History of Digital Games: Developments in Art, Design and Interaction
... A criação e o uso de jogos visando à interação social e ao entretenimento remontam à Antiguidade (15). Os primeiros jogos digitais, por sua vez, surgiram com os primeiros sistemas de computação, também em busca de oferecer entretenimento e diversão (16,36). Os jogos digitais acompanharam a evolução tecnológica e incorporaram em seus projetos inovações de hardware, software e também de metodologias, técnicas e ferramentas de design e desenvolvimento, com o objetivo de oferecer uma boa experiência aos jogadores (18,19,36). ...
... Os primeiros jogos digitais, por sua vez, surgiram com os primeiros sistemas de computação, também em busca de oferecer entretenimento e diversão (16,36). Os jogos digitais acompanharam a evolução tecnológica e incorporaram em seus projetos inovações de hardware, software e também de metodologias, técnicas e ferramentas de design e desenvolvimento, com o objetivo de oferecer uma boa experiência aos jogadores (18,19,36). É intuitivo dizer que todo jogo deve propiciar entretenimento aos seus jogadores, e que isso é um requisito essencial para a criação e manutenção do círculo mágico e da atitude lúdica exercida pelos jogadores (28). ...
... Definição semelhante foi proposta por Zyda (37): "[...] um desafio mental, jogado com um computador, de acordo com regras específicas, que usam o entretenimento para promover treinamento governamental ou corporativo, educação, saúde, políticas públicas e objetivos de comunicação estratégica". Uma discussão mais aprofundada sobre as origens e conceituação dos jogos sérios pode ser encontrada na literatura (1,11,33,35,36). ...
... The historical development of digital games began with mechanical and electromechanical games in the 1870s and continues today with independent games (Williams, 2017). In the 1950s, the rst computerbased games emerged with Alexander Douglas's development of Tic-Tac-Toe at Cambridge and William Higinbotham's tennis simulation at Brookhaven National Laboratory (Kirriemuir, 2006). ...
... In the 1950s, the rst computerbased games emerged with Alexander Douglas's development of Tic-Tac-Toe at Cambridge and William Higinbotham's tennis simulation at Brookhaven National Laboratory (Kirriemuir, 2006). In the 1970s, games reached a wider audience through Computer Space and Pong and further diversi ed in the 1980s with iconic games like Pac-Man and Donkey Kong (Williams, 2017;Prensky, 2001a). In the 2000s, the rise of the internet popularized online gaming platforms, with games like World of Warcraft drawing widespread attention (de Freitas & Maharg, 2011). ...
This study examines how integrating Minecraft into STEM education impacts seventh-grade students' STEM motivation and spatial abilities. The research was conducted with 46 students during the 2021–2022 academic year and employed an explanatory sequential mixed-methods design. Over an intervention period of approximately two months, weekly STEM activities were organized. Quantitative data were collected using a STEM motivation scale and a spatial ability test administered to experimental and control groups. Qualitative data were obtained through semi-structured interviews with students in the experimental group. The results indicate Minecraft-based STEM activities significantly enhanced students' STEM motivation and spatial abilities. These findings suggest that actively integrating digital games into STEM education can effectively increase students' interest in STEM fields and improve their spatial skills.
... Most game researchers are focusing mainly on the 'global' sites of development and consumption of the digital game industry (Kerr & Cawley, 2012), where the large-scale digital game companies and international production networks are mostly concentrated, such as North America, Japan, Western and Nordic Europe, and, quite recently, China. It comes then as no surprise that literature on the history of digital games and the game industry such as, for example, Donovan's (2010) or Williams' (2017) monographs, tends to construct a generic, universal narrative -nevertheless, much instructive -around the Anglo-American and Japanese contexts and popular, in the Western press, digital games or established franchises. But as Jørgensen et al. (2015) have argued: "This bias is somewhat understandable, but one can argue that the major industries supported by large home markets provide a very particular and somewhat limited perspective on the origins of the global game industry" (p. ...
... as well as works on gaming history (Donovan, 2010;Williams, 2017), have ultimately overlooked this national case study. Of course, this can also be a symptom of the relatively small number of active game scholars in Greece, in conjunction with the equally small size of the local digital game development community and the wider indifference local developers experience from both national institutions and the public. ...
Literature on the digital games industry and gaming history has for the most part focused on the global production centres of North America, Western Europe, Japan, and, lately, China. However, in recent years, a call to research the diverse and less dominant national contexts within which digital games are produced has been addressed. In this article, we shed light on early digital game development in Greece, covering the years between 1982 and 2002. This particular region has been highly neglected by both domestic and international researchers. We approach Greek digital game development from both historical and cultural perspectives, through an investigation of how local game developers interact with a wide range of contextual facets in a complex interrelation between global and national conditions. This article argues that, in order to highlight the characteristics of early national game production cultures and digital games design, one must examine them as well under the broader cultural production ecosystem, along with the economic and institutional contexts and transformations within which digital game production takes shape.
... Sport-themed videogames can be traced back to sport-themed arcade games which were first introduced to the public in the late eighteenth century. The coin operated devices were able to bring the illusion of an original game to life even though it was hard to recreate the interactions in full (Williams, 2017). England was a center for manufacturing such devices, so that British sport was mainly themed in the early years of sport-themed arcade games, e.g., Yacht Racer (1900) or The Cricket Match (1903. ...
... In 1925, a game named Full Team Football presented an 11:11 game with blue and red players grouped and located at each corresponding position, and the game was able to feature frantic ball movement. According to Williams (2017), players' manipulation to score a goal in the arcade device coincides with the concept of controlling an avatar in a football videogame. Indeed, the concept of the avatar seems to have been generated a century ago with this coin operated sport game device. ...
The purpose of this study is to explore football videogame playing experiences using a videogame esthetic that draws upon the MDA (mechanics–dynamics–esthetics) framework. In accordance with MDA, videogame esthetics comprises eight aspects—sensation, fantasy, narrative, challenge, fellowship, discovery, expression, and submission—derived from game-playing experiences. As a means of collecting and interpreting data, semi-structured interviews and qualitative thematic analysis were used. The study involved 30 interviewees who are both football players and football video game players. In view of the findings of the study, the concept of football videogame as sensual pleasure encompasses a number of attributes—game as make-believe, game as drama, game as a social framework, and game as self-discovery—because these attributes are valued in their relation to pleasure. Moreover, football videogames function as an uncharted medium in the field of football simulation due to their transcendence of time and space. For the esthetics of football videogames, the study proposes two major implications. It is essential to note that the esthetics of football videogames emphasize discovery and sensation, and playing football videogames is another way to consume football.
... The development of zones allowed for game worlds to gain more space and thus more complexity. The game that seems to have united the concepts of zones for dungeons and towns is first game in the Ultima series (see Figure 6) [100,117]. ...
... These multiple layers of mapped spaces developed over time and much of that development is fuzzy at best. The game that seems to have united the concepts of "other" screens (i.e., gameworld interfaces) for maps, dungeons, and towns is first game in the Ultima series [100,117]. ...
Game map interfaces provide an alternative perspective on the worlds players inhabit. Compared to navigation applications popular in day-today life, game maps have different affordances to match players' situated goals. To contextualize and understand these differences and how they developed, we present a historical chronicle of game map interfaces. Starting from how games came to involve maps, we trace how maps are first separate from the game, becoming more and more integrated into play until converging in smartphone-style interfaces. We synthesize several game history texts with critical engagement with 123 key games to develop this map-focused chronicle, from which we highlight trends and opportunities for future map designs. Our work contributes a record of trends in game map interfaces that can serve as a source of reference and inspiration to game designers, digital physical-world map designers, and game scholars.
... The most germane of these were the love testers, which were found in midways and boardwalks of the early twentieth century. They were coinoperated electro-mechanical devices that are a small part of the mechanical history of digital games (Williams 2017). These love testers purported to combine the marvels of science with the power of the machine age to provide a novelty report of someone's love. ...
... Game histories vary in their emphasis on where the video game industry came from. Some see a trajectory from pinball, electromechanical games, and the penny arcade (Williams 2017). In this way, the intersection of love and affection is actually a kind of bifurcation. ...
Love and Electronic Affection: A Design Primer brings together thought leadership in romance and affection games to explain the past, present, and possible future of affection play in games. The authors apply a combination of game analysis and design experience in affection play for both digital and analog games. The research and recommendations are intersectional in nature, considering how love and affection in games is a product of both player and designer age, race, class, gender, and more. The book combines game studies with game design to offer a foundation for incorporating affection into playable experiences.
The text is organized into two sections. The first section covers the patterns and practice of love and affection in games, explaining the patterns and practice. The second section offers case studies from which designers can learn through example. Love and Electronic Affection: A Design Primer is a resource for exploring how digital relationships are offered and how to convey emotion and depth in a variety of virtual worlds.
This book provides:
• A catalog of existing digital and analog games for which love and affection are a primary or secondary focus.
• A catalog of the uses of affection in games, to add depth and investment in both human-computer and player-to-player engagement.
• Perspective on affection game analyses and design, using case studies that consider the relationship of culture and affection as portrayed in games from large scale studios to single author independent games.
• Analysis and design recommendations for incorporating affection in games beyond romance, toward parental love, affection between friends, and other relationships.
• Analysis of the moral and philosophical considerations for historical and planned development of love and affection in human–computer interaction.
• An intersectionality informed set of scholarly perspectives from the Americas, Eurasia, and Oceania.
... To eliminate tiles, groups of 3 or more identical tiles must be found and aligned by exchanging the position of 2 adjacent tiles (match). The matched tiles are then removed, and new tiles fall in their place [48] (see Figure 1, TMM3 puzzle game, and Figure 2). The difficulty in TMM3 games is increased when the number of potential matches on the puzzle board decreases, making it harder to find tiles to eliminate [6]. ...
... Invalid moves are not allowed, and the swapped tiles will bounce back to their initial place. After valid moves, tiles above the matched tiles fall into the now empty cells, and the resulting empty cells at the top of the board are filled with new tiles [48,52]. Therefore, to finish a difficulty-level trial, participants must make 4 consecutive matches (see Figure 3, Game). ...
Background:
Visual search declines with aging, dementia, and brain injury and is linked to limitations in everyday activities. Recent studies suggest that visual search can be improved with practice using computerized visual search tasks and puzzle video games. For practical use, it is important that visual search ability can be assessed and practiced in a controlled and adaptive way. However, commercial puzzle video games make it hard to control task difficulty, and there are little means to collect performance data.
Objective:
The aim of this study was to develop and initially validate the search and match task (SMT) that combines an enjoyable tile-matching match-3 puzzle video game with features of the visual search paradigm (taskified game). The SMT was designed as a single-target visual search task that allows control over task difficulty variables and collection of performance data.
Methods:
The SMT is played on a grid-based (width × height) puzzle board, filled with different types of colored polygons. A wide range of difficulty levels was generated by combinations of 3 task variables over a range from 4 to 8 including height and width of the puzzle board (set size) and the numbers of tile types (distractor heterogeneity). For each difficulty level, large numbers of playable trials were pregenerated using Python. Each trial consists of 4 consecutive puzzle boards, where the goal of the task is to find a target tile configuration (search) on the puzzle board and swap 2 adjacent tiles to create a line of 3 identical tiles (match). For each puzzle board, there is exactly 1 possible match (single target search). In a user study with 28 young adults (aged 18 to 31 years), 13 older (aged 64 to 79 years) and 11 oldest (aged 86 to 98 years) adults played the long (young and older adults) or short version (oldest adults) of the difficulty levels of the SMT. Participants rated their perception and the usability of the task and completed neuropsychological tests that measure cognitive domains engaged by the puzzle game.
Results:
Results from the user study indicate that the target search time is associated with set size, distractor heterogeneity, and age. Results further indicate that search performance is associated with general cognitive ability, selective and divided attention, visual search, and visuospatial and pattern recognition ability.
Conclusions:
Overall, this study shows that an everyday puzzle game-based task can be experimentally controlled, is enjoyable and user-friendly, and permits data collection to assess visual search and cognitive abilities. Further research is needed to evaluate the potential of the SMT game to assess and practice visual search ability in an enjoyable and adaptive way. A PsychoPy version of the SMT is freely available for researchers.
... Fakat sadece on yıl sonra, ev bilgisayarları ve konsollardaki ciddi gelişmelerle birlikte oyunlar yaygınlaşmaya başlamıştır. Milenyumdan bu yana, dijital oyun endüstrisine cep telefonları, bilgisayarlar, tabletler ve diğer çeşitli mobil cihazlarda oynanan oyunlar hâkim olmuştur (Williams, 2017). ...
Oyun, çocuklar için en iyi öğrenme aracıdır. Çocuklar sadece dil öğrenmek
için okula gitmezler. Onlar için temel motivasyon kaynağı eğlenerek öğrenmektir.
Bu kitap çocuklara yabancı dil öğretiminin temellerini, teorik altyapısını, çocuklarla
kullanılabilecek birçok pratik oyun ve etkinlikleri ve bu oyun ve etkinliklerle
ile ilgili öğretmen adaylarının görüşlerini içerir.
Türkiye’de yabancı dil öğrenenlerin büyük çoğunluğunun İngilizce öğrendikleri
düşünüldüğünde kitap daha çok İngilizce öğretilirken dikkat edilen yöntem,
teknik ve aktiviteleri içerir. Ana dil gelişiminde de faydalı olabilecek tüm bu
teorik bilgiler, oyunlar ve etkinlikler; okul öncesi, ilkokul ve ortaokul seviyelerinde
yabancı dil öğretimi için kullanılabilir. Kitap akademisyenler ve öğretmen
adayları için de birçok teorik bilgi ve pratik uygulamaları bünyesinde barındırdığından
önemli bir kaynak niteliğindedir.
... However, recent advancements in technology have introduced new tools that could potentially enhance cognitive development in sports. One such tool is football video games, which have evolved from mere entertainment into sophisticated simulations that mimic many aspects of real football play (Williams, 2017;Stein et al., 2013). In football, decision-making is a critical cognitive skill that influences a player's effectiveness on the field. ...
Background and Aim: Football requires rapid decision-making and quick reaction times, crucial cognitive abilities that traditionally develop through physical training. This study explores whether football video games, which simulate real game scenarios, can enhance these cognitive abilities among college-level male football players. Materials and Methods: The study involved 51 football players from SRM Group of Institutions, divided into three groups: regular video game players (Group A), occasional players (Group B), and non-players (Group C). A mixed-methods approach was used, combining quantitative cognitive abilities tests (decision-making, reaction time, situational awareness). The video game used in the study was eFootball 2024 with participants engaging in gameplay over a period of 6 weeks. Tests were conducted before and after a set period of video game engagement. Data were analyzed using mixed-design ANOVA and Pearson’s correlation. Results: Significant improvements were observed in Group A across all cognitive abilities tested. Decision-making showed notable group and time effects (F (2, 48) = 5.76, p = 0.005, η² = 0.17; F (1, 48) = 12.54, p < 0.001, η² = 0.25), with interaction effects indicating substantial enhancements over time (F (2, 48) = 3.45, p = 0.035, η² = 0.08). Reaction time and situational awareness followed similar patterns, with significant group, time, and interaction effects. Correlation analysis revealed strong interrelations between the cognitive abilities, indicating that improvements in one area positively influenced others. Conclusion: Regular engagement with football video games significantly enhances cognitive abilities essential for football performance. These findings suggest that integrating video games into training programs could complement traditional methods, offering a valuable tool for cognitive development in sports.
... Su tiempo de uso se ha relacionado con el rendimiento escolar (Gómez-Gonzalvo, Devís-Devís, y Molina-Alventosa, 2020). Puede ser un recurso útil para la vida, por su atractivo, aplicabilidad a tareas del día a día, al aprendizaje y a la resolución de problemas (Green y Bavelier, 2015;Williams, 2017). Además, su educatividad se incrementa si la familia participa en su inducción y gestión (Squire, 2003(Squire, , 2011. ...
Video games are a widespread leisure resource associated with entertainment, relaxation and escape through play. The research questions its educational potential. The aim of the study is to provide a rubric capable of evaluating the educational potential of any video game. There is no record of a comparable tool applicable to any video game. A qualitative and phenomenographic methodology was chosen. Forty-two interviews were conducted with teachers and experts from the video game industry. From the theoretical review and the analysis of the testimonies, we obtained as a result the ECV 5* (“Educational Classification of Video games 5*”) tool. The most relevant conclusion was that the educational potential of a video game is evaluable and transferable information. Thus, the ECV 5* can serve as a reference for the design and consumption of the resource, as well as for a better discernment of how far a video game can go in the education of a person. Its practical intention is to provide the data of its educational value in an easy and intuitive way: from 0 to 5 stars. It could be a way for users, educators, companies and society in general to be more aware of the educational potential of any video game, for its design, use, purchase and sale, selection, etc.
El videojuego es un recurso de ocio muy extendido asociado a entretenimiento, distensión y evasión mediante el juego. La investigación indaga sobre su potencial educativo. El objetivo del estudio es aportar una rúbrica capaz de evaluar la educatividad de cualquier videojuego. No se tiene constancia de una herramienta comparable aplicable a cualquier videojuego. Se optó por una metodología cualitativa y fenomenográfica. Se realizaron 40 entrevistas a maestros y a expertos de la industria del videojuego. De la revisión teórica y el análisis de los testimonios se obtuvo como resultado la herramienta CEV 5* («Clasificación Educativa de Videojuegos 5*»). La conclusión más relevante fue que el potencial educativo de un videojuego es una información evaluable y transferible a evaluadores de videojuegos, padres, profesores, usuarios, técnicos de la industria del videojuego y la sociedad en general. Así, el CEV 5* puede servir de referencia para el diseño y consumo del recurso, así como para un mayor discernimiento de hasta dónde puede un videojuego llegar en la educación de una persona. Su intención práctica es aportar el dato de su educatividad de un modo fácil e intuitivo: de 0 a 5 estrellas. Podría ser un modo de que usuarios, educadores, empresas y la sociedad en general puedan ser más conscientes del potencial formativo de cualquier videojuego, para su diseño, uso, compraventa, selección, etc.
... 1984 revolutionierte "Kung-Fu Master" das Beat-'em-up-Genre und blieb trotz technologischer Fortschritte und Branchenwandels aufgrund seines beständigen Spielprinzips populär [408]: Spieler durchqueren Levels und bekämpfen Gegner, -was die anhaltende Anziehungskraft dieses Genres betont. 1996 erweiterte "Metal Slug" das Genre durch die Kombination von Beat-'em-up-und Shoot-'em-up-Elementen, was zu einem langanhaltenden Erfolg in Spielhallen und auf Konsolen führte [409]. ...
(German) Studienbuch mit Blick auf den Studiengang Digital Games Business (B.A.).
Vindigni, G. (2024): Games-Wirtschaft und Digital Games Business (302 S.).
Dieses akademische Studienwerk erforscht die historischen, soziokulturellen, medienökonomischen und rechtlichen Rahmenbedingungen der Spieleentwicklung und deckt auf, wie informationstechnologische Progressivitäten und gesellschaftliche Strömungen die digitale Spielelandschaft nachhaltig geformt und diversifiziert haben. Es analysiert die Rezeptionsgeschichte in Bezug auf die Traditions-, Ursprungs-, Form- und Wirkgeschichte des Spielens, von den frühen mechanischen Ideationen und Inventionen bis zu normativen und prozessualen Innovationen der Gegenwart, die in anspruchsvollen digitalen bzw. immersiven Welten münden. Dabei wird die eklektische Konvergenz einfacher Spielmechaniken zu komplexen digitalen Ökosystemen beleuchtet und die emergenten Entwicklungen moderner Spielmechaniken aufgezeigt, einschließlich der politischen, ökonomischen, rechtlichen und sozialen Konsequenzen dieser Disruptionsprozesse.
Das Studienheft bietet im Sinne des lernzieltaxonomischen Theorie-Praxis-Transfers eine tiefgehende Betrachtung der strukturellen, prozeduralen, ökonomischen und kreativen Aspekte der Spieleindustrie. Es legt dar, wie traditionelle und moderne Spielmechaniken konvergieren und durch das Aufkommen neuer Geschäftsmodelle und Marktstrategien in der gegenwärtigen Lebens- und Arbeitswirklichkeit transformiert werden. Zielgruppe des Werkes sind Studierende, Forschende und Praktiker, die ein vertieftes Interesse an der Ökonomie digitaler Spiele haben. Das Studienheft strebt danach, umfassende Einblicke in die historische und gegenwärtige Entwicklung der Branche zu geben, um ein profundes Verständnis ihrer Komplexität, u. a. die Marktsegmentierung in Bezug auf die Trias Segmenting-Targeting-Positioning und zukünftigen Trajektorien zu fördern. Eine erweiterte Version (mit ca. 800 S.) wird fachwissenschaftlich verlegt werden.
... Είχαν συνήθως 2D και μη ρεαλιστικά γραφικά με φιλικό προς τους χρήστες τρόπο παιξίματος. Στις ίδιες κοινότητες καλλιεργείτο επίσης η απευθείας επικοινωνία με τους χρήστες που συχνά κατέληγε σε προτάσεις και ανταλλαγή ιδεών, εδραιώνοντας με αυτό τον τρόπο μία νέα διαδικτυακή σκηνή ανάπτυξης ψηφιακών παιχνιδιών (Williams, 2017). ...
Η βιομηχανία των ψηφιακών παιχνιδιών έχει εδραιωθεί σήμερα παγκοσμίως ως ένας οικονομικός, τεχνολογικός και πολιτιστικός τιτάνας. Πέρα όμως από τις κυρίαρχες περιοχές παραγωγής ψηφιακών παιχνιδιών (Κίνα, Βόρεια Αμερική, Δυτική Ευρώπη, Ιαπωνία) και τους υψηλού προϋπολογισμού τίτλους, η ανεξάρτητη ανάπτυξη και οι δημιουργοί από διάφορα μέρη του κόσμου αποτελούν σημαντικό πυλώνα της εν λόγω βιομηχανίας. Τα τελευταία δέκα χρόνια, έχει φανεί ένας νέος δυναμικός μετασχηματισμός ψηφιακού περιεχομένου σε παραγωγικό επίπεδο στη νότια περιοχή της Ευρώπης και δη της Ελλάδας. Μέσα από 35 ημι-δομημένες συνεντεύξεις που διεξήχθησαν την περίοδο 2019-2023, αυτό το άρθρο έχει ως στόχο να εξετάσει τα χαρακτηριστικά της ανεξάρτητης παραγωγής ψηφιακών παιχνιδιών στην Ελλάδα, στη σύγχρονη περίοδο. Πιο συγκεκριμένα, εστιάζει στις εργασιακές κουλτούρες και παραγωγικές ταυτότητες των Ελλ.ήνων.ηνίδων δημιουργών, στα τοπικά και διεθνή δίκτυα που υποστηρίζουν την τοπική ανεξάρτητη ανάπτυξη, καθώς και τις κύριες στιλιστικές, σχεδιαστικές τάσεις των ελληνικών ψηφιακών παιχνιδιών.
... La dificultad es un elemento clave de la historia del videojuego desde sus inicios en los salones recreativos (Williams 2017). En el "modelo de juego clásico" de Jesper Juul (2007), el videojuego se plantea como una serie de obstáculos que desafían las habilidades del jugador en pos de alcanzar unos objetivos delimitados por unas condiciones de victoria muy claras y ser castigados severamente por sus errores. ...
La dificultad está históricamente ligada al videojuego. Pero habitualmente queda tan solo apuntada como un reto diseñado para tentar las aptitudes manuales y cognitivas del jugador y hacerlo fracasar en caso de carecer del nivel exigido. Esta mirada a la dificultad es demasiado simplista para referirse a un mecanismo puramente experiencial, por lo tanto, personal, que está atravesado por múltiples factores inciertos. La dificultad pertenece al ámbito de la estética. Entonces, con una aproximación menos constreñida, la dificultad en el videojuego puede describirse como una resistencia al avance, compresión y acceso al texto ludoficcional que provoca algún tipo de sufrimiento al jugador que quiere aprehenderlo, en consonancia con el sentimiento de lo sublime o la paradoja del arte doloroso. Esta perspectiva descubre nuevas vías por las que puede discurrir la dificultad en el videojuego. Algunas de ellas, se alejan de los caminos del discurso dominante del reto mecánico. Esto es, hay formas de dificultad no-mecánicas articuladas por la narrativa, los temas tratados, la atmósfera, los afectos, la ética, la profundidad textual o la poética. Desde una perspectiva que imbrica la dimensión mecánica y ficcional del videojuego y la performativa del jugador, en este artículo exploramos estas formas ludoficcionales de dificultad nomecánica para ampliar el marco de pensamiento en torno a tan discutido concepto y así redirigirlo hacia terrenos más expresivos.
... Their effects are seen in every aspect of life. In the history of computers, we see that we met computer games shortly after the emergence of computers (Williams, 2017). The time that children spend on computer games has increased significantly in recent years. ...
The purpose of this meta-analysis was to examine the effects of Gamified-Assessment Tools (GAT) used in formal educational settings on student academic achievement. We used PRISMA systematic procedures to screen the articles across Web of Science, ERIC, Scopus, Pubmed, and PsycArticles databases. We identified 23 independent results from 17 primary studies with academic achievement outcomes using GAT in formal educational settings. These primary studies accounted for a total of N = 2836 (n = 1318 in GAT, n = 1518 in control) participants. We evaluated publication bias and quality assurance of selected studies for the validity and reliability of our meta-analysis results. Publication bias was not determined as a threat to overall Effect Size (ES). We employed Random-Effects Models (REM) to calculate the overall effect size. According to the REM, the overall effect of the GAT on academic achievement was calculated as g = .62 at the medium level. We also examined the learner stage, learning domain, sync type of assessment tools, research design, and assessment tool as moderators in which GAT may be effective. ESs of GAT significantly differed according to the learner stage. GAT had a larger ES on academic achievement in higher education than K12. There were no significant differences in the ESs of the GAT for other moderators. Quizizz, which is the most effective assessment tool according to our results, has a large ES on academic achievement. Especially in K-12, more experimental research is needed to gain a deeper understanding of the effects of GAT.
... With the development of innovative internet technologies, the video game has become a technology that allows individuals to compete online against each other (Hiltscher, 2015). Since the 1990s, as computer graphics and hardware have advanced and the Internet has become increasingly ubiquitous, individual games have changed their shells, and they now provide content, dynamics, and visual presentations that provide a more realistic experience each day (Williams, 2017). Through this process, online multiplayer has started to take over the game industry, and games with single-player story modes (single-player, campaign, story mode, etc.) have been replaced by e-sports games where individuals compete against each other via computers, mobile phones and consoles (Campbell et al., 2018). ...
Aim:In this study, the change of e-sports, which is growing rapidly in the digitalized world, from the past to the present has been examined.Material and Method:In the study, the development of e-sports was tried to be revealed by taking into account the researches on e-sports, published official reports and the information shared on the web pages of official institutions and by making a literature review. In this context, researches, published official reports and data shared by the International E-Sport Fedearation (IESF) were examined.Results:The concept of e-sports, which first emerged in 1972, has come up with significant developments until today. It has gained a worldwide reputation as a sports branch,especially with its financial income and audience numbers that go beyond even traditional sports.Conclussion:E-sports competitions, which are created through human-computer interaction, are also followed via online video platforms with computers or smart phones. It is predicted that in the coming years, it will surpass traditional sports both economically and in terms of the number of spectators.Keywords: E-Sports, Electronic Games, Video Games,
... However, most digital games will be problem based (Chang et al., 2015;Deng et al., 2020;Hussein et al., 2019;Hwang et al., 2017;Rozhkova et al., 2017;Tudor Car et al., 2019). The problem is the core central element of the digital game (Gros, 2015;Mäyrä, 2015;Pulsipher, 2012;Williams, 2017). The central problem is designed through several game mechanics and later it forms a complete game play. ...
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... Several models are proposed based on the different developmental objectives of games, such as education, therapy, or entertainment. Most recent studies tend to propose their own framework and guidelines for good game designs [11,23,55,57,[60][61][62][63][64][65][66][67][68][69]; however, none of these studies focus on the design of STEM digital games. These should be designed in a way that develops interest in STEM. ...
Using games to teach science, technology, engineering, and mathematics (STEM) can
enhance the quality of education. The idea of using digital games to increase individual interest towards STEM has been implemented as gaming technology has evolved in the 21st century. A correlation exists between using digital games and the learning outcomes which suggests that incorporating digital games may develop interest; however, the theoretical discussion on how interest may be developed with digital games remains inconclusive, thus, resulting in the need for further discussion. Hence, we aim to contribute with a discussion on how STEM digital games can develop individual interest in STEM. Previous studies on digital games in the STEM education context support the arguments presented in this study, therefore, there is a high probability that STEM digital games develop interest. Nevertheless, this can only be achieved with a good STEM game design and defining what is a good STEM game design is subjective. Several elements can be used as indicators to describe the quality of a design. These include the pedagogical learning content and the inclusion of fun elements within a design. Therefore, we propose the integration of theories with pedagogy, learning strategies, STEM learning content, game elements, and game principles design to ensure the presence of a three-layer process to develop interest. The creativity of game designers and developers is key to creating appealing STEM digital games providing young players with an inspiring experience.
... However, most digital games will be problem based (Chang et al., 2015;Deng et al., 2020;Hussein et al., 2019;Hwang et al., 2017;Rozhkova et al., 2017;Tudor Car et al., 2019). The problem is the core central element of the digital game (Gros, 2015;Mäyrä, 2015;Pulsipher, 2012;Williams, 2017). The central problem is designed through several game mechanics and later it forms a complete game play. ...
Digital games are one of the potential pedagogical approaches within STEM teaching and learning. The main idea behind using digital games in STEM contexts is to enhance the children’s conceptual understanding and to increase their interest in STEM. The interest in STEM is still an unsolved global issue. Most studies looking into digital games show there to be positive implications when it comes to STEM learning. This gap and the uncorrelated scenario from both the theoretical and practical perspectives need to both be solved. Here we conceptualise the usefulness of STEM digital games for stimulating an interest in STEM, particularly among children from a design perspective. The previous studies are the main qualitative sources for the interpretation of the main argument in this paper. As result, digital games have a strong empirically supportive foundational basis that acts as a medium to stimulate interest. To achieve this, STEM digital games should be designed to be of better quality. Good STEM digital games will contribute to better STEM learning outcomes and meaningful gaming experiences that can contribute to the interest in STEM. This study proposes a comprehensive framework to understand the purpose of the design and development of STEM digital games.
... any computer who could win against a human player would be exhibiting intelligent thought processes (Williams, 2017). This would require the computer to anticipate and react in strategic gameplays against the human mind. ...
With the rise of modern office workplaces being reconstructed to emphasize comfort and boost well-being, various trends have accumulated to prioritize employee experience, which often enhances overall productivity, innovation and morale (Sterkenberg, 2018). Even with respect to the equipment involved, creative industries have begun the use of revolutionary devices such as 3D printers, interactive screens and VR technology to produce new, meaningful content. In-depth research on the needs of the users will be recorded through archival researches, interviews, and case studies. Since game developers are the project’s target users, their insights and preferences will serve as strong indicators of what are considered as “playful spaces”, most of which are merely functional working environments with stylized interiors unlike the common image of over-the-top play zones often seen in big game studios.
The study will introduce a co-working hub with rentable studios for indie game developers to provide the necessary facilities for game development. With the developers’ concepts of play interwoven into the office spaces, Tiemersma’s video game elements (2014) will serve as a framework in designing a comfortable yet engaging work environment.
Keywords: architecture, co-working, game development, indie games, office, playful spaces, technology, video games
... Young people tend to spend time playing complicated games outside of classes. It is worth pointing out that from the educational perspective, the desire to use motivational power to inspire young learners to learn is the key driver of interest in digital learning games (Williams, 2017;Butler, 2019). Besides inspiring motivation, games are often considered highly useful to learn functional skills, increase perceptions, encourage and develop skills in problem-solving, strategic evaluation, media, and resources Butler, 2019;. ...
This paper aims to review the concepts of literacy, multiliteracies, and multimodality in educational settings and their relevance in classroom practice. Literacy has emerged in recent years as an essential concept in the classroom teaching and learning process. With literacy views beyond the conventional print medium, it is important for teachers, educators, and learners to be given a new understanding of multiliteracies pedagogies. This paper also reflects on the development of multiliteracies paradigms. Specifically, it discusses the relevance and potentials of multimodal teaching and learning in dealing with the multiliteracies school learners bring into the classrooms including digital literacies and online literacies. This paper adopted a systematic literature review approach exploring issues and trends related to multiliteracies in the classroom context. The findings indicate that past studies often consider both the multimodality of meaning-making and meaning-recreating as well as different multiliteracies skills learners bring to the classroom. The review presented here addresses multiliteracies pedagogy in classroom teaching that benefits teachers, educators, and learners. Recommendations are made for future multiliteracies studies to strengthen the pedagogical practices in the emerging digital classroom.
... Metin tabanlı komut yazarak kullanıcıların oyunla etkileşime girmesine fırsat sunan ilk etkileşimli kurgu oyunu olması nedeniyle bu oyun, pek çok kesim tarafından ilgi odağı haline gelmiştir. 1976 yılında, Amerika Birleşik Devletleri'ne bağlı Stanfort Üniversitesi'nde geliştirilen oyun, daha sonra geliştirilen resim tabanlı komutlarla kullanıcıların hizmetine sunulan oyunlara ilham kaynağı olmuştur (Williams, 2017). ...
... These multiple types of maps were not represented from the birth of video games but came later. The game series that united these elements is difficult to pin down, exactly, but the first game in the Ultima series is often credited as being one of the first games to have an overworld map [99,114]. In Ultima, players are given an overworld map and a series of maps for towns, dungeons, and castles to explore. ...
Maps in video games have grown into complex interactive systems alongside video games themselves. What map systems have done and currently do have not been cataloged or evaluated. We trace the history of game map interfaces from their paper-based inspiration to their current smart phone-like appearance. Read-only map interfaces enable players to consume maps, which is sufficient for wayfinding. Game cartography interfaces enable players to persistently modify maps, expanding the range of activity to support planning and coordination. We employ thematic analysis on game cartography interfaces, contributing a near-exhaustive catalog of games featuring such interfaces, a set of properties to describe and design such interfaces, a collection of play activities that relate to cartography, and a framework to identify what properties promote the activities. We expect that designers will find the contributions enable them to promote desired play experiences through game map interface design.
No passado, toda vez que se pensava em desenvolver um novo jogo, era preciso criar todas as ferramentas e tecnologias que seriam necessárias para sua concepção. Com o passar dos anos, e a chegada dos jogos com gráficos tridimensionais (3D), surgiram várias tecnologias e propostas diferentes para dar suporte à criação desses jogos. As game engines, aparecem com a característica de dependerem menos do sistema e permitirem maior flexibilidade no processo de desenvolvimento. Na atualidade, as tecnologias web têm sido respostas para muitas demandas no desenvolvimento de diferentes tipos de software, podendo, inclusive, fornecer soluções possíveis e viáveis para a criação de jogos que rodem e sejam escritos para navegadores. Desta forma, no presente trabalho será implementado um jogo multiplayer. Para tanto, será utilizado o framework Phaser, fazendo as vezes de uma engine, juntamente a um servidor implementado em Java, com o intuito de demonstrar a efetividade desse tipo de solução.
Video games are a hybrid media that can be studied from many angles. They have ludic, machinic, and narrative sides (Mukherjee. Video Games and Storytelling: Reading Games and Playing Books. Springer, 2015) that can sometimes be at odds in game analysis. However, there is another side that is often overlooked: video games are also animatic works. Our first contact with them is as playable images, a reality that places them firmly within visual culture, and by not studying as such we are cutting some much-needed ties. Even when they include the so-called live action footage captured from real actors and real locations, their representational and expressive capacities belong to the realm of animation. This is not just a technical observation with implications only for animators: it makes games belong within the animatic apparatus explored by Cholodenko (The Illusion of Life, 2: More Essays on Animation. Power Publications, 2007) and Levitt (The Animatic Apparatus: Animation, Vitality, and the Futures of the Image. John Hunt Publishing, 2018), an apparatus with its own formal structure, (an)ontology, and impact on our relationship with visual media. It also has further impacts on different levels. This chapter unpacks them in five fronts: (1) history, (2) genealogies, (3) industry and intermediality, (4) ontology and relation to reality, and (5) player experiences. With this, the chapter reframes video games from systems of rules and meaning to (digital) playable images, bridging game studies with visual culture studies in order to open new venues of dialogue.
A interação entre a Inteligência Artificial (IA) e a arte mostrou-se uma área promissora no contexto do processo criativo contemporâneo. Neste artigo, explorou-se como o modelo de redes adversárias generativas (GAN) poderia contribuir na construção de assets em duas dimensões (2D) para artistas de jogos digitais. Para atingir esse objetivo, realizou-se uma revisão da literatura e um estudo de caso com assets 2D do jogo Axie Infinity. Descobriu-se, por meio da pesquisa, que o modelo sintetizava novas imagens que se situavam nas características e traços similares aos do grupo de dados usado no treinamento do modelo. Isso significa que as GANs podem ser utilizadas para inspirar novos assets, criar novas imagens e serem aplicadas diretamente nos jogos digitais.
This chapter will explore the ways video games reinforce the ableist power structures that build certain kind of bodies, minds and experiences as normal and cast disabled people as abnormal and inferior. The chapter will demonstrate by the analysis of two games, Resident Evil 4 (Capcom. Osaka, JP: Capcom. Playstation 2, 2005) and Super Mario World (Nintendo. Kyoto, JP: Nintendo. Super Famicom, 1990), and will show how dominant dis/ability discourses can be found not only in the representations (in the images or gameplay) but in the structures and modes of gameplay of those games. These video games construct practices or performances that normalize abledness via mechanics, aesthetics and level design by producing experiences of en- or disabling mastery, control, progression, autonomy and precision. Based on these findings, the chapter links ableist ideologies present in games and gaming to what Christopher Paul calls a “toxic meritocracy” (The Toxic Meritocracy of Video Games, University of Minnesota Press, 2018) and capitalist work ethics.
This article provides an introduction to the study of the transformation of the survival horror genre. The author discusses the genre determinants of horror games from the historical perspective, draw- ing particular attention to the moment when the classic survival horror formula emerged. She also describes the changes over the years that led both to the need to update the genre framework and to the division into classic and post-classic horror games. She also analyses the mechanics typical of contemporary productions using horror elements.
Bu araştırmanın amacı; Türkiye’deki Spor Bilimleri Fakültesi üniversite gençliği üzerinden dijital oyunu bağımlılığı profilinin ve akademik başarılarına etkisinin incelenmesidir. Araştırmanın çalışma grubunu, Türkiye’nin çeşitli üniversitelerinde Spor Bilimleri Fakültesi ile Beden Eğitimi ve Spor Yüksekokulu’nda eğitim-öğretimine devam eden 1162 öğrenci oluşturmaktadır. Nicel veri analiziyle tespit edilen dijital oyun bağımlısı öğrencilerinden seçilen 20 kişi ile de nitel görüşmeler yapılmıştır. Çalışmada nitel ve nicel yöntemlerin bir arada kullanıldığı açıklayıcı sıralı/ (sıralı nicel →nitel) karma yöntemler araştırması deseni kullanılmıştır. Lemmens, Valkenburg ve Peter (2009) tarafından geliştirilen, geçerliği ve güvenirliliği yüksek olan, daha sonra ise Hazar ve Hazar (2019) tarafından Türkçe geçerlik- güvenirlik çalışması yapılan “Dijital oyun bağımlılığı ölçeği” ile araştırmacı tarafından geliştirilen yarı yapılandırılmış görüşme formu kullanılmıştır. Nicel verilerin analizinde SPSS paket programından yararlanılmıştır. Kullanılan ölçek formunun güvenirliliğini tespit etmek amacıyla Cronbach’s Alpha testi, Kolmogorov–Simirnov normallik testi, parametrik veya non-paremetrik testler uygulanmıştır. Sosyo-demografik özelliklerin analizi için frekans ve yüzde analizi yapılmıştır. Yüzdelik karşılaştırmalar için crosstab ve k-kare analizi uygulanmıştır. Ayrıca gruplar arasındaki karşılaştırmalar independent t testi ve tek yönlü varyans analizi (ANOVA) ile yapılmıştır. ANOVA sonucunda farklılık çıkan grupların tespiti için Tukey HSD testi yapılmıştır. Ayrıca değişkenler arasındaki ilişkiyi tespit etmek amacıyla korelayson analizi yapılmıştır. Nitel verilerin analizinde ise içerik analizinden yararlanılmıştır. Transkripsiyonlar MAXQDA20 programına aktarılarak analizi gerçekleştirilmiştir. Çalışmanın nicel verilerinin sonuçlarına bakıldığında dijital oyun bağımlılığı toplam puanında ve genel not ortalamasında (akademik başarı) dijital oyun oynama aracına sahip olma duruma göre p<0,05 düzeyinde istatistiki olarak anlamlı farklılıklar bulunmuştur. Dijital oyun bağımlılığı toplam puanında ve genel not ortalamasında (akademik başarı) cinsiyete göre p<0,05 düzeyinde istatistiki olarak anlamlı farklılıklar bulunmuştur. Gelir düzeyi arttıkça dijital oyun bağımlılığı ve akademik başarının da arttığı görülmüştür. Dijital oyun oynayarak boş zamanlarını geçiren katılımcıların dijital oyun bağımlılığı düzeyleri en yüksek, kitap okuyarak boş zamanlarını geçiren katılımcıların ise dijital oyun bağımlılığı puanlarının en düşük olduğu tespit edilmiştir. Oyun oynama süresi arttıkça akademik başarı puanının ciddi bir şekilde azaldığı görülmektedir. Çalışmanın nitel verilerinin sonucuna bakıldığında ise dijital oyun bağımlılığı teması; psikolojik ve duygusal etkiler, akademik gelişime etkiler, fizyolojik etkiler ve sosyal etkiler olmak üzere dört kategoriden ve 48 koddan oluşmuştur. Hem nicel hem de nitel verilerin bulguları değerlendirildiğinde sonuç olarak Spor Bilimleri Fakültesi öğrencileri küresel salgın, arkadaş çevresi, ailevi problemleri veya yaşantılarındaki problemlerinden kaçınmak istemelerinden dolayı TV izlemek, sosyal medyada zaman geçirmek, kitap okumak, dijital oyun oynamak gibi aktivitelerde bulunmuşlardır. Dijital oyun oynamanın keyifli ve eğlenceli olması geçirilen zamanın artmasına neden olmuştur. Bu durum zamanla bağımlılığa dönüşmüştür. Bağımlılık yapan oyun oynama isteği artık bir zorunluluk oluşturmuştur. Bu süreç psikolojik, fizyolojik, sosyal ve akademik olarak bireylerde bir deformasyona sebep olmuştur. Dijital oyun oynama süresinin katılımcılarda artışı akademik başarılarının da düşmesine neden olmuştur.
Game engines have been around since the 1980s. One of the first game engines was used by Shigeru Miyamoto's team in their motorcycle racing game Excitebike (NES, 1984). Later, they used the engine to give Mario a run for his money in Super Mario Bros (NES, 1985). There are many game engines on the market, each with its advantages and disadvantages. And every current game needs some kind of game engine, but can it be the browser?
Ever since MDA was publicized by Hunicke, Leblanc, and Zubek in 2004, it has become a building block for game developers and scholars. However, it has also incited several misconceptions that have spread among students and the gaming community. For example, players have overused the term “mechanics,” to the point that it is virtually meaningless. On the other side, the terms “dynamics” and “aesthetics” have been comparatively neglected, despite their value. Building upon our experiences of teaching an undergraduate game design course, we argue that these misconceptions stem from the ways that consumers have misinterpreted the MDA framework. Game educators are not necessarily working with experienced designers: they are working with students who are often more passionate about playing games than making them. Thus, game educators need to target this misconception in order to shed light on preconceived biases.
O artigo propõe o debate do The Scratchware Manifesto (2000), considerando o desenvolvimento de jogos indies e as transformações observadas na produção e na criação de jogos dentro da forma neoliberal do capitalismo. Para tanto, abordamos o gênero textual manifesto como prática sociocultural de transformação, sendo o debate do The Scratchware Manifesto realizado no diálogo com outros manifestos, como Manifesto do Partido Comunista (MARX; ENGELS, 2012) e Rise of the Videogame Zinesters (ANTROPY, 2012), entre outros. Além disso, pontuamos alguns processos de criação, produção e circulação de jogos indies, a partir do alinhamento ou não desses com o mercado, bem como a precarização do trabalho. Por fim, indicamos iniciativas que estão promovendo relações alternativas de criação de jogos indies, assim como outras relações com o trabalho na indústria de jogos.
Passion for computer games negatively affects the health level of schoolchildren. Among the approaches to monitoring the functional state of such schoolchildren, the most informative and painless is the study of the saliva. The study involved 45 children, aged 14.00 ± 0.21 years, and divided according to the contact's intensity with computer games. The following indicators of lipid peroxidation (LPO) were determined in the saliva: indicators of the antioxidant (AO) system, concentration of immunoglobulin A, and hormonal indicators. The significant increases in the catecholamine (adrenaline) level for 2.3 times and biogenic amine-serotonin for 35.5% and increase in the LPO-DC product concentration in gamers for 75.8% were revealed. The study of the schoolchildren's homeostasis peculiarities confirmed the adequacy of the use of biochemical techniques to assess the condition of children gamers. They have a prenosological condition. This is reflected in the increase in LPO intensity, failure of the protective AO system, imbalance of hormonal state, and immunity deterioration. Information on the evaluation of the LPO activity processes and the AO system condition and the degree of the balance's shift between prooxidants and antioxidants in biological substrates can be considered objective and very sensitive indicators of the general condition, activity, and improvement of the regulation and maintenance of homeostasis.
Ever since MDA was publicized by Hunicke, Leblanc, and Zubek in 2004, it has become a building block for game developers and scholars. However, it has also incited several misconceptions that have spread among students and the gaming community. For example, players have overused the term “mechanics,” to the point that it is virtually meaningless. On the other side, the terms “dynamics” and “aesthetics” have been comparatively neglected, despite their value. Building upon our experiences of teaching an undergraduate game design course, we argue that these misconceptions stem from the ways that consumers have misinterpreted the MDA framework. Game educators are not necessarily working with experienced designers: they are working with students who are often more passionate about playing games than making them. Thus, game educators need to target this misconception in order to shed light on preconceived biases.
Digital games have become a medium and media in artistic works in the last three decades. Open source programming scripts and free game engines provide creators with ready-made art creation methods plus are the primary creative materials and tools for most media artworks. Besides, the growing academic field devoted to the study of digital games sports a wide variety of approaches, such as gamification, game theory, aesthetic of narrative and play, which focus on the content of digital games. Although arts and games have an independent theory system and substantive history themselves, with the birth of computer art, an interdisciplinary consciousness gradually evoked from the late 1950s. Computer art, which had been seen as the solution-the third culture-of dealing with the rift of 'two cultures', is the bedrock for studying this disciplinary incorporation and demonstrates the cues and evidence of their association. As long as observing the development of games and arts from the mid-nineteen century until now, such as computer art, media art, net art, digital art, and so forth, a secretly intricate network can be found easily. Even though a digital game which could satisfy with the ordinary standard of aesthetic or an artwork which might correspond with the game rules, they should not be classified as an aesthetic digital game and further be confirmed the definite possibility of them as an independent genre of arts. As a context provider, a creator of aesthetic digital games produces not only the visual scene and also narrative system by game rules to construct an immersive world so that it is necessary to examine the accuracy of this assumption through artistic practice and critical perspective. Since immersive content is the heart of such works, the ways of interaction within the virtual environment constructed by the technologies of Virtual reality (VR) and Augmented reality (AR) are the fundamental method to investigate the correctness my assumption.
The digitization of the game industry has made it possible to develop complex multimedia game worlds that are based on animated and interactive cartographic media. Since the 1980s, a variety of maps has been used in video and computer games. Each of them has their own characteristic functions. Furthermore, neighbouring disciplines of cartography, especially game design and game studies, but also the online community of gamers, have coined and spread individual terms for these maps. This paper is intended to compile the relevant varieties of video and computer game maps and their (mainly English) terms, based on selected examples. Moreover, the functions of these maps within games as well as their ‘interplay’ shall be presented.
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