Game design

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Performing design: game design, practice, praxis and the theatre of the impressed

Performing design: game design, practice, praxis and the theatre of the impressed

problem that we encounter is the meaning of ‘thorough’ in context. The majority of our student participants certainly have intimate familiarity with the games they play and can recite individual experience in detail. They are less skilled at the more designerly approach where the goal of understanding is not about tacit player appreciation of the whole experience but must focus on understanding the way that all the elements of the design work together. In common with the majority of game design courses (and game development courses) this goal is addressed via a variety of analytical approaches. The typical starting point is playing a wide selection of games and appraising them in terms of their elements eg mechanics, aesthetics, stories and use of technology. 2 Ashton’s work on students as players and designers offers an excellent discussion on this as an educational process. However, while this stage is essential, it tends to be geared towards the outcomes described earlier: capstone projects or communication-based projects such as written reports, perhaps even design examples. We do not appear to have our own expressive form. And we immediately encounter issues in terms of the goal of synthesis where the normal accepted form of expression is written theory or higher research based practice. This encounter is an ontological mismatch between the available educational practices and the educational goals.
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EDGOM – Game Design Accelerates Students’ Performance

EDGOM – Game Design Accelerates Students’ Performance

included. Edutainment depends heavily on various media like television programs, video games, films, music, multimedia, websites and computer software [11]. Game is chosen because the performance of semester 1 students was not good. Figure 1 shows the number of students for each grade based on Office Automation subject. The data was taken for three semesters namely July 2008, January 2009, and July 2009. Most of the students got B-, C+, and C. Only a small number of them managed to score A+, A, and A-. Due to this reason, it is hoped that with the implementation of EDGOM in the learning environment can increase students’ performance. Before any development of games can start, it is crucial to know the design aspects that are suitable for games. The purpose of this paper is to identify factors regarding game design that can enhance the learning process.
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Exploring the sense of immersion of MMORPG game design

Exploring the sense of immersion of MMORPG game design

frustrated and depressed. I totally understood his feeling because he had already got lever 10. Finally he decided to quit the game. Actually, the MMORPG game without immediate feedback or no feedback is considered to be extremely serious problems in the game. It will profoundly affect the sense of immersion of game design. Secondly, frequent feedback in some situation in the game is unaccepted by the players. Actually, successful feedback will promote the sense of immersion of game design and satisfy as many appetences as possible. Conversely, if system pops up the feedback table each time in some tache, the player will have the feeling that the system is fussy and inconvenient. It will break players’ the sense of immersion. Finally, the length of feedback also plays an important role in sense of immersion in the MMORPG game design. According to the previous evaluating, the length of feedback for MMORPG game, huaxia online is almost 3-4 sec. the play has to close the pop up feedback due to the length of feedback is too long. It will accidently disrupt the operation in the game, and It will affect the achievement of sense of immersion of MMORPG game design. Nevertheless, the length of feedback can not be too short. If the length of feedback is too short-living, the player do not have enough time to observe the information feedback and they can not distinguish whether the feedback is a useful indicator or not. Thus, the MMORPG game design should test and setup an appropriate length of feedback and code (timing out, sign out). Players can clearly notice the content, at the same time the player doesn’t have to close the pop up feedback.
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Game Design Lineages: Minecraft’s Inventory

Game Design Lineages: Minecraft’s Inventory

Understanding games and game design by examining player practices and constructing game design lineages does not entail any dramatic sea change to the way games are made or studied, it merely involves foregrounding what is all too commonly dismissed: games are connected by historical lineages sustained by common player practices, which is to say, things the player learns to do consistently. The game designer, a player themselves, recreates the player practices learned from other games, as well as expanding and intentionally subverting them through the application of new creative visions, conditioned in part by the affordances offered by new material constraints. Even when a game designer thinks they are pulling together isolatable atomic elements of a game design, they may simply be ignoring the practices those elements belong to, and which are required to make sense of them. The game design lineage method invites both researchers and game designers to reconsider the role of history and culture in understanding games. Not only do game design lineages represent a new research tool for understanding the history of games and the practices of game design, they potentially have significant relevance for commercial game development. Certain games succeeded commercially while others did not: the reasons for this are not always (perhaps, not ever) entirely reducible to the design decisions or the quality of implementation. Sometimes the prevailing player practices created difficulties within the marketplace because a certain game did not align with player expectations, while other games with apparently conservative designs (i.e. designs that did not innovate) enjoyed commercial success despite the frequent claims of players to prefer originality. We leave open the question of how these aspects of commercial success could be researched, or even whether definitive answers are available to researchers. Nonetheless, the preceding discussion makes a case for the influence of player practices and game design lineages upon the commercial success of Minecraft that at the very least offers a new perspective that commercial game designers and game studies scholars may want to seriously consider.
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Assessment of Co‑Creativity in the Process of Game Design

Assessment of Co‑Creativity in the Process of Game Design

Abstract: We consider game design as a sociocultural and knowledge modelling activity, engaging participants in the design of a scenario and a game universe based on a real or imaginary socio-historical context, where characters can introduce life narratives and interaction that display either known social realities or entirely new ones. In this research, participants of the co-creation activity are Malaysian students who were working in groups to design game-based learning resources for rural school children. After the co-creativity activity, the students were invited to answer the co-creativity scale, an adapted version of the Assessment Scale of Creative Collaboration (ASCC), combining both the co-creativity factors and learners’ experiences on their interests, and difficulties they faced during the co-creativity process. The preliminary results showed a high diversity on the participants’ attitudes towards collaboration, especially related to their preferences towards individual or collaborative work.
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The Information Behavior of Video Game Design Undergraduates

The Information Behavior of Video Game Design Undergraduates

Academic librarians at institutions with video game design programs should consider becoming familiar with the curriculum. It should be noted which distinction the program falls under: video game design or development. Though students use them interchangeably, the official distinction may help librarians focus their collection. Even if the assignments are different that the ones at this institution, the direct connection between these students’ information needs and their assignments shows how much power they have over the student. Finding what programs and software the students are using, whether it is decreed by the courses or by student preference, is important. In order to make a video game some type of program has to be used. As the case with any computer program, problems will arise.
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Research Through Board Game Design

Research Through Board Game Design

Whilst the discussion of the benefits of using use of play as an activity within the context of academic research has been covered wide- ly (Coulton, 2015; Fullerton et al., 2004; Gobet et al., 2004; Bogost, 2007; Nacke et al., 2009; Abt, 1970; Coulton et al., 2016) what is less developed is how games can be designed to reveal the complexity of the underlying systems that can affect our lives. In particular, this research looks into the tensions of creating a board game that both delivers an underlying rhetoric, in this case related to personal data privacy, but is also still enjoyable to play. The initial research start- ed through a consideration of how best to characterise the types of interactions in physical and virtual spaces within the context of the Internet of Things (IoT). The resulting model (Akmal & Coulton, 2018) utilised philosophy as a lens to view these ‘spaces’, and provides a tool for establishing the nature of interactions that happen within them. The aim was to assist designers in making better informed decisions when designing new IoT products and services. Given the premise of the model was highly philosophical in nature, as it used theories established by Michel Foucault to create an epistemologi- cal ground to bridge these physical and digital spaces, this present- ed a challenge when imagining how the model might be used in practice. The board game began as a way to address this challenge. What follows is a discussion of the tension of designing a game that meets our research goals but also functions as a stand-alone game. Research through Design (RtD) was utilised as a methodology as it allows constant reflection through the iterative game design and play-testing and not only acted as a way to streamline the game, but also established a number of other avenues that reinforced the initial research. This paper presents and reflects on the different decisions that had to be made in order to satisfy both elements of the challenge; a designed artefact capable of expressing research material, as well as a designed artefact that is playable as a game. Games as a medium for persuasion
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Language Games/Game Languages: Examining Game Design Epistemologies Through a ‘Wittgensteinian’ Lens

Language Games/Game Languages: Examining Game Design Epistemologies Through a ‘Wittgensteinian’ Lens

With a sense of Wittgenstein’s epistemology in tow, outlining what constitutes ‘game design’ is crucial. What can we learn by mobilizing Wittgenstein’s ‘language games’ approach to epistemology as a way to interrogate game design and the intentional structuring of games themselves? At first glance, as with many other processes, activities and rituals, game design(s) has its own languages: its own terminologies, its own discourses, its own way of addressing phenomena within the field, within a genre and within a method of development (i.e. programming tools). The way that game design is spoken about in and among designers also often varies between different development platforms, different target audiences and of course, different designers. There are also the languages of the practice of design: the manipulation and exchange of formal language transformed into action, the formation of design conventions, the following of rules, the concretization of company procedures, the abidance of etiquette, colloquial banter and the development of neologistic terminology. All of these things are situated within, even as they situate the very act of design: they are the languages and the activities constitutive of the language- game of ‘game design’. The idea of looking at the way which language shapes the way we speak and ask questions within any ‘form of life’ as outlined in Wittgenstein’s example of Greek philosophy already demonstrates a glimmer of relevance to game design--but what is it that game designers are actually doing?
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AI-based game design patterns

AI-based game design patterns

A potential critique of most of the design patterns we present is that human players can replace the AI to produce a comparable or improved experience. Why not have people act as adversaries or be the targets for imitation? We are not claiming that AI agents can pass a game-based version of the Turing test and thereby provide new or improved play experiences. Rather, we believe that a serious consideration of the strengths and limitations of various AI techniques can be the foundation for new kinds of games. By using AI as the core of gameplay experiences we can leverage how people reason about other agents (e.g., adversaries, “people” to imitate, or creatures to raise) and create gameplay based around thinking about how agents work. Just as much as human puppeteers could play the roles of AI agents (consider Jason Rohrer’s Sleep Is Death that replaces a disembodied AI as Villain with a human), humans could also manually fill in the physics used in many 2D platformer games. By creating automated processes, gameplay can be based on the reliability of these underlying systems derived from their algorithmic structure. Designing games that use AI techniques in a new way as a core of their gameplay diversifies and enriches the role of artificial intelligence in games. This not only improves the breadth of the medium with new games and genres, but also opens up new research questions, as players begin to interact with software in novel ways. Developing AI-based games also pushes us to tackle existing research problems from a new, practical perspective. Building AI agents capable of taking over from absent players in online games or developing agents capable of assisting and enhancing the creativity of other players are research problems that are very relevant to the modern games industry. By building games in which these problems are approached as a question of game design, we can evaluate solutions directly, in contexts where the problem is the very focus of the player activity, rather than being one element in a much larger game. This might prove to be a new and effective lens through which to examine other problems in game AI research.
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Video Game Design Method for Novice

Video Game Design Method for Novice

Currently, Alice is not professional game design development software, so we expect students using Alice can decide to take another course in game design to make transition to other software. Once students are motivated at the beginning stage of their video game design, the success rate to manage more complex design tools is much higher. In addition to commercial game design software from Microsoft (www.microsoft.com) and Autodesk (www.autodesk.com), readers can find the list of many open source game design software in appendix II.
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MDA: A Formal Approach to Game Design and Game Research

MDA: A Formal Approach to Game Design and Game Research

AI coders and researchers are no exception. Seemingly inconsequential decisions about data, representation, algorithms, tools, vocabulary and methodology will trickle upward, shaping the final gameplay. Similarly, all desired user experience must bottom out, somewhere, in code. As games continue to generate increasingly complex agent, object and system behavior, AI and game design merge.

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Effectiveness of Text  Representations in the Automatic Classification of Regional Game Design Trends in Video Game Reviews

Effectiveness of Text Representations in the Automatic Classification of Regional Game Design Trends in Video Game Reviews

As a result of heightened competition due to this expanding demographic and staying up to date with new technologies, the rise in development costs has dramatically increased the level of risk versus profitability (BBC News, 2007). This may in turn result in a decline in risk taking as manufacturers specialize and tailor their products for specific target markets. The selection of hardware platform does, however, have an influence on video game design in two ways parallel to other developer specific issues like regional market expectations. First, different hardware design constraints apply to the types of features available, and second individual developers have preferences towards particular platforms (Otobe, 2007). These difference are, however, mitigated to some degree by the homogenization of features such as online connectivity and 3D rendering across
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Designscape – A Suggested Game Design Prototyping Process Tool

Designscape – A Suggested Game Design Prototyping Process Tool

As mentioned before, prototyping works as a tool for the negotiation (which takes place in a topos). In a game design process countless design decisions are made, each one perceivable as a topos. When a topos is negotiated it is transformed from a node of controversy to a node of consensus. In rhetoric theory, this is related to trust. Trust may, in a rhetorical context, exist in relation to various objects such as a person, a company, a state, a tradition, an idea, etc. (Jasinski 2001), or, as in our case, in relation to a game or parts of that game. When something is turned into consensus, the participants gain trust relative to it. Trust is needed in negotiation in order to be convinced. At the same time, a negotiation develops trust among and between the participants which also gives it a social importance. (Hellspong 2008) One example could be an object in a game design process, such as an operating mechanism, a level layout, a characters ability, etc. When the object is prototyped due to a design problem, the team don’t trust its current design. When the design problem has been solved, the object has gained trust within the team. The team has a consensus around the object, that it is functional and good and trusts it enough to move along.
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Ethics as a Game? Towards a Framework for Game Design

Ethics as a Game? Towards a Framework for Game Design

Based on the above reviewed design principles and elements, the research team proposed a model that combined pedagogy as well as other identified game de- sign principles, which is reflected in Figure 1 on the next page. The preliminary goal is to establish an educational game design model for teaching ethical courses. The model combines four dimensions: authenticity, pedagogy, game narratives, and game engagement. Under authenticity, physical fidelity and cog- nitive fidelity will be the focus. Both dimensions are important in designing game for learning. Through the special virtual learning environment, the cogni- tive effect is enhanced. As for the pedagogical dimension, the focal point is on the degree to which the game will achieve the intended learning outcomes. For this objective, the game will be designed based on selected themes covered in the course of “Applied Ethics”. Upon completion of the gameplay, students will be simultaneously obtaining the assessments in which assess their learning effect.
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Pure Hardcore? wipEout HD and current game design

Pure Hardcore? wipEout HD and current game design

Interactive music dates back to classical composers like W.A. Mozart and the playful aleatoric waltz composition “Das musikalische Würfelspiel” that is attributed to his works. Aleatoric and thus dynamically recombinable music characterised some of the influential works of 20th century composers John Cage and Karlheinz Stockhausen. To let the audience interact with music has also found many applications in media art. In videogames, player interaction is mostly at the centre of the experience. Dynamic audio and adaptive music react to player actions. The boundaries between these academically well-researched kinds of interaction with audio (e.g. Collins, 2008 and Grimshaw & Schott, 2007), art- and playful interactive music games like Toshio Iwai’s Electroplankton (see Pichlmair, 2007 for a review of the game), and the wannabe musical interaction (Kayali & Pichlmair, 2008) provided in rhythm-based games like Guitar Hero are fluid. Current game design starts to recombine these established practices. Wipeout HD features several of the above aspects as users not only get feedback from the game’s sound effects but also its music and are invited to playfully experiment with their own music collection. Wipeout’s use of music thus greatly adds to player immersion.
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Game Design for Project Management Game – A Tool to Educate on Software Project Management

Game Design for Project Management Game – A Tool to Educate on Software Project Management

An activity that is marked as failed will have a penalty associated with it that depends on how far away from the activity the user currently is. If a task has internally failed in the requirements stage, and this comes to light in the testing phase, the user is now 3 phases away from the failed activity. Therefore, reflecting a real-life scenario, the resource and money cost have an x2 multiplier associated with them (or it can only be the money). The user gets some form of notification in-game, such as a mail from an employee stating that 'This activity might not have gone well', which might or might not be true, but the user can decide that it might have internally failed based on many such factors. The values of the risks and multipliers are implicit and are not shown to the user, but the game must convey these values to the user through more realistic forms such as emails from employees or an RSS Feed that contains market news. These will help the player better determine which capabilities to buy and which resources to train.
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Multiplayer Sound-Oriented Game Design: An iOS brain and hearing training game

Multiplayer Sound-Oriented Game Design: An iOS brain and hearing training game

Lumosity(http://www.lumosity.com/) is not a sound-oriented training game, but it is another great resource to get inspiration. Compared to Fit Brains, it has three types of challenges: Speed, Attention and Memory, each section has only one dif- ficulty, which means users just need to learn how to play only once for each chal- lenge. The coach/tutorial design is very intuitive, using graphic with animation to demonstrate the rule. The overview page contains lots of data and records, it pro- vides sufficient visualized data feedback on how the user is doing and they look authentically. While the “Compared with others” feature is hidden in a secondary page, which is believed to have different product strategy than this project, it is not focusing on social feature.
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Enhancing Video Game Design: Involving Users into the Design of Video Games

Enhancing Video Game Design: Involving Users into the Design of Video Games

To further flesh out this idea, the tester complimented his suggestion by replacing the other attacks with different attack attributes or properties. So if a player would have a stone that is thrown with an arc on attack button 1, the attack could change to a grenade by adding a card on that button that has an explosion attribute. This way the game would more focus on the combining aspect of the card system, which was something that by various was missed by some testers in their play session. The concept of the idea is something that is well liked, but obviously as with the other suggestions gotten through this method, the suggestion need to be rebalanced to be playable. This idea however can and should be used in a second iteration of the game. A/B testing between the old and new idea would be a possible way to determine which of the two systems is preferred by the testers.
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DIGITAL GAME DESIGN SHOWCASE 2014 EDITION

DIGITAL GAME DESIGN SHOWCASE 2014 EDITION

● Game content and other materials are owned solely by the developer/designers or legal permission obtained to use any other copyrighted material. Game content and other materials are o[r]

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Game Design by Chad Jensen TABLE OF CONTENTS

Game Design by Chad Jensen TABLE OF CONTENTS

Fortification Listings ........................p 23 Foxholes ......................... F102; Track Display placement .................A32; A35.1; E55; E73 Hand size .............................................. 1.1; 5.4 Game End ................................................... 6.3 Heroes ..................................................... E58.1 creation of ............................................. E58 Hills ...........................................................T88 and blind hexes ................................ T88.4.1 Hindrances ................................................ 10.3 and Fire Attacks ...............................O20.3.2 and Hills ............................................. T88.5 and Targeting ...................................O20.2.3 Initiative ......................................................... 9 and re-rolling ........................................... 9.1 and a tied game ........................................9.2 Jammed! trigger ...................1.9.1.2; O20.3.3.1 NA during Artillery Impact ..........O18.2.3.2 NA during Mine Attack ..............1.9.1.2 box NA during Targeting ..........................1.9.1.2 Leaders ........................................................ 3.3 Leader Table ..................................Playbook Line of Sight (LOS) ..................................... 10 Maps ............................................................... 2 Melee...................................................... O16.4 Mines............................... F103; Track Display placement .................................. A35.2; E47 and Retreating .................................O23.3.4 Morale ...................................................... 3.1.4 Move ..........................................................O21 and Op Fire .........................................O21.3 and Trenches ..................................... F105.2 and Weapon transfer ........................ O21.1.1 and Wire ........................................... F106.2 as a stack .............................................O21.2 costs ............................ O21.1; Terrain Chart Movement number
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