of the game. Relatedly, interpretive challenge was described as an experience that demands players to use contextual information from outside the game world to be able to successfully interpret the game and its narrative [2]. ...
Emotionally impactful game experiences have garnered increasing interest within HCI games research. Yet the perspectives of designers have, to date, remained largely overlooked. We interviewed 14 indie game designers regarding their values and practices in designing emotionally impactful games. Counter to the focus of recent player experience (PX) studies, we find that while designers typically have a clear vision for the intended emotional impact, they aim for their games to provide a space for players to have their own personal experiences and interpretations. Despite this player-centric orientation, players were rarely involved before and during the production to evaluate the emotional experience. Based on these findings, we identify gaps between design practice and PX research, raise open questions around the design and evaluation of emotionally impactful game experiences, and outline opportunities for HCI games research to more productively support game designers.
... First, many game designers have noted that it is often difficult for people to tell what they will find fun before they try it out (e.g. [ [57]]). While that might be a barrier in the design of entertainment games, we argue it is less problematic in the design of situated and emergent play interventions. ...
... [[57]] explains that participatory approaches to game design are limited by how costly it is to prototype a videogame. In game design, while early low-fi prototypes are often used by design teams to facilitate rapid iteration cycles [[32],[62]], playtesting with real audiences usually happen at an advanced stage of the process [[32]] and employ hi-fi prototypes that resemble the "final experience" [[57]]. ...
... [[57]] explains that participatory approaches to game design are limited by how costly it is to prototype a videogame. In game design, while early low-fi prototypes are often used by design teams to facilitate rapid iteration cycles [[32],[62]], playtesting with real audiences usually happen at an advanced stage of the process [[32]] and employ hi-fi prototypes that resemble the "final experience" [[57]]. Developing hi-fi prototypes requires remarkable time and specialized skills. ...
... First, many game designers have noted that it is often difficult for people to tell what they will find fun before they try it out (e.g. [ [57]]). While that might be a barrier in the design of entertainment games, we argue it is less problematic in the design of situated and emergent play interventions. ...
... [[57]] explains that participatory approaches to game design are limited by how costly it is to prototype a videogame. In game design, while early low-fi prototypes are often used by design teams to facilitate rapid iteration cycles [[32],[62]], playtesting with real audiences usually happen at an advanced stage of the process [[32]] and employ hi-fi prototypes that resemble the "final experience" [[57]]. ...
... [[57]] explains that participatory approaches to game design are limited by how costly it is to prototype a videogame. In game design, while early low-fi prototypes are often used by design teams to facilitate rapid iteration cycles [[32],[62]], playtesting with real audiences usually happen at an advanced stage of the process [[32]] and employ hi-fi prototypes that resemble the "final experience" [[57]]. Developing hi-fi prototypes requires remarkable time and specialized skills. ...
User involvement is well established in game and play design. But in a time when play design is becoming relevant in domains beyond pure entertainment, and play blends into everyday activity in diverse ways, we need to revisit old, and develop new, user involvement methods. Using a situated perspective and Research through Design, we present Situated Play Design (SPD), a novel approach for the design of playful interventions aimed at open-ended, everyday activities that are non-entertainment based. Like user-centered game and play design methods, our contribution leverages user engagement; like Participatory Design methods, our method acknowledges the co-creating role of end users. SPD extends those approaches by focusing on uncovering existing manifestations of contextual playful engagement and using them as design material. Through two case studies, we illustrate our approach and the design value of using existing and emergent playful interactions of users in context as inspirations for future designs. This allows us to provide actionable strategies to design for in-context playful engagement.
... One of the most prominent distinctions of meaningful experiences found in this study was in the presence of morally difficult situations, such as in Star Wars: Knights of the Old Republic [G5] or in The Witcher 3 [G20]. Furthermore, Rusch [32] understands deep and meaningful games as games with content related to the human condition, defined as deep, insightful and purposeful experiences that are somehow also related to the players' personal life. This understanding finds support in an interview study by Mitgutsch [32], where participants associated a variety of game experiences such as mastering challenges, learning skills, and social relations with meaningfulness. ...
... Furthermore, Rusch [32] understands deep and meaningful games as games with content related to the human condition, defined as deep, insightful and purposeful experiences that are somehow also related to the players' personal life. This understanding finds support in an interview study by Mitgutsch [32], where participants associated a variety of game experiences such as mastering challenges, learning skills, and social relations with meaningfulness. According to their conclusion, an experience within the game may become particularly meaningful for players, if their current personal life circumstances fit the game content. ...
... These consisted of choices being defined by social and moral characteristics, and these choices having consequences. Within and beyond these themes, there was a wide variety of aspects that participants associated with meaningful choices, similar to previous findings [23,30] and the various descriptions of the human condition in the context of deep and meaningful games [32]. An alternative clustering of experiences is the differentiation between participants associating choices to the mechanics versus the narrative of the game. ...
The potential of narrative-rich games to impact emotions, attitudes, and behavior brings with it exciting opportunities and implications within both enter- tainment and serious game contexts. However, effects are not always consistent, potentially due to game choices not always being perceived as meaningful by the players. To examine these perceptual variations, we used a mixed-method approach. A qualitative study first investigated meaningful game choices from the players' perspectives. Building on the themes developed in this first study, a quantitative study experimentally examined the effect of meaningful game choices on player experiences of appreciation, enjoyment, and narrative engagement. Results highlight the importance of moral, social, and consequential characteristics in creating meaningful game choices, which positively affected appreciation. Meaningfulness of game choices may therefore be crucial for narrative-rich games and interactive narratives to impact players.
... One of the most prominent distinctions of meaningful experiences found in this study was in the presence of morally difficult situations, such as in Star Wars: Knights of the Old Republic [G5] or in The Witcher 3 [G20]. Furthermore, Rusch [32] understands deep and meaningful games as games with content related to the human condition, defined as deep, insightful and purposeful experiences that are somehow also related to the players' personal life. This understanding finds support in an interview study by Mitgutsch [32], where participants associated a variety of game experiences such as mastering challenges, learning skills, and social relations with meaningfulness. ...
... Furthermore, Rusch [32] understands deep and meaningful games as games with content related to the human condition, defined as deep, insightful and purposeful experiences that are somehow also related to the players' personal life. This understanding finds support in an interview study by Mitgutsch [32], where participants associated a variety of game experiences such as mastering challenges, learning skills, and social relations with meaningfulness. According to their conclusion, an experience within the game may become particularly meaningful for players, if their current personal life circumstances fit the game content. ...
... These consisted of choices being defined by social and moral characteristics, and these choices having consequences. Within and beyond these themes, there was a wide variety of aspects that participants associated with meaningful choices, similar to previous findings [23,30] and the various descriptions of the human condition in the context of deep and meaningful games [32]. An alternative clustering of experiences is the differentiation between participants associating choices to the mechanics versus the narrative of the game. ...
Interactive narratives offer interesting opportunities for the study of the impact of media on behavior. A growing amount of research on games advocating social change, including those focusing on interactive narratives, has highlighted their potential for attitudinal and behavioral impact. In this study, we examine the relationship between interactivity and prosocial behavior, as well as potential underlying processes. A yoked study design with 634 participants compared an interactive with a noninteractive narrative. Structural equation modeling revealed no significant differences in prosocial behavior between the interactive and noninteractive condition. However, support for the importance of appreciation for and engagement with a narrative on subsequent prosocial behavior was observed. In summary, while results shed light on processes underlying the relationship between both noninteractive and interactive narratives and prosocial behavior, they also highlight interactivity as a multifaceted concept worth examining in further detail.
... The film is a means or medium to convey messages that have meaning (Rusch, D. C. 2017). Apart from being an entertainment and mass media format, films can also be a medium of learning as well as a process of 'socialization' where the values contained in the film can be conveyed and then absorbed by the audience which will lead to an internalization process and then become a benchmark for someone's attitude. ...
The purpose of this study was to observe family problems, failures, and selfishness in the film “Nanti Kita Cerita Tentang Hari Ini” by Marchella FP. This film is an adaptation of the novel of the same name and is released in theaters on January 9, 2020. This research was conducted using a qualitative method and contains several values, especially moral values. This study resulted in three findings. First, family is the most important supporter in life. Second, failure is something that cannot be separated from the journey of life that we go through, even failure can be a life lesson so that we can be better in the future. Third, selfishness is a trait that we should not have because this trait can cause negative impacts on ourselves and those around us. This film tells about a family who seems happy but has many secrets. The main character in this film is named " Awan ". After experiencing her first failure, Awan gets acquainted with a man named "Kale". A man who gives new life experiences, about breaking, getting up, falling, growing, missing, and all the fears of humans in general that leads her to know the secrets that occur in her family.
... Alguns benefícios potenciais declarados do role-playing incluem inteligência emocional, empatia e autoconsciência, como em Meriläinen (2012); raciocínio ético crítico, segundo Simkins (2010); praticar habilidades sociais como trabalho em equipe, liderança e retórica, segundo Bowman e Standiford (2015); aumento da motivação autodeterminada, como em Algayres (2018); exploração de identidade, segundo Bowman (2010); processamento emocional, conforme Clapper (2016); maior consciência política, de acordo com Kangas, Loponen e Särkijärvi (2016). Em um nível mais geral, pesquisadores de jogos como REU -Revista de Estudos Universitários | Sorocaba, SP | v. 48 | | e022013 | 2022 |4 e-ISSN 2177-5788 Doris C. Rusch e Andrew M. Phelps pesquisaram as maneiras pelas quais os jogos podem explorar a condição humana, ajudar com doenças mentais, ajudar os indivíduos a se expressarem pessoalmente, segundo Rusch (2017) e permitir que eles explorem o significado por meio de comportamento ritual e interações simbólicas com seu inconsciente, de acordo com Rusch e Phelps (2020). Tal investigação continua a se desenvolver, com alguns pesquisadores insistindo que estudos quantitativos são necessários para discernir quão mensuráveis e confiáveis tais efeitos são para implementação em larga escala, segundo Lieberoth e Trier-Knudsen (2015). ...
Analog role-playing games provide an avenue for players to explore a diversity of experiences and self-concepts by playing out new roles in a co-created fictional reality. This article provides a theoretical framework for this process, discussing the nature of consensus reality as a force that can suppress forms of identity expression that individuals find authentic. We discuss how live action role-playing (larp) and tabletop games can provide transformational containers, where individuals can explore new ways of being, relating, and enacting beliefs through the experience of increased agency. As an example, we discuss our larp, Euphoria, which was designed as a role-playing game environment reflecting queer performance spaces within which participants can express gender and sexual identities that feel more authentic.
... As will be discussed, scholars (e.g. Rusch (2017)) have analysed videogames as being meaningful in this sense by how they illuminate human experiences such as grief, joy, loss, sorrow, as well as create emotional experiences (Isbister, 2017). Others have conducted studies of video gameplay as eudaimonic experiences which provide insight and fulfil complex psychological needs (e.g. ...
This article explores how the process of designing videogames may be meaningful–that is, accomplish a larger existential fulfilment or purpose. We use a reflective methodology which triangulates the creative practice of making a videogame with reflections both during and post-practice against philosophical ideas of meaningfulness. Two ideas of meaningfulness emerged. The first is the generative capacity of subjectivity, where meaningfulness is anchored to our investment as creators, as well as in the intertwining of personal histories, experiences and memories between reflection and action. The second is the flourishing of the self in terms of inner growth and self-discovery out of journeying inherent in the game design process. The significance of our enquiry is three-fold: to more holistically understand videogames as being meaningful, to present a reflective methodology to facilitate such understanding, and to more broadly consider videogames as an instantiation of how media is itself existential.
... Interviewees refer to their projects as deep games, a categorization that is gaining popularity in videogame development. The term is used in this article to refer to a broad category of videogames that try to make sense of human experience, address the complexity of personal and social lives, aim to represent emotions, psychological traumas, abstract concepts and habits of thought, and make these playable (Freeplay Independent Games Festival 2019;Rusch 2017). The definition of a deep game is partial and limited, and this article is mostly concerned with the popularity and use of such a categorization, rather than its specificity. ...
Anxiety, depression, burnout and impostor syndrome are frequently reported among those who work in the videogame industry, and are exacerbated among independents and freelancers. The article draws on interviews with four London-based independent videogame developers who have engaged with the production of videogames about mental health. The article argues that conceiving, producing and releasing these games is understood by their makers as a strategy to establish relations with consumers, participants and other developers that could break the invisible barriers that prevent dialogs around mental wellness. More than being concerned with the outcome of their work or its commercial success, developers seek relations with other game workers and players through the process of making, researching, testing, and showing their videogames. The development of videogames about mental health is interpreted by the participants as facilitating exchanges of autobiographical experiences that are otherwise regulated by the norms of professional networking.
... Other authors, such as Doris Rusch, oppose this idea and argue that it is possible to design meaningful games by leveraging myth and ritual and experiential metaphors (Rusch 2018(Rusch , 2017. Experiential metaphors create "an analogy between gameplay and real-life experience evoked by what the moment-tomoment gameplay feels like, whether these analogies were intended by the designers or not" (Rusch 2017, 74). ...
... Other factors such as direct, consistent and stable exposure to the attitude object (in this case, a prosocial game) over time [32] and strength of the attitudinal change felt by the participant [33] may be required to promote improved behavioral intentions. Rusch [34] has also suggested that attitudinal change is more attainable than behavioral change, because although attitudinal change can provide powerful suggestion, any subsequent behavioral change that is not accompanied by a change of identity only increases the chances of reverting to previous norms or status quo. ...
... Comme nous l'avons vu, il était également important d'inciter le joueur « à faire comme si », à s'inscrire dans une projection fictionnelle, afin de lui permettre également de s'y reconnaitre, ce qui serait susceptible de faire accepter également plus facilement la thématique sensible de l'histoire. On peut par exemple noter que le recours à la métaphore dans les jeux est aujourd'hui un choix de design qui est recommandé par plusieurs chercheurs lorsqu'il s'agit de communiquer des idées abstraites et complexes sur des problématiques de vie tels que le deuil (Harrer, 2018) ou les difficultés psychologiques (Rusch, 2017 32 À ce titre, le jeu propose au joueur de faire l'exercice des possibles sur chacun des éléments du gameplay, ce qui permet selon nous de configurer avec plus de précisions les apports narratifs des interactions portant sur la structure de jeu, afin d'éviter précisément les « dissonances » entre les interprétations (et attentes) narratives faites à partir du système et celles issues de la narration instanciée. Plus précisément, une part importante de l'exercice des possibles se porte sur la possibilité de choisir différents types de valeurs pouvant être conférées à une même scène ou à une action du joueur (ce qui est lié au vouloir-faire). ...
... Before we move on, a quick note -for more (and excellent) reading on the philosophy behind designing games, we strongly recommend Making deep games: Designing games with meaning and purpose, by D.C. Rusch (2017). If you are interested in learning more about how we made the decisions outlined above, now may be a good time to pause and place a hold on the book that guided us. ...
This article reports on the design process and initial results of a project to create a board game, Argument Architect, that bridges the gap between librarians’ and students’ understanding of research and rhetoric. Some students perceive research as a step-by-step, linear process; in contrast, however, most librarians view it as an iterative, dynamic activity. In order to use Argument Architect as a springboard to a classroom conversation, we designed it to avoid the competitive/destructive nature of most board games in favor of a cooperative/constructive schema that fostered a flowing, playful, and reflective dialog between students and librarians about the “messy” nature of research. We also kept in mind our practical needs, as instruction librarians, for a game with flexibility, scalability, portability, and intuitive play that we could efficiently deploy multiple times in composition classes with different class lengths and assignments. We share details and images of the game in multiple stages of development, student and instructor reactions, and future plans.
Focusing on game mechanics as a narrative mode, rather than considering story and game as two separate but related experiences, allows narrative designers to take a more integrated approach to authoring interactive digital narratives. In this chapter, I explore two ways of doing this: by making use of game mechanics as an experiential metaphor and by using poetic gameplay. I provide a survey of work that has explored each of these approaches and then suggest ways of making use of both techniques together. I then argue that both the metaphoric possibilities of game mechanics for storytelling and careful undermining of players’ expectations for gameplay, provide powerful tools for authors to create compelling interactive digital narratives.KeywordsMechanic as metaphorPoetic gameplayInteractive digital narrativeAuthoring
The process of authoring an interactive digital narrative has been one of the main issues in our field of studies. Throughout the history of the field, considerable attention has been given to the development and usage of authoring tools, very often disregarding the authoring process as a creative activity. In this chapter, we transcend the discussion around authoring tools, to delve into several models that describe the authoring process of different kinds of interactive digital narrative artifacts from ideation to publishing, identifying common practices across them. Subsequently, we propose an iterative and inclusive authoring process that is open to any form of interactive digital narrative artifact. The process consists of four stages: ideation, pre-production, production, and post-production. Finally, we discuss our thoughts on the understanding and acknowledgment of the interactive digital narratives’ creator and their role.KeywordsAuthoring ProcessAuthorCreationInteractive Digital NarrativesAuthoring tools
This dissertation outlines a mythological framework for understanding how games produce meaning. The central question is: how does a mythological approach help to understand the way games make meaning? I first theorise mythology as it applies to games and play. This is expressed through a cycle showing how mythology is embedded into the production of games as well as how it impacts the playing and interpretation of games. This is then operationalised as a method for the analysis of games. I call my theorisation and analytical approach mytholudics. With this established, I apply mytholudics in ten analyses of individual games or game series, split into two lenses: heroism and monstrosity. Finally, I reflect on these analyses and on mytholudics as an approach.
Mythology here is understood primarily from two theoretical perspectives: Roland Barthes’ theory outlined in Mythologies (1972/2009) and Frog’s (2015, 2021a) understanding of mythology in cultural practice and discourse from a folklore studies perspective. The Barthesian approach establishes myth as a mode of expression rather than as an object, a mode that is therefore prevalent in all forms of media and meaning-making. This mode of expression has naturalisation as a key feature, by which the arbitrariness of second-order signification is masked. Otherwise arbitrary relations between things are made to seem obvious and natural. Frog’s mythic discourse approach understands mythology as “constituted of signs that are emotionally invested by people within a society as models for knowing the world” (2021a, p. 161). Frog outlines mythic discourse analysis as a method which focuses on the comparison of mythic discourse over time and across cultures.
Barthes and Frog broadly share an understanding of mythology as a particular way of communicating an understanding of the world through discourse. From this perspective, mythology is not limited to any genre, medium or cultural context. It can include phenomena as diverse as systems, rules, customs, behaviours, rituals, stories, characters, events, social roles, motifs, spatial configurations, and so on. What is important is how these elements are placed in relation to one another. This stands in contrast to certain understandings of myth which may position it as a narrative genre or a socioreligious function of ‘primitive’ societies. Games consist of the same diverse elements arranged in comparable configurations, and so this perspective highlights the otherwise hidden parallels between mythology and games. Therefore, a mythological approach can help us to understand the game as an organising structure in which different and diverse elements are put into relation with one another in order to produce meaning.
To develop this framework, I argue for analysing games as and through myth. Games as myth means viewing the game as an organising structure that works analogously to mythology. Elements are constructed and put into relation with one another within a gameworld, which the player then plays in and interprets. Games through myth means seeing games as embedded within cultural contexts. The cultural context of development affects the mythologies that can be seen to influence the construction of the game, while the cultural context of the player affects how they relate to and interact with the game and the mythologies channelled through it.
With the theorisation and methodology laid out, I exemplify the mytholudic approach by applying it to ten analyses of individual games or game series, split into two chapters of five analyses each.
The first considers the games through the lens of heroism, defined as the positive mythologisation of an individual. To help with comparison and understanding, I outline a number of hero-types, broad categories based on different rhetorics of heroism. These include the hero-victim, the hero-sceptic, the preordained hero and the unsung hero. The examples analysed are the Call of Duty series (2003–2022), The Elder Scrolls V: Skyrim (Bethesda Game Studios, 2011), the Assassin’s Creed series (2007–2022), Heaven’s Vault (Inkle, 2019) and Horizon Zero Dawn (Guerrilla Games, 2017).
The second considers the games through the lens of monstrosity, defined broadly as a form of negative mythologisation of an entity. Like with heroes, I outline a number of monster-types based on where their monstrosity is said to come from. These are the monster from within, the monster from without, the artificial monster and the monster of nature. The game examples are Doom (id Software, 1993a), the Pokémon series (Game Freak, 1996–2022), Hellblade: Senua’s Sacrifice (Ninja Theory, 2017), Ghost of Tsushima (Sucker Punch Productions, 2020a) and The Witcher series (CD Projekt Red, 2007–2016).
Finally, I synthesise these two lenses in a chapter reflecting on the hero- and monster-types, all ten analyses and the mytholudic approach in general. I argue that a mytholudic approach helps us to understand how games make meaning because it focuses on the naturalised and hidden premises that go into the construction of games as organising structures. By analysing the underpinnings of those organising structures, we can outline the model for understanding the world that is virtually instantiated and how they are influenced by, influence and relate to models for understanding the world—mythologies—in the real world.
Production experiences are important to the educational progression of game design and development students. Coursework that leads to a quality deliverable is highly desirable by students, faculty, and industry for both pedagogical and portfolio purposes, including a focus on multi-disciplinary teamwork, and professional practice at scale. Despite the impetus to provide meaningful production experiences, successful execution within an academic context can be difficult. The situation is further exasperated when the result of the production experience is more than just an entertainment product – i.e. a game that embodies and facilitates a learning outcome. This chapter presents the successes, challenges, and lessons learned from two cases in which the authors created a production-oriented classroom experience utilizing a game studio model. The authors also address the balance between entertainment goals and learning outcomes in educational game production, including how such balance influences faculty and learner comprehension of design and process techniques.
In this chapter we argue that the practices and processes involved in the design of playful environments, such as digital games, create deep learning opportunities that cultivate design-based thinking and doing through the concept of “ludic epistemology”. Ludic epistemology, we argue, is a theory of knowing through play. We begin the chapter with a reflection on our own game design processes developed when creating two pandemic-focused games, both of which anticipated some of the political and dis-/mis-information circulating around today’s global COVID-19 crises. We next turn to some examples of learning through designing games, illustrating how digital game design can be enacted in post-secondary education settings, and how it is used as a means of supporting the acquisition of digital game competencies and skills through design challenges that take our students outside their everyday educational experiences. Through these game design experiences, we show how digital game design processes can support educators to create and pedagogically support learning experiences rooted in play and in the construction of playful environments.KeywordsGame designLudic epistemologyPlayEducationPandemicDesign-based thinkingLearning
Developing games is time-consuming and costly. Overly clinical therapy games run the risk of being boring, which defeats the purpose of using games to motivate healing in the first place [10, 23]. In this work, we adapt and repurpose an existing immersive virtual reality (iVR) game, Spellcasters, originally designed purely for entertainment for use as a stroke rehabilitation game—which is particularly relevant in the wake of COVID-19, where telehealth solutions are increasingly needed [4]. In preparation for participatory design sessions with stroke survivors, we collaborate with 14 medical professionals to ensure Spellcasters is safe and therapeutically valid for clinical adoption. We present our novel VR sandbox implementation that allows medical professionals to customize appropriate gestures and interactions for each patient's unique needs. Additionally, we share a co-designed companion app prototype based on clinicians' preferred data reporting mechanisms for telehealth. We discuss insights about adapting and repurposing entertainment games as serious games for health, features that clinicians value, and the potential broader impacts of applications like Spellcasters for stroke management.
Following the rise of migrant inflows in Europe since 2015, more than 210,000 unaccompanied children have arrived in Europe. This article argues that serious games can in principle fill the gap of human rights education that these children face and ultimately help them develop, but important issues and challenges need to be considered. The article follows the design and development of “The Rights Hero”, a prototype serious game for migrant children to help them learn and practise their rights, encouraging them to take transformative action that will lead them to integration. The game focuses on the “Rights Hero”, whose gender and race are unidentifiable and who is trying to build up two superpowers, “Resilience” and “Empowerment”, through responding appropriately to various challenges. These challenges are all too familiar to migrant children. Designed by an interdisciplinary team of human rights and game design experts, and in collaboration with the ngo Network for Children’s Rights, work on the prototype raised important discussions regarding the use of games for human rights education, the need for children to know their rights, and their understanding of integration. The article reflects on the extent to which serious games can be developed as a useful informal educational tool for the human rights education of displaced children.
Game design processes, just like games themselves, are infused with unconscious values which need to be made transparent to ensure a successful outcome. Building on previous studies in edu- cational and queer game design, this paper critically reflects on the values of our game design process with Allied Forces, a game which aims to teach trans allyship to cisgender players. Using a personal account routed in reflective design and standpoint methodology, we describe our involvement as queer subject matter experts as- sisting in the development of a game focusing on cis education. Our discussion reflects on two dimensions of critical game design which we believe are suited to generate a better understanding of unconscious interpersonal dynamics in politically engaged, social justice-oriented game design. These are (1) external assumptions related to our expertise as queer designers, and (2) the internal labor and hidden costs of working as marginalized creators with and for cis players. Our observations regarding these emergent themes allow us to interrogate and make visible the hidden power dimensions which tend to drive social change-oriented educational game design more generally. Our contribution thus seeks to help marginalized creators identify and calculate the costs and benefits of participating in politically engaged game design, and to develop their own feasible strategies and voices as trans and nonbinary creators in collaborative game design spaces.
Videogames receive increasing acclaim as a medium capable of artistic expression, emotional resonance, and even transformative potential. Yet while discussions concerning the status of games as art have a long history in games research, little is known about the player experience (PX) of games as art, their emotional characteristics, and what impact they may have on players. Drawing from Empirical Aesthetics, we surveyed 174 people about whether they had an art experience with videogames and what emotions they experienced. Our findings showcase the prominence of epistemic emotions for videogame art experiences, beyond the negative and mixed emotional responses previously examined, as well as the range of personal impacts such experiences may have. These findings are consistent with art experience phenomena characteristic of other art forms. Moreover, we discuss how our study relates to prior research on emotions and reflection in PX, the importance of games' representational qualities in art experiences, and identify lines of further inquiry. All data, study materials, and analyses are available at https://osf.io/ryvt6/.
The relationship between care and video games is fraught. While the medium has the potential to allow players to meaningfully express and receive care, the cultural rhetorics that connect video games to care are often problematic. Even among game designers and scholars committed to social justice, some view care with hope and others with concern. Here, we identify and unpack these tensions, which we refer to as the ambivalent cultural politics of care, and illustrate them through three case studies. First, we discuss “tend-and-befriend games,” coined by Brie Code, which we read through feminist theorists Sarah Sharma and Sara Ahmed. Second, we address “empathy games” and the worrisome implication that games by marginalized people must make privileged players care. Lastly, we turn to issues of care in video game development. We discuss Telltale Games’ The Walking Dead series (2012–18) and strikingly care-less fan responses to recent employee layoffs.
Serious games have become a popular way of teaching players certain values. The methods they use, however, vary in game elements that are used and their degree of meaningful decision-making. Starting from basic definitions, the contribution examines the effectiveness of digital games in conveying values of different kinds. The role of game design, various approaches towards the inclusion of social values, and research on the potential of digital games for teaching about values are presented. Finally, an example is discussed to illustrate a rather novel approach of employing youtube-like commentary within a game to make gamers feel more empathetic towards refugees.
This article analyzes the contemporary discourse that surrounds video games. Specifically, it confronts the rhetoric of “empathy,” which has become a buzzword in North American industry, academic, education, and media conversations about video games and their supposed power to place players into others’ shoes—especially those games created by queer or otherwise marginalized people. Scholars like Wendy Chun and Teddy Pozo and game designers like Robert Yang have spoken out against this rhetoric. Building from their writing, as well as critiques from the creators of queer independent games commonly mislabeled as “empathy games,” this article delineates the discriminatory implications of the term. Rather than simply dismissing “empathy,” however, this article unpacks it, turning to textual artifacts like news stories and industry presentations, as well as the 2016 video game Unravel (ColdWood Interactive), to deconstruct the term’s many meanings and to identity alternative (queerer) models of affective engagement with video games.
Production experiences are important to the educational progression of game design and development students. Coursework that leads to a quality deliverable is highly desirable by students, faculty, and industry for both pedagogical and portfolio purposes, including a focus on multi-disciplinary teamwork, and professional practice at scale. Despite the impetus to provide meaningful production experiences, successful execution within an academic context can be difficult. The situation is further exasperated when the result of the production experience is more than just an entertainment product – i.e. a game that embodies and facilitates a learning outcome. This chapter presents the successes, challenges, and lessons learned from two cases in which the authors created a production-oriented classroom experience utilizing a game studio model. The authors also address the balance between entertainment goals and learning outcomes in educational game production, including how such balance influences faculty and learner comprehension of design and process techniques.
This article identifies the limitations of queerness in Gone Home (The Fullbright Company, 2013) by exploring the ways in which players’ movements through space in video games can be considered queer or “straight.” Drawing from Sara Ahmed, I demonstrate how the potential for queer in-game movement in Gone Home has been straightened both by the game itself and by elements of its player reception. Gone Home is widely seen as exemplifying a current shift toward increased LGBTQ (lesbian, gay, bisexual, transgender, and queer) representation in video games. The game is also associated with queerness through its status as a “walking simulator,” a genre with ties to the queer flaneur. Indeed, Gone Home’s gameplay seems to encourage queer wandering, moving not straight but instead meanderingly. Yet, a closer analysis of its interactive elements reveals that Gone Home is far less queer than it may initially appear. The player’s path is rigid and linear, much like in a “rail shooter.” The potential for queer movement in Gone Home has been furthered straightened by speedrunners who play the game along the straightest possible paths. This article argues for player movement as an important site of meaning in video games and calls for an increased engagement with the tensions that surround queerness and video games.
This article addresses two questions about artworks. First, why do we emotionally respond to characters and stories that we believe are fictional? Second, why are some media better than others at generating specific types of emotions? I answer these questions using psychological research
that suggests our minds are not unified, but are comprised of numerous subsystems that respond differently to various aspects of artworks. I then propose a framework to help us understand how films, videogames, and literature interact with our minds in different ways, which explains why they
tend to excel at generating different types of emotions.
Participatory design (PD) has become widely popular within the interaction design community, but to date has had little influence within serious game design processes. We argue that serious game design complicates the notion of involving users as co-designers, as serious game designers must be fluent with both domain content and game design. In this paper, we share our experiences of using PD during the design process of a serious game. We present observations stemming from attempts to apply the existing PD methods of brainstorming and storyboarding. Reflecting on the shortcomings of these methods, we go on to propose a novel PD method that leverages two fundamental qualities of serious games–domain expertise and procedurality–to scaffold players’ existing knowledge and make co-design of serious games an attainable goal.
Although the hearing voices movement (HVM) has yet to take root in the US to the extent it has in the UK (and parts of Australia and Europe), recent publications and events, including a keynote presentation by UK hearing voices trainer Ron Coleman at the 2012 Annual NAMI convention and a TED 2013 talk in Los Angeles by British voice hearer and psychologist Eleanor Longden, suggest that the tide is starting to turn (Arenella, 2012; Grantham, 2012; Thomas, 2012). At its core, the HVM emphasizes a few basic, but important, points: that antipsychotic pharmacotherapy and various forms of psychotherapy that aim to suppress psychotic experiences are often-for too many people-ineffective or insufficient; that voices and other extreme experiences and beliefs carry important messages that need to be explored rather than silenced, and that voices themselves are often less of the problem than the difficulties individuals have in coping and negotiating with them (Corstens, Escher, & Romme, 2008; Longden, Corstens, Escher, & Romme, 2012; Place, Foxcroft, & Shaw, 2011).
Designers have been moving increasingly closer to the future users of what they design and the next new thing in the changing landscape of design research has become co-designing with your users. But co-designing is actually not new at all, having taken distinctly different paths in the US and in Europe. The evolution in design research from a user-centred approach to co-designing is changing the roles of the designer, the researcher and the person formerly known as the ‘user’. The implications of this shift for the education of designers and researchers are enormous. The evolution in design research from a user-centred approach to co-designing is changing the landscape of design practice as well, creating new domains of collective creativity. It is hoped that this evolution will support a transformation toward more sustainable ways of living in the future.
In this chapter the author supplements some of the findings of studies aimed at measuring possible negative effects of video games with an analysis of a series of gratifications derived from the interactivity of the video games in comparison with film (as a term covering film, TV, and video fiction).
This chapter concentrates on games that provide
narrative simulations, that is, fictitious actions. The narrative games can be subdivided into 2 groups. One subgroup within narrative video games could be called adventure-mystery games. These games tend increasingly to emulate the more complex world of films in respect to themes, character complexity, and so on. The other subgroup consists of action games, centered on interactive realism, often shown in a 3-dimensional world and by point of view. The author uses these games as material for the analysis, because, according to the author, they are the best matches to an interactive simulation of an "online" reality, and because these games have caused the most public concern, due to their portrayal of violence. The prototype for the author's analysis is the video game
Quake. (PsycINFO Database Record (c) 2012 APA, all rights reserved)
This paper presents insights about design practices that can lead to effective and fun games for learning, gleaned from interviews with experienced game developers. We based our approach on Schön's notion of practitioners evolving shared 'appreciation systems' for discussing and critiquing work, and aimed to gather and share some of game designers' 'appreciation system' for games and learning. The resulting insights provide valuable pointers to other designers in the CHI community crafting game-like experiences.
In this article we describe the CALSIUM framework to elicit children's contributions and perspectives in the design of an online game for enhancing social skills of children. This study advocates a participatory design approach that emphasizes the active involvement of users at the early part of the design process. The children play-tested the game prototype and participated in focus group discussions. Using storyboarding, a low-fidelity prototyping technique, they developed design concepts and ideas which were translated into design directions for the development of the game. The data collected were used to glean insights into the likes and dislikes of children and to analyze the opportunities and challenges in engaging children as users, testers, informants, and design partners. Besides stretching children's creativity and critical thinking on the game design, the children's cognitive understanding of social knowledge was enhanced, evident from the design artifacts produced.
Despite their age and prevalence, abstract games are often overlooked in contemporary discussions of games and meaning. In this paper I offer experiential metaphors as a critical method applicable to all games, particularly abstract games. To do this I introduce structural metaphors, image schemata and experiential gestalts to explain how experiential metaphors function. I then compare this method with the simulation gap (Bogost 2006, 2007) and show how the two relate. I close with two examples of abstract games that function as experiential metaphors.
The United Kingdom leads the way in service user–led research, 1 in large part because many funding agencies require it. 2 Theory, research, and the so-called "evidence-based practice" in the United States lag far behind those by our colleagues in the United Kingdom. In the United States, the traditional funding structures of the National Institutes of Health and the like are generally not inclusive of patients or health service users as leaders and collaborators. Although there have been some requests for proposals for community-based participatory research projects, they are few and far between and they do not always require true leadership of patients or service users. Although funding for community-based participatory studies is limited, some US-based researchers 3,4 approach knowledge development using these methods, which have been especially useful for phenomena of concerns of traditionally underrepresented or vulnerable populations. My own community-based participatory research on the mental health of vulnerable populations, more specifically, my recent research through a research group named "Voices and Visions," has informed these ideas for the future of nursing knowledge. The purpose of this article is to propose a new approach to nursing knowledge development, using my experiences on a user-led "Voices and Visions" research team. Before working with this interdisciplinary and international research team, I conducted research in the community. 5 I conducted community-based participatory research with persons who served as representatives of the community, 6 and I conducted community-based participatory research studies that had community advisory boards. 7 These studies formed the methodological scaffolding that has led me to the service user–led The author has disclosed that she has no significant relationships with, or financial interest in, any com-mercial companies pertaining to this article. DOI: 10.1097/ANS.0000000000000012 Voices and Visions research team. Service user–led research is more than simply conducting research in the community and is more than community-based participatory research. It involves more than having 1 person with relatively little power consult with a research team. It is more than having a community advisory board whom the researchers share their ideas, seeking approval or disapproval. A service user–led team, for example, the Voices and Visions research team, is true community-based participatory research—it is a team that is led by consumers with lived experiences of the phenomenon of concern; in this case, persons with psychosis who are consumers/users/survivors of mental health services. Persons with lived experience of psychosis have central roles—as leaders and coleaders—as researchers and theorists. The researchers, coresearchers/community members, and students all share an interest in unusual experiences, which include voice hearing and other psychotic-like experiences. The Voices and Visions research team is led by a mental health service user/consumer/survivor with lived experience of psychosis (voice hearing with schizophrenia) and a PhD student in community psychology, coled by me (an academic researcher, educator, and psychiatric mental health nurse), and includes 2 undergraduate students in community psychology (one with lived experience of psychosis and the other with lived experience of a learning disability). Our team also consists of several members of the hearing voices community—persons who are users/consumers/survivors of mental health services, who are also mental health activists, and who serve as research collaborators and participants in all aspects of the research process. The team is currently conducting several studies and projects: (1) a phenomenological study of psychosis; (2) a qualitative investigation of first-episode psychosis in young adults; (3) an exploration of service user's positions on psychiatric diagnosis, etiology, and treatment (N. Jones, T. Kelly, M. Shattell, unpublished data, 2013); and (4) an autoethnographic project on the dynamics of service user involvement within a research team (N. Jones, M. Shattell, C. Sonido, unpublished data). The work of the team is critical, 8,9 participatory (N. Jones, T. Kelly, M. Shattell, unpublished data), ecological, 10 and 3
Anyone can master the fundamentals of game design - no technological expertise is necessary. The Art of Game Design: A Book of Lenses shows that the same basic principles of psychology that work for board games, card games and athletic games also are the keys to making top-quality videogames. Good game design happens when you view your game from many different perspectives, or lenses. While touring through the unusual territory that is game design, this book gives the reader one hundred of these lenses - one hundred sets of insightful questions to ask yourself that will help make your game better. These lenses are gathered from fields as diverse as psychology, architecture, music, visual design, film, software engineering, theme park design, mathematics, writing, puzzle design, and anthropology. Anyone who reads this book will be inspired to become a better game designer - and will understand how to do it.
My main goal is simply to reinterpret schizophrenia and certain closely related forms of pathology (the so-called schizophrenia spectrum of illnesses, which also includes schizoid and schizotypal, and some forms of schizophreniform and schizoaffective, disorders); to show, using the affinities with modernism, that much of what has been passed off as primitive or deteriorated is far more complex and interesting—and self-aware—than is usually acknowledged.
In this book I will be concerned almost exclusively with phenomenological issues, the forms of consciousness and the texture of the lived world characteristics of many schizophrenics. (PsycINFO Database Record (c) 2012 APA, all rights reserved)
We live in a society where concepts of self, community, and "what is right and wrong" are constantly changing. This makes it particularly challenging for young people to construct a sense of self and to identify their most cherished values. Therefore, there is an amounting pressure in schools and society to create learning environments to explore these issues. Two research questions are at the heart of the work presented in this article: What kind of learning environment will afford opportunities for young people to naturally engage in reflection and discussion about issues of identity, in particular personal and moral values? and How can technologies have an impact on character and moral education? I propose identity construction environments (ICEs) as technological tools purposefully designed with the goal of supporting young people in the exploration of these issues. I first describe the design principles that distinguish these environments from other learning technologies. I also specify the learning experiences they do afford - namely the understanding of identity as a complex construction composed by different elements, including personal and moral values. Then I present the conceptual foundations and implementation of the Zora ICE. Zora is a three dimensional multi-user virtual environment that engages learners in the design of a graphical virtual city and its social organization. I describe a summer workshop conducted with a multicultural group of teenagers using Zora. They designed a virtual city populated with objects and characters representing aspects of themselves and their values. In this participatory microcommunity those values were put to test. Finally I conclude with reflections and future work that points toward a new research agenda in the area of the learning sciences.
This paper describes how an e-learning product for teenagers was developed using design sessions based on a participatory design approach. The product, in the form of a computer game, is the outcome of a project that aims to improve teenagers' emotional intelligence. The specific user group is from institutes for pupils that had previously been excluded from mainstream education. The novelty in the approach is that participants were involved in designing a tool that was intended to modify their emotional behaviour - for this discussion, it is the participation in the process that is critical, less so the end product. The project and the design approaches are described and the participatory activity is reflected on. The benefits resulting from the design sessions were bi-directional: the engagement with the prospective users was valuable both for the actual contribution to the product design and as an experience for the participants.
This paper attempts a definition of games. I describe the classic game model, a list of six features that are nec- essary and sufficient for something to be a game. The def- inition shows games to be transmedial: There is no sin- gle game medium, but rather a number of game media, each with their own strengths. The computer is simply the lat- est game medium to emerge. While computer games1 are therefore part of the broader area of games, they have in many cases evolved beyond the classic game model.
This paper reports on how prospective users may be involved in the design of entertaining educational computer games. The paper illustrates an approach, which combines traditional Participatory Design methods in an applicable way for this type of design. Results illuminate the users’ important contribution during game development, especially when intended for a specific target group. Unless prospective members of the target group are consulted it is difficult to foresee opinions of game content, aesthetics and the overall game experience of the users - aspects very much included or at least related to the theoretical concept of intrinsic motivation. Whereas pedagogical experts can contribute with learning content, the users are the ones who can state what is actually fun or not. Users’ participation during the design process enables development of games that are directed to the learners and their expectations. The researchers collaborated with a multimedia design team in development of an educational web-based computer game, developed for the Swedish Broadcasting Corporation.
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