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Staines, Dan, Mia Consalvo, Adam Stangeby, and Sâmia Pedraça. "State of play: Video games and moral engagement." Journal of Gaming & Virtual Worlds 11, no. 3 (October 1, 2019): 271–88. http://dx.doi.org/10.1386/jgvw.11.3.271_1.
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In this article we examine three recent examples of ‘ethically notable games’ (Zagal 2010) and highlight unusual or innovative design features for facilitating moral engagement. Drawing on the work of Miguel Sicart to frame our analysis, our goal is to highlight current trends in ENG (ethically notable games) design and see how commercial games are moving beyond reductive ‘morality meters’ and treating moral choice with greater nuance, resulting ‐ for the most part ‐ in a more morally engaging experience.
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Utoyo, Arsa Widitiarsa. "Video Games as Tools for Education." Journal of Games, Game Art, and Gamification 3, no. 2 (October 19, 2021): 56–60. http://dx.doi.org/10.21512/jggag.v3i2.7255.
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Computer and video games are a channel of evolution and productivity that is most consumed keeping the notice of scholars through a variety of disciplines. In general, computers and video games were ignored by educators. When educators considered the games, they noticed the social consequences of gambling, ignoring the remarkable educational potential of the game. This article looks at the history of educational research games and argues that the perceptive potential of games has been ignored by educators. Current developments in the game, including interactive stories, authoring tools, and digital world collaboration, suggest powerful new opportunities for educational media. Video games are an important part of improving education through its ability to force players to present realistic simulations of real-life situations. The beginning of the proper use of gaming technologies for education and training and there is no need for scientific and engineering methods to create games not only as a more realistic simulation of the physical world but to provide experience Effective learning. This document illustrates building up to date Integration of educational principles and game design into a dialogue between them and defining games that can be integrated based on design, entertainment, and educational features. The work follows a drawing tray that forms part of the framing definition and after selecting categories of design templates, before focusing on user interaction modes, from a pedagogical point of view, given its relevance to end users
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Milburn, Colin, Katherine Buse, Ranjodh Singh Dhaliwal, Melissa Wills, Raida Aldosari, Patrick Camarador, Josh Aaron Miller, and Justin Siegel. "Join the Fold: Video Games, Science Fiction, and the Refolding of Citizen Science." Design Issues 39, no. 1 (January 1, 2023): 70–87. http://dx.doi.org/10.1162/desi_a_00707.
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Abstract This article explores the value of science fiction narratives in games for citizen science. Focusing on the protein-folding game Foldit, it describes the process of modifying and redesigning the game to feature a framing narrative and other alterations to the main tutorial campaign. The campaign narrative, Foldit: First Contact, situates the practices of citizen science in an expanded context of meanings and ethical implications, promoting critical self-reflection on the relations of science and civic values. A study of player responses to Foldit: First Contact suggests the significance of science fiction and critical game design for attuning citizen scientists to the collective responsibilities of experimentation and innovation, drawing attention to the intersecting social, technical, and environmental domains in which gamers may contribute to scientific research.
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Bassiouni, Dina H., and Chris Hackley. "Video games and young children’s evolving sense of identity: a qualitative study." Young Consumers 17, no. 2 (June 20, 2016): 127–42. http://dx.doi.org/10.1108/yc-08-2015-00551.
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Purpose This paper aims to investigate children’s experience as consumers of video games and associated digital communication technology, and the role this experience may play in their evolving senses of identity. Design/methodology/approach Qualitative depth interviews and discussions were conducted in a convenience sample consisting of 22 children of both genders aged 6-12 years, parents and video games company executives in the southwest of the UK. The fully transcribed data sets amounting to some 27,000 words were analysed using discourse analysis. Findings The findings revealed the heightened importance that the knowledge of video games plays in children’s strategies for negotiating their nascent sense of identity with regard to peer groups, family relationships and gender identity. Video games were not only a leisure activity but also a shared cultural resource that mediated personal and family relationships. Research limitations/implications The study is based on an interpretive analysis of data sets from a small convenience sample, and is therefore not statistically generalisable. Practical implications This study has suggested that there may be positive benefits to children’s video game playing related to aspects of socialisation, emotional development and economic decision-making. An important caveat is that these benefits arise in the context of games as part of a loving and ordered family life with a balance of activities. Social implications The study hints at the extent to which access to video games and associated digital communications technology has changed children’s experience of childhood and integrated them into the adult world in both positive and negative ways that were not available to previous generations. Originality/value This research addresses a gap in the field and adds to an understanding of the impact of video games on children’s development by drawing on children’s own expression of their subjective experience of games to engage with wider issues of relationships and self-identity.
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Nacher, Anna, and Filip Jankowski. "Re-writing histories of colonization in video games: the case of Elizabeth LaPensée." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 29, no. 38 (June 15, 2021): 123–41. http://dx.doi.org/10.14746/i.2021.38.08.
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The article is aimed at presentation of the case study in video games creation by Indigenous auteur and designer, Elizabeth LaPensée, which at the same time demonstrates how video games can both mediatize the process of re-writing history and decolonize popular imagination. The analysis of LaPensée’s three games: Invaders, Thunderbird Strikes, and When the Rivers Were Trails to some extent follows her own strategies of self-identification as Anishinabee (Ojibwe). Drawing upon reconfiguration of the auteur theory and the framework of ludostylistics by Astrid Ensslin, we also strive to demonstrate how the notion of a singular author is in fact grounded in collective and collaborative qualities of indigenous digital culture, including digital game design.
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Costal, Tomás. "Why is that creature grunting?" Translation and Translanguaging in Multilingual Contexts 4, no. 1 (April 24, 2018): 151–77. http://dx.doi.org/10.1075/ttmc.00008.cos.
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Abstract Video games today are highly complex audiovisual products. Their nature is not only multisemiotic but also interactive. Their potential audience has certain expectations and, especially in the case of digital blockbusters, final users need the advantage of knowledge and the force of numbers. A faux pas in design, continuity or playability will most likely be conducive to social media outrage, and will see official apologies be released presently. Conversely, accessibility shortcomings rarely or never have the same impact. The present study puts forward the advantages of including Subtitles for the Deaf and Hard of Hearing (SDH) in popular video games and offers an in-depth analysis of a selection of recent multimedia titles. Drawing on the work of Bernal Merino (2015), O’Hagan and Mangiron (2013) and Trabattoni (2014) on the special characteristics of video games, the main elements around which they are structured and the aspects that determine their success or failure, the author will endeavour to advance a convincing argument in favour of the introduction of SDH subtitling conventions.
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Jenson, Jennifer, and Suzanne de Castell. "Patriarchy in play: Video games as gendered media ecologies." Explorations in Media Ecology 20, no. 2 (June 1, 2021): 195–212. http://dx.doi.org/10.1386/eme_00084_1.
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Videogames are a dominant cultural, economic and creative medium in the twenty-first century, whose varied ecologies are increasingly recognized as particularly hostile environments to those identifying or identified as women. These ecologies include those encoded and enacted within the virtual environments of digital games, across the spectrum of those ecologies materially inhabited in games education, game cultures and, paradigmatically, the video game industry. In June 2020, top videogame maker Ubisoft saw high ranking employees resign from the company as accounts went public on Twitter and in mainstream media of sexual harassment, abuse and other misconduct at the company being covered up and ignored. But this is by no means the first public revelation of sexual harassment and discriminatory injustices directed at women who develop and play games: many will recall the vitriolic online hate movement #gamergate.Despite the familiarity of these tropes, we seem to ‘rediscover’ every few years or so that making and playing video games can present toxic environments for women. Drawing on feminist perspectives that understand how videogames have been a gendered, primarily masculine, domain, this article proposes that a topographical view, one specifically attuned to examining gender through a media ecology lens, can demonstrate how these successive re-enactments of ‘shock and awe’ operate in the service of, and are functionally integral to, the preservation of media ecologies exclusionary by design, legitimizing the repetition of their gendered hostilities. The intent is to move beyond naïve expressions of surprise and righteous indignation, to a grounded recognition and elucidation of the extents to which misogyny and harassment are and have been deeply structured into the gendered ecologies of video games.
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Reay, Emma. "Cute, cuddly and completely crushable: Plushies as avatars in video games." Journal of Gaming & Virtual Worlds 13, no. 2 (June 1, 2021): 131–49. http://dx.doi.org/10.1386/jgvw_00033_1.
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This article examines video game avatars that are designed to resemble toys. It names this trope the ‘Blithe Child’ to capture the carefree, careless and childlike interactions this avatar invites. This article argues that the connection between the Blithe Child and traditional toys functions to express and explain non-violent game mechanics, to shape sentimental player‐avatar relationships, to create cosy, snug playspaces and to encourage pro-social, creative and self-expressive playstyles. However, the Blithe Child inherits some of the more sinister dynamics latent in human‐toy relationships, namely the desire to humiliate and mutilate the cute object and anxieties about what it means to be ‘real’ ‐ to be an independent, agential subject rather than a passive, manipulated, othered object. Drawing on theories derived from cuteness studies and toy studies, this article uses a close reading approach to critique the age-based hierarchies that underpin this trope.
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Boehm, Robert, Brackley Frayer, and Joe Aldridge. "Engineering for the Spectacle." Mechanical Engineering 127, no. 01 (January 1, 2005): 42–44. http://dx.doi.org/10.1115/1.2005-jan-5.
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This article reviews a design revolution that is taking place in entertainment, and technology is playing a major role. Just as computer graphics have enhanced movies and video games, live entertainment, too, is showcasing spectacles requiring evermore sophisticated technical effects. Nowhere has this trend been more evident than in Las Vegas, the live-entertainment capital of the world. In its work, Sceneing Solutions involved engineering collaboration with theater people to perform a number of analyses. Included were finite element calculations of the structural function, and input on the manufacturability of the various scenery elements. All of the aspects were developed with the assistance of CAD drawings. The last two decades have seen a rapid increase in the technical sophistication of live entertainment. Nowhere is there more spectacle than in Las Vegas, as each new hotel casino tries to offer more excitement to draw customers. To service this growing demand, there is a new technical business for theatrical engineers, who can both design and realize the high technology of stagecraft.
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Rizali, Muhammad, Zainal Warhat, and Edwar Zebua. "PENGARUH ELEMEN-ELEMEN DESAIN KOMUNIKASI VISUAL (DKV) BOX ART GAME TERHADAP STORY LINE BERDASARKAN PERSEPSI GAMERS PADA VIDEO GAME POPULER DI INDONESIA." Gorga : Jurnal Seni Rupa 8, no. 2 (September 27, 2019): 295. http://dx.doi.org/10.24114/gr.v8i2.14700.
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AbstrakTujuan penelitian ini adalah untuk mengetahui pengaruh parsial dan simultan elemen gambar, elemen huruf, dan elemen warna DKV desain Box Art Game pada story line video game. Jenis penelitian ini adalah survey eksplanasi. Instrumen dalam penelitian ini menggunakan kuesioner dengan jumlah sampel sebanyak 151 responden gamer yang diperoleh secara on line melalui media sosial face book. Teknik pengambilan sampel menggunakan acak sederhana dengan cara mengupload kuesioner ke jaringan grup media sosial gamer face book. Teknik analisis data yang digunakan dalam penelitian ini adalah analisis regresi berganda. Instrumen penelitian yang digunakan telah diuji terlebih dahulu validitas dan reliabilitasnya. Persamaan regresi linear dengan menggunaan SPSS diperoleh: Y = -1,029 + 0,305 X1 + 0,05 X2 + 0,250 X3 + e. Melalui pengujian hipotesis diperoleh bahwa ada pengaruh parsial elemen gambar (X1) dan elemen warna (X3) terhadap story line (Y) diterima, sedangkan pengaruh elemen huruf (X2) terhadap story line (Y) ditolak. Pengaruh simultan elemen gambar (X1), eleman huruf (X2) dan elemen warna (X3) terhadap story line (Y) diterima. Berdasarkan pengujian hipotesis maka dapat disimpulkan variabel elemen gambar dan elemen warna berpengaruh dalam menjelaskan story line video game. Elemen huruf tidak berpengaruh dalam menjelaskan story line video game. Dalam penelitian ini elemen gambar memberi pengaruh paling besar terhadap story line dengan koefisien regresi 0,305. Secara simultan elemen gambar, eleman huruf dan elemen warna berpengaruh menjelaskan story line video game sebesar 44%.Kata Kunci: desain, box art game, elemen.AbstractThe purpose of this study was to determine the effect of partial and simultaneous image elements, letter elements, and color elements DKV design Box Art Game on the video game story line. This type of research is an explanatory survey. The instrument in this study used a questionnaire with a total sample of 151 gamers who were obtained online through face book social media. The sampling technique uses simple random method by uploading questionnaires to the network network of face book gamers. The data analysis technique used in this study is multiple regression analysis. The research instrument used was tested for its validity and reliability. The linear regression equation using SPSS is obtained: Y = -1,029 + 0,305 X1 + 0,05 X2 + 0,250 X3 + e. Through testing the hypothesis, it was found that there was a partial effect of the image element (X1) and color element (X3) on the story line (Y) received, while the influence of the letter element (X2) on story line (Y) was rejected. The effect of simultaneous image elements (X1), letters (X2) and color elements (X3) on story line (Y) is accepted. Based on hypothesis testing, it can be concluded that the variable image elements and color elements are influential in explaining the story line of video games. The letter element has no effect in explaining the story line of video games. In this study the image element gives the most influence on the story line with a regression coefficient of 0.305. Simultaneously drawing elements, elements of letters and influential color elements explain the video game story line by 44%.. Keywords: desain, box art game, elemen.
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Maksymov, Ivan S. "Quantum-Inspired Neural Network Model of Optical Illusions." Algorithms 17, no. 1 (January 10, 2024): 30. http://dx.doi.org/10.3390/a17010030.
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Ambiguous optical illusions have been a paradigmatic object of fascination, research and inspiration in arts, psychology and video games. However, accurate computational models of perception of ambiguous figures have been elusive. In this paper, we design and train a deep neural network model to simulate human perception of the Necker cube, an ambiguous drawing with several alternating possible interpretations. Defining the weights of the neural network connection using a quantum generator of truly random numbers, in agreement with the emerging concepts of quantum artificial intelligence and quantum cognition, we reveal that the actual perceptual state of the Necker cube is a qubit-like superposition of the two fundamental perceptual states predicted by classical theories. Our results finds applications in video games and virtual reality systems employed for training of astronauts and operators of unmanned aerial vehicles. They are also useful for researchers working in the fields of machine learning and vision, psychology of perception and quantum–mechanical models of human mind and decision making.
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Zulkifli, Ahmad Fahim, and Ajau Danis. "Unfolding Exergame Roles to Improve Pre-Service Education Teachers’ Physical Activity Levels Using Drawings Analytics." European Journal of Social and Behavioural Sciences 33, no. 1 (January 31, 2024): 5–20. http://dx.doi.org/10.15405/ejsbs.341.
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The exergame concept allowed us to promote physical activity (PA) through games. It helps to normalise PA rather than segregate or exclusive PA to certain times or settings. Nonetheless, studies on exergames during online distance learning are currently scarce. Therefore, this study aimed to explore participants’ insights and feelings towards exergame concepts to promote physical activity (PA). Specifically, aspects such as participants’ understanding, knowledge, and motivation with the exergame were analysed through drawings to investigate how the exergame influences their engagement with PA and learning during online distance learning (ODL). This study adopted a qualitative research design. Drawings were utilised to explore participants’ perceptions, motivation to play, and exergame as a teaching tool. The participants comprised 45 first-year undergraduate physical and health education (PHE), biology, and chemistry major students aged between 20-25 years. The Interpretive Phenomenological Analysis approach was adopted to develop the procedures while Consider.ly software [Usertime Solutions GmbH] was used to analyse data from the videos and drawings. Findings indicate that (i) emoticons were used to represent the changes in feelings among the participants throughout the intervention; (ii) the use of objects, symbols, and characters to portray the sense of protection, togetherness, and curiosities; and (iii) the combination of split drawings were used to express differences between ideas and thoughts on exergame approach among participants. Overall, the findings demonstrated the exergame potential (e.g., higher learning ownership, student-centred) and challenges (e.g., accessibilities, game-built quality) which helped inform future teaching planning and practices to promote meaningful learning experiences during distance learning.
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Ingadottir, Brynja, Elina Laitonen, Adalheidur Stefansdottir, Anna Olafia Sigurdardottir, Berglind Brynjolfsdottir, Heidi Parisod, Johanna Nyman, et al. "Developing a Health Game to Prepare Preschool Children for Anesthesia: Formative Study Using a Child-Centered Approach." JMIR Serious Games 10, no. 1 (January 20, 2022): e31471. http://dx.doi.org/10.2196/31471.
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Background Every year, millions of children undergo medical procedures that require anesthesia. Fear and anxiety are common among young children undergoing such procedures and can interfere with the child’s recovery and well-being. Relaxation, distraction, and education are methods that can be used to prepare children and help them cope with fear and anxiety, and serious games may be a suitable medium for these purposes. User-centered design emphasizes the involvement of end users during the development and testing of products, but involving young, preschool children may be challenging. Objective One objective of this study was to describe the development and usability of a computer-based educational health game intended for preschool children to prepare them for upcoming anesthesia. A further objective was to describe the lessons learned from using a child-centered approach with the young target group. Methods A formative mixed methods child (user)-centered study design was used to develop and test the usability of the game. Preschool children (4-6 years old) informed the game design through playful workshops (n=26), and usability testing was conducted through game-playing and interviews (n=16). Data were collected in Iceland and Finland with video-recorded direct observation and interviews, as well as children’s drawings, and analyzed with content analysis and descriptive statistics. Results The children shared their knowledge and ideas about hospitals, different emotions, and their preferences concerning game elements. Testing revealed the high usability of the game and provided important information that was used to modify the game before publishing and that will be used in its further development. Conclusions Preschool children can inform game design through playful workshops about health-related subjects that they are not necessarily familiar with but that are relevant for them. The game’s usability was improved with the participation of the target group, and the game is now ready for clinical testing.
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Hitchens, Michael, and Rowan Tulloch. "A gamification design for the classroom." Interactive Technology and Smart Education 15, no. 1 (March 12, 2018): 28–45. http://dx.doi.org/10.1108/itse-05-2017-0028.
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Purpose The research described here presents an approach to gamification for the classroom. The purpose of this paper is to determine whether students would perceive the gamification activities in a positive light. Previous research has contended that students need a positive mental attitude for effective learning. The core question was to examine student attitudes to gamification, not the success of the gamification itself. Design/methodology/approach Based on a survey of the gamification literature, and particularly drawing on the work of Groh (2012), this system is designed with three key principles in mind: relatedness, competence and autonomy. Classroom activities and associated software were designed and implemented. Almost 200 students were surveyed to determine their attitude to the gamification. The survey included both Likert-scale and qualitative responses. Findings A majority of the students reported that they found the gamification useful and enjoyable, only a minority of students (around 15 per cent) disagreeing with such statements. However, only a minority of students perceived a relationship between the gamification activities and games. The authors conclude that well-designed gamification systems can be well-received by students and suggest that the success of gamification projects may not lie in their ability to recreate the experience of a video game, but in the strength of the relatedness, competence and autonomy of the student experience. Research limitations/implications The research is limited by the nature of the participants, who were drawn from videogame and media units and who may be predisposed to game-like activities. Originality/value This research demonstrates that students are able to perceive value in gamification in the classroom.
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Marsh, Tim. "Presence as Experience: Film Informing Ways of Staying There." Presence: Teleoperators and Virtual Environments 12, no. 5 (October 2003): 538–49. http://dx.doi.org/10.1162/105474603322761324.
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Experience and the activities that provide it are associated with the virtual places where they were encountered, and this may instill in our imagination an illusion of an environment other than where an interactive mediated environment 1 (a virtual environment, virtual reality, or computer game) resides (home, work, or on the move). Appropriate and/or stimulating experience may encourage users to continue, or become engaged in, pursing activities in a mediated environment. The termstaying there is used to describe this situation of engagement. Conversely, if experience from use does not match up or deliver on expectations or purpose, or it is dull, boring, or uninteresting, then it may not hold user's attention and can potentially shift attention from the mediated to the real world. This paper describes the background work towards the development of a framework of experience with the aim of informing analysis and design of interactive mediated environments (IMEs) to induce/evoke stimulating experience in users and to encourage them in “staying there.” Informed from film-making, three levels of experience are explored: voyeuristic (“joy of seeing the new and the wonderful”), visceral (thrill of spectacle and attractions), and vicarious (transfer of emotion through another person, being, or object). With varying degrees of emphasis, story is experienced by spectators through one or a combination of these three to provide meaning. Drawing a parallel between developments in film and IMEs, situations, circumstances, features, and elements of IME design are identified that can induce/evoke these experiences in users. As well as informing analysis and design of experience of IMEs, this may provide an alternative way to reason about engagement and presence. 1 The term interactive mediated environment is used to encapsu-late similarities in many current, new, and emerging media types (vir-tual reality, virtual environments, computer games, the Internet) com-prising three-dimensional computer generated/manipulated visual environment or space (graphics, video, photographic, and so on) and provide the potential for user activities within the environment. To enhance a line of reasoning, individual media/platforms are referred to by name.
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Melki, Henry. "Stage-directing the Virtual Reality Experience: Developing a Theoretical Framework for Immersive Literacy." International Journal of Film and Media Arts 6, no. 2 (December 17, 2021): 129–47. http://dx.doi.org/10.24140/ijfma.v6.n2.08.
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Despite the incremental improvement and inclusion of immersive technologies in entertainment, training simulation, fine art, inclusive design, academia, and education; Virtual Reality (VR) still faces issues regarding its ability to compete with films and animation in visual storytelling without merging into the realm of video games. In 2015, Pixar’s Ed Catmull warned moviemakers that Virtual Reality is “not storytelling” and argued that the linear aspect of narratives poses an obstacle that cannot be overcome with VR. In contrast, Catmull argued that VR has immense application in games. However, VR creators have been pushing the boundaries and possibilities of delivering narratives in virtual spaces. In 2019, the VR experience “Gloomy Eyes” was presented at the Sundance festivals featuring a 30-minute story split between 3 episodes. The simulation is structured to provide its audience with some degrees of freedom while guiding them intuitively through the virtual space. In 2021, Blue Zoo also released a VR project titled “The Beast” featuring a cyclist powering up a snow-covered mountain. The short film was entirely created in Quill VR with the intention of being treated like a theatrical play rather than a film. While the creators of “The Beast” have explicitly mentioned the influence of theatre, “Gloomy Eyes” draws its visual language from similar theatrical roots. This paper argues that VR has been mistakenly compared to film and animation when it should be associated with theatre. The audience of both are not passive as they are during the screening of a film or animation. The space and the medium demands participation through their presence in the same space with the actors/characters. Theatre presents a promising candidate for extracting criteria that could be used to develop a visual language for VR. This research aims to formulate a framework for developing a VR visual language through comparison between character-driven narratives in VR such as “Gloomy Eyes” and “The Beast”. The comparative study establishes overlapping criteria and characteristics found in the structure, literacy, sound, and delivery format of narratives in a theatrical performance. These criteria are then outlined and discussed, drawing from affordance theory and discussions on aural and visual attention in theatre, to form a holistic view in approaching VR literacy.
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Recke, Moritz Philip, and Stefano Perna. "Emergent Narratives in Remote Learning Experiences for Project Based Education." Electronic Journal of e-Learning 19, no. 2 (April 21, 2021): 59–70. http://dx.doi.org/10.34190/ejel.19.2.2142.
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The University of Naples Federico II (Italy) offers a nine-month formative training program aimed at software development for the Apple technology ecosystem to ~400 learners per year and utilises the Challenge Based Learning (CBL) methodology as a framework for learning. As a collaborative and self-guided, inquiry-based learning method, it focuses on learners’ intrinsic motivation while working on real world problems organised in projects (Challenges in CBL) with an experiential and progressive approach to apply acquired knowledge in real world scenarios, ideate solution concepts and build innovative digital products. To overcome limitations of spiral curriculum or elaboration theory, the authors applied narrative theory to design the program’s educational experience for the academic year 2019/2020 as a cohesive journey within a communal learning environment with a coherent and connected structure of narratively driven learning Challenges. The authors present concepts to develop their approach further towards an emergent narrative experience design system to manage the educational journey as it develops, rather than scripting it. This paper evolves the authors’ Narrative Experience Design Canvas to model educational experience design that encourages unscripted, emergent narratives for experiential education with the goal of fostering learners’ engagement, agency and creativity. Derived in part by models developed for digital interactive storytelling or educational video games, it categorises the components for designing an educational experience that allows the learning progression to be driven by learners as co-authors and describes mechanisms that allow unscripted narratives to emerge based on intrinsic motivation. Additionally, the authors present considerations for synchronous and asynchronous learning to evolve their framework for application in blended or remote learning scenarios. Drawing upon findings for remote learning and experiential e-learning - ee-learning - presented by scholars as well as implications identified during the COVID-19 pandemic and the resulting switch to remote learning within the program at University of Naples Federico II in 2020, it is shown how combining narrative elements with experiential e-learning principles can result in increased engagement, motivation and sense of community in learners. Using the example of an individual learning unit - a Challenge - considerations from overall course design down to day-to-day learning activities within the course are presented. For the future, the authors indicate action points to develop this model into an Emergent Narrative System for designing narratively driven and experiential software development education programs and indicate areas of further research on learning activity design for blended or remote learning experiences.
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Bychok, Alla. "Application of teaching methods and tools in "Linguistic study" classes (german language) in the training of students of the specialty "Business communications and translation"." ScienceRise: Pedagogical Education, no. 5 (56) (September 30, 2023): 25–28. http://dx.doi.org/10.15587/2519-4984.2023.293255.
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During the training of highly qualified specialists of the "Business Communications and Translation" program, the course "Linguistic Studies (in German) is studied. In this course, teaching methods and tools are widely used to ensure perception and consolidation with the help of feedback and self-control and taking into account the individual capabilities of students of authentic material of a country science nature. The aforementioned discipline contributes to the formation of communicative and translation competence for effective communication, as well as adequate translation and mutual understanding. Thus, in classes, those methods and teaching tools are widely used, which provide an opportunity to improve students' communication skills in combination with grammar skills.
In our study, the methods and means of education are considered through the prism of training students – future translators. This makes it possible to prepare qualified and competitive translators for work on the world market of labour and services with appropriate interdisciplinary coordination of all cycles of humanitarian and specialized educational disciplines. It is a well-known fact, that perfect command of a foreign language involves not only the knowledge and ability of students to correctly use lexical units in combination with grammatical constructions at the level necessary for oral and written communication. In the educational process, students learn to perceive information of authentic content by ear and improve their reproduction skills. In practical classes, future specialists learn to model professional situations in German in order to prepare for foreign language professional communication, as well as when writing business letters, drawing up annotations, able to conduct dialog-conversation, presentation-advertising and presentation-report.
When training future translators, it is essential to evaluate the achievements of the culture of native speakers in German-speaking countries, to understand its essence, meaning and role for humanity. The fact of awareness of the importance of using information and computer technologies in order to improve professional activity is integral. It is also worth paying attention to the personal traits of the communicator - the future translator: features of the use of oratory, sociability, self-development skills and self-evaluation in certain professional and communicative situations. Such methods as "Brain-ring", press conference, round aquarium, simulation games, game design, trainings, creation of a situation of success, etc. contribute to this. The following tools are important: the Internet, virtual simulators, audio and video recordings of a creative direction, video conferences, presentations
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Carlsmith, Christopher. "Mocking Pope And Preacher." Teaching History: A Journal of Methods 31, no. 1 (April 1, 2006): 3–18. http://dx.doi.org/10.33043/th.31.1.3-18.
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As we enter the twenty-first century, students increasingly rely upon visual imagery for their understanding of past (and present) events. My students can quote confidently from "Troy," "Alexander," "Amistad," and "JFK" to illustrate their knowledge of Classical Greek or American life, even as they struggle to memorize a basic chronology or analyze a written document. Although we might bemoan the rise of television, video games, and "McNewspapers" that favor style over substance, such reliance upon visual information is hardly unique to our era. Editorial cartoons, posters, and pamphlets for centuries have simplified complex ideas or debates into recognizable "image bytes." Similarly, in earlier times, Roman bas-reliefs, Byzantine icons, medieval stained glass, and Renaissance frescoes conveyed intricate theological and political concepts to a largely illiterate population. Textual sources remain fundamental to the study of history, but teaching students to "read" visual primary sources can provoke their curiosity and enhance their understanding of complex issues. In addition to printed documents (i.e., maps, cartoons, engravings), visual primary sources might include sculpture, paintings, numismatics, architectural designs, and so forth. Because coins, cartoons, and buildings were often designed for mass viewing, analysis of visual primary sources not only teaches students a new skill but also allows us to view historical developments as they were presented to non-elite men and women. Nowhere is the impact of visual imagery more evident than in the religious conflict of sixteenth-century Europe. Protestants and Catholics alike produced thousands of images designed to glorify their own position and demonize their opponents. Fueled by the invention of the printing press and inexpensive paper, printers and preachers could produce broadsheets and pamphlets that even day laborers and widows could afford. This explosion of "popular" propaganda might or might not represent an accurate sampling of popular opinion in the sixteenth century. It is difficult, and perhaps impossible, to accurately interpret what Everyman (and Everywoman) believed five hundred years ago, particularly about a topic at once as personal and as universal as salvation. Nevertheless, there is no doubt that the plethora of cheap, accessible images fundamentally transformed the transmission of ideas. In the same way that television and the Internet revolutionized (and democratized) the acquisition of information in recent decades, pamphlets with simple line drawings expanded the distribution of new concepts more broadly.
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Gee, James Paul. "Video Games, Design, and Aesthetic Experience." Rivista di estetica, no. 63 (December 1, 2016): 149–60. http://dx.doi.org/10.4000/estetica.1312.
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Fernandez-Luque, L., T. Tøllefsen, and E. Brox. "Healthy Gaming – Video Game Design to promote Health." Applied Clinical Informatics 02, no. 02 (2011): 128–42. http://dx.doi.org/10.4338/aci-2010-10-r-0060.
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Summary Background: There is an increasing interest in health games including simulation tools, games for specific conditions, persuasive games to promote a healthy life style or exergames where physical exercise is used to control the game. Objective: The objective of the article is to review current literature about available health games and the impact related to game design principles as well as some educational theory aspects. Methods: Literature from the big databases and known sites with games for health has been searched to find articles about games for health purposes. The focus has been on educational games, persuasive games and exergames as well as articles describing game design principles. Results: The medical objectives can either be a part of the game theme (intrinsic) or be totally dispatched (extrinsic), and particularly persuasive games seem to use extrinsic game design. Peer support is important, but there is only limited research on multiplayer health games. Evaluation of health games can be both medical and technical, and the focus will depend on the game purpose. Conclusion: There is still not enough evidence to conclude which design principles work for what purposes since most of the literature in health serious games does not specify design methodologies, but it seems that extrinsic methods work in persuasion. However, when designing health care games it is important to define both the target group and main objective, and then design a game accordingly using sound game design principles, but also utilizing design elements to enhance learning and persuasion. A collaboration with health professionals from an early design stage is necessary both to ensure that the content is valid and to have the game validated from a clinical viewpoint. Patients need to be involved, especially to improve usability. More research should be done on social aspects in health games, both related to learning and persuasion.
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Chandrasekharan, Sanjay, Alexandra Mazalek, Michael Nitsche, Yanfeng Chen, and Apara Ranjan. "Ideomotor design." Pragmatics and Cognition 18, no. 2 (August 13, 2010): 313–39. http://dx.doi.org/10.1075/pc.18.2.04cha.
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Recent experiments show video games have a range of positive cognitive effects, such as improvement in attention, spatial cognition and mental rotation, and also overcoming of cognitive disabilities such as fear of flying. Further, game environments are now being used to generate scientific discoveries, and bring about novel phenomenological effects, such as out-of-body experiences. These advances provide interesting interaction design possibilities for video games. However, since the cognitive mechanisms underlying these experimental effects are unknown, it is difficult to systematically derive novel systems and interaction designs based on these results. We review the emerging cognitive mechanism known as common coding (which proposes a common neural representation connecting execution, perception and imagination of movements), and outline how this mechanism could provide an integrated account of the cognitive effects of video games. We then illustrate, using two ongoing projects, how novel video game interaction designs could be derived by extending common coding theory.
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França, Cíntia, Sadaf Ashraf, Francisco Santos, Mara Dionísio, Andreas Ihle, Adilson Marques, Marcelo de Maio Nascimento, and Élvio Rúbio Gouveia. "Estimated Energy Expenditure in Youth While Playing Active Video Games: A Systematic Review." Sports 12, no. 2 (January 25, 2024): 39. http://dx.doi.org/10.3390/sports12020039.
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Sedentary behavior and inadequate energy expenditure are serious global public health concerns among youngsters. The exponential growth in technology emerges as a valuable opportunity to foster physical activity, particularly through active video games. We performed a systematic review following the Preferred Reporting Items for Systematic Reviews and Meta-Analyses guidelines in PubMed, Web of Science, Cochrane, and Scopus to provide a comprehensive view of the literature on energy expenditure levels among adolescents while playing active video games. Among the 574 manuscripts identified at the first screening stage, 23 were retained for analysis. Ten studies were characterized by longitudinal and thirteen by cross-sectional designs. The results showed that short-term active video games elicited energy expenditure values comparable to moderate-intensity physical activity (3–6 METs). However, in intervention programs (with at least six weeks) the results indicate no significant effects of active video games on youngsters’ energy expenditure levels and physical activity profiles between baseline and follow-up assessments. Overall, active video games based on sports and dance were the most used, and boys tended to achieve higher energy expenditure than girls. The diversity of methods implemented limits comparing results and drawing generalized conclusions. However, considering its attractiveness to youth, active video games might emerge as a complementary tool to traditional physical activities promoted in schools and local communities. Details regarding gender differences and contradictory results of longitudinal approaches should be considered in future research based on standardized methods.
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Davis, Summer J., Jill A. Scott, Karen E. Wohlwend, and Casey M. Pennington. "Bringing Joy to School: Engaging K–16 Learners through Maker Literacies and Playshops." Teachers College Record: The Voice of Scholarship in Education 123, no. 3 (March 2021): 1–23. http://dx.doi.org/10.1177/016146812112300309.
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Background For too many youths, school has become a place for students to withstand and kill time until they can leave and learn about things that matter to them. Instead, schools should be inviting and exciting places to learn but also nurturing spaces where all students feel they belong. Drawing upon expanded definition of literacies that include play and making, this study examines how the maker literacies—media production where multimodal, digital, and artifact-based literacies converge—creates opportunities for youth to critically engage their favorite toys and media in school. While the preponderance of research on media literacy has focused on critical consumption of multimedia, research on play-based literacies has focused largely on early childhood (K–2) spaces. This article examines student engagement in the intersection of critical media production and play-based literacies for older youth, specifically play, toymaking, and filmmaking in classroom makerspaces. Purpose The goal of the ongoing Literacy Playshop studies is to explore the meaning-making and participation that youth experience through production-oriented maker literacies (e.g., toy(re)making, filmmaking) in P–12 settings. Maker literacies enable students to critically respond to pervasive stereotypes in popular media by producing their own films by “toyhacking” or remaking physical features of toys that also enable revised character identities and alternative storylines. The research within this article aimed to understand how preservice and in-service teachers approach play-based media production as a participatory literacy for students in classroom makerspaces. Research Design Using mediated discourse analysis, toy remaking and filmmaking is examined to unpack the tangles of meanings, bodies, and toys in the action texts and imaginary contexts of play. Researchers looked across three sites, including a third-grade classroom, a literacy methods course for preservice elementary teachers, and a methods course for secondary English/Language Arts preservice teachers, all of which implemented a curricular framework for play-based makerspaces. Using ethnographic methods, multimodal video analysis, and mediated discourse analysis, researchers compared critical media literacy strategies in these three sites. Data sources included: video data of students’ toyhacking, hacked toys, student-created films centering toys, researcher fieldnotes, written reflections of preservice teachers, and interviews with the in-service teacher. Findings Findings suggest student engagement was significantly increased through the collaborative digital film process, which often gave preservice and inservice teachers the chance to expand their conception of literacy. Teaching children and preservice teachers to engage in play-based literacies allowed participants to more actively participate in their own education, assisting them in creating their own media, responding critically, productively, and multimodally to a world filled with popular animated films, television, video games, and digital media texts. Conclusions Overall, findings align with calls to reconceptualize and update literacy curricula across K–12 and teacher education programs to center student meaning-making, agency, and critical response. More research is needed to understand the intersections of participatory literacies, mass media, critical literacy, and social justice.
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Del-Moral, M. Esther, and Christian RodrÍguez-GonzÁlez. "War Video Games." Journal on Computing and Cultural Heritage 13, no. 4 (December 8, 2020): 1–13. http://dx.doi.org/10.1145/3404196.
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Alejski, Jakub. "Prototype worlds of video games." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 29, no. 38 (June 15, 2021): 33–42. http://dx.doi.org/10.14746/i.2021.38.02.
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In this paper the author analyzes the phenomenon of prototype worlds – synthetic environments of simulators, video games and other types of software – used to conduct experiments at the level of user sensorium, environmental physics and social design. The author presents the evolution of the concept, beginning with Buckminister Fuller’s World Game project, moving through media experiments in the field of game design, and finally presenting contemporary applications (such as a drone pilot training project for the U.S. Air Force) and their implications.
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Capasso-Ballesteros, Italo Felipe, and Fernando De la Rosa-Rosero. "Semi-automatic construction of video game design prototypes with MaruGen." Revista Facultad de Ingeniería Universidad de Antioquia, no. 99 (March 27, 2020): 9–20. http://dx.doi.org/10.17533/udea.redin.20200369.
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Machinations Ruleset Generator (MaruGen) is a semi-automatic system for the generation of mechanics, rules, spaces (environments), and missions for video games. The objective of this system is to offer an expression mechanism for the video game designer role based on the definition of rules, and the ability to explore the concepts of progression and emergence in video games by using a formal, usable, and defined tool to design games with innovative and complex elements, and behaviors defined from combinations of basic elements. Based on the expressed designs and with the participation of programmers and video game artists, MaruGen allows the generation of agile video game prototypes in the Unity game engine. These prototypes can be analyzed by the entire workgroup to look for games with diverse complexities that make them attractive to their users. MaruGen is based on the expression of rules on elements of interest in video games and the rewriting mechanism using L-Systems for the generation of procedural content. MaruGen was evaluated in the construction of the Cubic Explorer video game and tested by gamers and video game developers during the Game Jam Ludum Dare 38.
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Dankov, Yavor. "The Design Process of Educational Video Games in Cultural Heritage." Digital Presentation and Preservation of Cultural and Scientific Heritage 13 (September 1, 2023): 229–38. http://dx.doi.org/10.55630/dipp.2023.13.22.
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This paper presents a summary model of the design process of educational video games for CH . The model is based on the use of the Classification of Educational Video Games for Cultural Heritage (CH) and the Design Recommendations included in it, described in a previous study by the author of this paper. The summary model focuses on CH objects that form the theme of the educational video game. Designers should carefully and purposefully research and analyze the CH objects, use the classification, and follow the design recommendations to design educational video games for CH, following the described design stages in the presented summary model of the design process. The paper also presents an appropriate example of using the summary model in applying it to design a new educational maze video game dedicated to CH object. The proposed summary model can serve as a starting point in establishing the design process of educational video games for CH and direct designers and creators of such games in the overall design process. Based on the classification and the design recommendations intended for the designers, the summary model presents essential design stages that designers should follow in designing and developing informative, purposeful, and effective educational video games in CH.
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Treglia, Eugenia, Angela Magnanini, and Gianni Caione. "Video Games and Accessibility." International Journal of Digital Literacy and Digital Competence 10, no. 2 (April 2019): 29–36. http://dx.doi.org/10.4018/ijdldc.2019040103.
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This essay aims, through a hermeneutic-argumentative approach, to present some ideas for inclusive teaching, starting with an educational re-evaluation of video games, for years considered a mere form of entertainment. Their use as educational mediators is a useful response to the needs of a school that is increasingly aware of the educational needs of all pupils. Through the recovery of the recreational dimension and the Accessibility paradigm, it is possible to offer teachers guidance and design insights in order to create educational itineraries of inclusion, finding in video games a possible tool capable of engaging the class in common activities, on the basis of equal opportunities and active participation, additionally for the development of digital skills.
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Evans, Michael A., Anderson Norton, Mido Chang, Kirby Deater-Deckard, and Osman Balci. "Youth and Video Games." Zeitschrift für Psychologie 221, no. 2 (January 2013): 98–106. http://dx.doi.org/10.1027/2151-2604/a000135.
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Recent research suggests that video games and social media may influence youths’ lives in ways that deserve attention from psychologists, mathematics educators, and learning scientists. For example, positive effects on engagement, which can increase probability of mathematics proficiency, have been reported in the literature. We examine this issue with emphasis on the effects of video game play on youth learning and engagement; what features, attributes, and mechanisms of video games have been identified as most salient for these factors; and how scholarship in the domain might design more rigorous studies to determine the effects of video game play on learning, achievement, and engagement. We include a description of our work developing educational games for middle school youth struggling to become algebra-ready.
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Kou, Yue. "An Analysis of Character Design in Video Games." Communications in Humanities Research 14, no. 1 (November 20, 2023): 186–91. http://dx.doi.org/10.54254/2753-7064/14/20230455.
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Video games are a very common entertainment activity in life, and with the advancement of technology, they have become available on all kinds of electronic devices. Every year, countless console, online, and mobile games are released to great acclaim in the gamer community, and many games that have been released for many years are still regarded as masterpieces by their enthusiasts. The success of a game and its appeal to gamers depend in large part on the quality of the games CG art. Game CG art often includes scenes, props, characters, creatures, buildings, and other types of art, and excellent design attracts more peoples attention. As a new industry in the 21st century, game original art is now actively developing, but research on game original art, especially game character images, is relatively rare. This paper will focus on the character design in in-game original art by comparing the character images in different kinds of games, investigating how much players like the characters, and searching the number of fanarts in the fan community to analyze the types of characters that players of different age groups like and explore how to design more attractive characters.
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Nadir, Hamid. "Learning game design while playing games." Journal of Technology-Integrated Lessons and Teaching 3, no. 1 (June 25, 2024): 3–20. http://dx.doi.org/10.13001/jtilt.v3i1.8485.
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This course investigated game design competencies of graduate students as they engaged in gameplay and learned about game-related concepts, including gamified approaches, game-based learning (GBL), design thinking, maker technologies, and game designs. Students were introduced to the week's topic beforehand and collaborated on design projects during class sessions. Students played a different game each week, focusing mainly on game mechanics. Through the utilization of foundational readings, video tutorials, discussions, assignments, and guidance from the instructor and a guest speaker, students developed a comprehensive understanding of game design principles. This understanding ultimately led them to design both board and video games. No prior programming or game design experience was necessary.
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Maloney, Marcus. "Ambivalent Violence in Contemporary Game Design." Games and Culture 14, no. 1 (May 17, 2016): 26–45. http://dx.doi.org/10.1177/1555412016647848.
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Through a textual analysis of three noted examples— Bioshock, Spec Ops: The Line, and Grand Theft Auto V—This article explores the capacity for ambivalence in violent video games. The analyses bring into dialogue film scholarship which has sought to understand a comparable trend in cinema with games scholarship, most notably Darley’s discussion of narrative “decentering” and Bogost’s notion of “procedural rhetoric.” In all three games, the core gameplay in which players are rewarded for repetition of violent behaviors is juxtaposed with ambivalent narrative-contextual aspects. However, in the more overtly “multidimensional” video games medium, this juxtaposition plays out in a more fractured manner than in the flatter visual space of cinema.
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Li, Jiaye. "Research on the Gameplay and Art Style of Survival Games." Communications in Humanities Research 5, no. 1 (September 14, 2023): 264–67. http://dx.doi.org/10.54254/2753-7064/5/20230266.
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In modern society, due to the development of human technology and video games, many people have started to know and play video games. One of the main reasons is that video games are a form of entertainment that only requires a computer or a phone, making them a popular activity to do when tired, relaxing, or just passing time. Additionally, there are many types of video games, including sandbox, real-time strategy, shooters, multiplayer online battle arenas, role-playing games, simulations, sports games, puzzlers, party games, action-adventure games, survival games, and platforms. However, survival games are not as well-known as some other types of games. They are a wide category of games that are set in a wide map and force the player to start an adventure with limited equipment. The main parts of a survival game include the background, character, plot, art design, game concept, and design. The way to investigate survival games is through a review of relevant literature and articles. Therefore, the conclusion of this research paper will be a summary of the game design and art style of survival games.
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Weintrop, David, Nathan Holbert, Michael S. Horn, and Uri Wilensky. "Computational Thinking in Constructionist Video Games." International Journal of Game-Based Learning 6, no. 1 (January 2016): 1–17. http://dx.doi.org/10.4018/ijgbl.2016010101.
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Video games offer an exciting opportunity for learners to engage in computational thinking in informal contexts. This paper describes a genre of learning environments called constructionist video games that are especially well suited for developing learners' computational thinking skills. These games blend features of conventional video games with learning and design theory from the constructionist tradition, making the construction of in-game artifacts the core activity of gameplay. Along with defining the constructionist video game, the authors present three design principles central to thier conception of the genre: the construction of personally meaningful computational artifacts, the centrality of powerful ideas, and the opportunity for learner-directed exploration. Using studies conducted with two constructionist video games, the authors show how players used in-game construction tools to design complex artifacts as part of game play, and highlight the computational thinking strategies they engaged in to overcome game challenges.
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Zaky, Yara Ahmed Mohebeldin, and Ensaf Nasser Al Mulhim. "Teacher Education: Design Thinking Approach in Makerspaces to Produce Quality Educational Video Games with a Visual Identity and Improve Design Thinking Skills." Education Sciences 14, no. 7 (July 2, 2024): 718. http://dx.doi.org/10.3390/educsci14070718.
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Video games participate effectively in the educational process due to their attractive visual features, but there are many challenges that teachers face when using them. Among these challenges is designing games to suit the goals of the educational process and respecting societal identity. Although there are many studies on educational video games, limited approaches that enhance teachers’ education have been explored. The current study focuses on stimulating pre-service teachers’ design thinking skills and improving the quality of their video games that have a visual identity by incorporating a design thinking approach into a makerspace. This study followed a quasi-experimental approach, in which 38 pre-service teachers from the departments of Art Education, Early Childhood Education, and Educational Technology at the College of Education at King Faisal University in Saudi Arabia participated. They designed and produced educational video games that consider visual identity and completed the design thinking scale. The results showed that there was great cooperation between participants from all disciplines in the work team, which affected the generation of creative and innovative ideas and the quality of the educational video games. This is due to the use of design thinking elements such as empathy, identification, ideation, and prototyping with different tools in the makerspace. This study calls for the use of a design thinking approach in the classroom learning space for teachers’ education, discusses implications for educational practices, and recommends further research in this area.
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Álvarez, Ricardo, and Fábio Duarte. "Spatial Design and Placemaking: Learning From Video Games." Space and Culture 21, no. 3 (November 10, 2017): 208–32. http://dx.doi.org/10.1177/1206331217736746.
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Spatial design and placemaking are fundamental to create a vibrant urban life, whereas video games are designed primarily for temporary amusement. However, they both share the same essence of creating large-scale artificial environments for human interaction as their fundamental value. Video game developers have been successfully using spatial design tools to create virtual environments to engage players and build narratives, understanding, and appropriating many characteristics of what makes a place tick. In this article, we argue that spatial design and placemaking could learn from video games development, by incorporating features ranging from storytelling and multiple viewpoints to participatory practices and flexible design.
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Ozdowska, Anne, Penny Sweetser, and Mahsuum Daiiani. "A Scoping Review of Heuristics in Videos Games Research: Definitions, Development, Application, and Operationalisation." Proceedings of the ACM on Human-Computer Interaction 7, CHI PLAY (September 29, 2023): 402–24. http://dx.doi.org/10.1145/3611035.
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Heuristics present a cheap and effective way of evaluating usability. However, in video games, evaluating unique player experiences that are dependent on individual preferences and abilities presents a challenge that goes beyond usability. Video games are more than just functional software, so games heuristics have been adapted to help examine functionality and experience. This paper reports on how papers published in the ACM Digital Library between 2012 and 2022 develop and apply heuristics in video games research. We found that heuristics are often used outside their intended purpose of being used in an expert evaluation. Instead, they are used as survey instruments, interview guides, codes for thematic analysis, and as design guidelines. This research contributes to HCI and video games research by distinguishing the terms design guidelines and design principles from heuristics. We make recommendations for researchers around developing heuristics and conducting video game heuristic evaluations. We propose a method for operationalising heuristics and make recommendations for the implementation of heuristics to improve the quality of video game heuristic reviews.
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Ulaş, Ekber Servet. "Virtual environment design and storytelling in video games." Metaverse Creativity 4, no. 1 (June 1, 2014): 75–91. http://dx.doi.org/10.1386/mvcr.4.1.75_1.
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Ng, Y. Y., C. W. Khong, and H. Thwaites. "A Review of Affective Design towards Video Games." Procedia - Social and Behavioral Sciences 51 (2012): 687–91. http://dx.doi.org/10.1016/j.sbspro.2012.08.225.
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Hsu, Shang Hwa, Ching-Han Kao, and Muh-Cherng Wu. "Design facial appearance for roles in video games." Expert Systems with Applications 36, no. 3 (April 2009): 4929–34. http://dx.doi.org/10.1016/j.eswa.2008.05.049.
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McDaniel, Rudy, and Stephen M. Fiore. "Best Practices for the Design and Development of Ethical Learning Video Games." International Journal of Cyber Ethics in Education 2, no. 4 (October 2012): 1–23. http://dx.doi.org/10.4018/ijcee.2012100101.
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This article builds upon earlier research (McDaniel & Fiore, 2010) in which the authors presented case studies focused on the design and development of two original ethical learning video games. Through this case study and a review of relevant literature, the authors explored the content creation of, and theoretical rationale for, the design and development of ethics games. Both games were geared toward an undergraduate student audience as casual learning games to be completed in a few hours of gameplay. To update and expand this original work, the authors reviewed contemporary research on identity, cognition, and self in relation to video game environments as well as literature dealing more specifically with ethics and video games. From this literature base and their applied design experiences, the authors offer ten guidelines as best practices to follow for aspiring ethics game developers.
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Chen, Yuki, Jonaya Kemper, Erik Harpstead, Ross Higashi, and Judith Uchidiuno. "Designing Black Children in Video Games." Interactions 30, no. 5 (August 24, 2023): 54–56. http://dx.doi.org/10.1145/3610968.
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Community + Culture features practitioner perspectives on designing technologies for and with communities. We highlight compelling projects and provocative points of view that speak to both community technology practice and the interaction design field as a whole. --- Sheena Erete, Editor
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Wilson, Jason. "Indie Rocks! Mapping Independent Video Game Design." Media International Australia 115, no. 1 (May 2005): 109–22. http://dx.doi.org/10.1177/1329878x0511500111.
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Though many video games scholars and journalists tend to train their sights on ‘big gaming’, there is a vibrant and varied sector of independent game design, production and distribution. Indie gaming is not a unitary field and, as well as producing a diverse range of games, indie designers occupy a range of positions vis-à-vis mainstream video gaming. Therefore, while this article gives examples of this diversity, it is by no means an exhaustive account. Industry watchers and events are together suggesting that low-cost, independent modes of production will become increasingly important and prevalent in the immediate future. Scholars and practitioners alike will do well to understand the historical trajectories of indie design, and to keep pace with its present and future diversity.
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Anderson, Sky LaRell. "Portraying Mental Illness in Video Games." Loading 13, no. 21 (September 14, 2020): 20–33. http://dx.doi.org/10.7202/1071449ar.
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This exploratory study examines three video games as case studies for how video games may portray mental illness through interactive, non-narrative design features. The analysis not only reports findings but also offers an evaluation for how video games might improve in how they depict mental illness. The games studied are What Remains of Edith Finch, Hellblade: Senua’s Sacrifice, and Doki Doki Literature Club. The analysis identifies how these games use audiovisual styles, control systems, game goals, and procedurality to portray mental illness. A report of the discovered themes precedes a discussion of innovations and weaknesses of those depictions of mental illness.
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Prena, Kelsey, and John L. Sherry. "Parental perspectives on video game genre preferences and motivations of children with Down syndrome." Journal of Enabling Technologies 12, no. 1 (March 19, 2018): 1–9. http://dx.doi.org/10.1108/jet-08-2017-0034.
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Purpose Video games have the potential to improve brain plasticity in people with Down syndrome. However, little has been done to understand video game preferences in this population. The purpose of this paper is to describe a brief exploration of video game preferences in children with Down syndrome. Design/methodology/approach An online survey was used to collect information from parents of children with Down syndrome about their child’s favorite video games and why they like video games. Findings Children with Down syndrome, as reported by their parents, most frequently play action/adventure games, and have several motivating factors for game play including overcoming challenges to gain reward and having fun engaging in the game world. Research limitations/implications The current study only recruited from a small sample of the Down syndrome population and therefore may lack generalizability. Practical implications Gaining a better understanding of which aspects of video games appeal to children with Down syndrome. Knowing what they prefer will enable us to design games that are engaging and cognitively beneficial. Originality/value This paper proposes the importance of video game play to promote development in children with Down syndrome.
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Tichon, Jennifer G., and Timothy Mavin. "Experiencing Resilience via Video Games." Social Science Computer Review 35, no. 5 (August 18, 2016): 666–75. http://dx.doi.org/10.1177/0894439316664507.
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The purpose of this study was to investigate the influence of games, where characters must overcome adversity, on player’s perceptions of their psychological resilience. Located on the PlayStation blog (blog.us.playstation.com ), the online PlayStation Network (PSN) community group focuses on video gamers unique stories and experiences. Using a qualitative and exploratory design, blogs posted between March 2012 and January 2013 were analyzed for content describing experiences via gameplay that members reported made them feel more resilient. Both social and emotional aspects of resilience were discussed with players reporting game experiences had helped them feel more confident in their abilities. Many also associated themselves with the same resilient traits as their characters display in games. A range of popular off-the-shelf video games were reported as helpful in providing players with the opportunity to feel confident under pressure and, importantly, some players reported transferring these positive psychological effects to their real-world lives.
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Tunnel, Raimond-Hendrik, and Ulrich Norbisrath. "Classification of Video Games Bachelor’s Curricula." Journal of Education and Learning 12, no. 2 (February 13, 2023): 39. http://dx.doi.org/10.5539/jel.v12n2p39.
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As in any professional field, aspiring video game artists, designers, and developers must acquire the necessary skills and knowledge for a successful career. Higher education institutions offer varying video game Bachelor’s degree programs to meet the diverse needs of the industry. Our objective in this study was to explore these curricula to gain insight into and understanding of the contemporary video game higher education landscape.
We explored 113 Bachelor’s degree curricula in Europe that had publicly available information in English about their courses. We classified the courses within each curriculum using ten devised classifiers based on the IGDA Curriculum Framework 2008 but modified them to suit our interests. The content of the classified curricula was then used to create curriculum profiles – data vectors that characterize a curriculum based on its contents. These profiles allowed for hierarchical clustering and principal component analysis (PCA) to identify and investigate the three common types of video game curricula: video game art, interdisciplinary video game design, and video game technology/programming.
Our results indicate that art and programming curricula are highly specialized, with clear distinctions in yielding Bachelor of Arts and Bachelor of Science degrees. Curricula focused on interdisciplinary video game design do not have such clear distinctions in the degree titles and content specialization. They are more varied in their profiles and tend to bridge the gap between art and programming curricula, reflecting the interdisciplinary nature of game design as a profession.
Compared to results from previous studies, we found that contemporary curricula place a greater emphasis on graduation projects, internships, and soft skills. Our findings provide an overview of the current state of higher education in video games, which may prove helpful for those working with or interested in these curricula.
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Dankov, Yavor, and Andjela Dankova. "Educational Video Games as Tools for Raising Awareness of the Protection and Preservation of Cultural Heritage." Digital Presentation and Preservation of Cultural and Scientific Heritage 13 (September 1, 2023): 219–28. http://dx.doi.org/10.55630/dipp.2023.13.21.
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This paper focuses on educational video games with a thematic orientation related to conserving and preserving Cultural Heritage (CH). Educational video games are effective and contemporary tools for influencing and educating users. Not only the educational content is integrated into these games, but they also embody the pedagogical and moral messages of the educator, which are transmitted to the learners in an entertainment game. This paper proposes a classification of educational video games in the domain of cultural heritage according to the significance and importance of Cultural Heritage objects in the three categories, presented in detail in the paper. The recommendations to designers included in the classification will help them purposefully design and develop educational video games for CH. These games will have pedagogical principles and form additional knowledge, values, and attitude in users towards the conservation of the CH at international, national, and local levels. The proposed classification of educational video games for CH will promote CH-related educational video games and provide ideas and opportunities for future developments for such educational video games. In this way, educational video games for CH will serve as powerful tools for raising awareness of protecting and preserving Cultural heritage.
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Pavlidis, Theo. "Teaching graphics through video games." ACM SIGGRAPH Computer Graphics 31, no. 3 (August 1997): 56–57. http://dx.doi.org/10.1145/262171.262206.
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