Board Games

This book is a fully-illustrated catalogue of the Islamic chess and other games pieces in The al-Sabah Collection, Kuwait. It focusses on the development of the shapes of chess pieces from their earliest figural appearance to the fully abstract forms developed in the medieval Islamic world. An additional section presents a survey of medieval Islamic chessmen from museums and private collections worldwide.

Measuring user experience in board games is broadly unexplored with research mainly focused on digital games. This paper assesses the suitability of using a questionnaire, developed for digital games, for use on board games - thus providing a common measure of user experience between board and digital games. The study involved play testing a themed board game with undergraduate computing students and alumni, measuring user experience via the Games Experience Questionnaire whilst testing for reliability and validity. Findings obtained high scores in both criteria, suggesting that the GEQ is a suitable tool to measure user experience in board games and thus a valid candidate for comparing game design across varied game media such as digital and board games.

Monopoly is one of the most popular board games in the world with hundreds of millions of people playing the game worldwide. It has boomed in popularity especially during the pandemic when people are stuck inside their houses and have a lot more time to spend with friends and family. The game works with each player rolling two dice to move around the board and buying properties. At first glance, it might seem that the probabilities of landing on each of the 40 squares should be the same. After all, the probabilities are dependent on dice rolls so after a certain number of turns the probability between all 40 squares should eventually even out, right? However, there are some external factors that haven't yet been accounted for. These are the chance and community chest cards that make certain squares more probable to land on as compared to others.

El agua en la piedra es una aventura para juegos de rol que se puede acabar en una sola sesión (one-shot). Es ideal para personas que comienzan su camino en los juegos de rol. Los encuentros y desafíos tienen una dificultad media y están diseñados para ser resueltos por cuatro personajes de nivel 2.

En el pacífico pueblo de Piedra mojada, medianos, elfos y gnomos viven en armonía y prosperidad; sin embargo, este año una inesperada sequía sacudirá los corazones de quienes lo habitan. La partida tendrá que cruzar el bosque encantado y deberán combatir la sequía con ingenio, sólo así encontrarán la torre de la maga y, tras resolver algunos acertijos, podrán descubrir qué pasa con el agua que tanto anhela el pueblo.

Esta aventura consta mayoritariamente de retos que ponen a prueba las habilidades de los personajes y el pensamiento lógico-matemático de los y las jugadoras, así como su capacidad de observación y escucha activa y dinámica. Se basa en el clásico juego de Dungeons and Dragons de la compañía Wizards Of The Coast y se publica bajo las reglas de Licencia de Juego Abierto contenidas en el documento SRD 5a edición.

RESUMO Este trabalho busca articular três teorias aplicadas a um determinado espaço urbano. O Círculo Mágico de Johan Huizinga, as estratégias e táticas de Michel de Certeau e os lugares e não lugares de Marc Augé. O entrelaçar desses processos será dado a partir da atividade lúdica utilizando os board games modernos como objeto. Como o próprio título já sugere, irei discorrer sobre como, a partir da atividade lúdica, é feita a apropriação de um espaço, mudando sua natureza de não-lugar para lugar (AUGÉ, 1997) que estaria sob a influência do Círculo Mágico (HUIZINGA, 1950) aplicado ao espaço numa dinâmica de tática cotidiana (CERTEAU, 2003). PALAVRAS-CHAVE: Jogos de Mesa Modernos; Board Games; Game Studies; Círculo Mágico; Lugar e Não-lugar. Introdução A vida ocidental urbana tem se tornado cada vez mais acelerada e efêmera com o passar dos anos. Pessoas apressadas passam por avenidas enormes atravessando ruas junto com tantas outras centenas de pessoas, mas cada pessoa parece estar sozinha. Muitos absortos em suas próprias preocupações, com um fone de ouvido e óculos escuros mesmo em dia nublado. Estão o tempo inteiro se movendo e, quando param, é por necessidade. Precisam esperar o ônibus, o avião, a comida ficar pronta. Se aglomeram em lugares feitos para serem uma espécie de pit stop (igual os da Fórmula 1) para humanos. Nesses espaços seguem o mesmo padrão de comportamento: compartilham a localidade mas é como se estivessem sozinhos. Tais práticas seguem o padrão para o qual foram pensados. Não se constrói uma avenida pensando em 1 Trabalho apresentado no GP Games, XVIII Encontro dos Grupos de Pesquisas em Comunicação, evento componente do 41º Congresso Brasileiro de Ciências da Comunicação.

Full excavation of this small hillfort produced remarkable evidence for ironworking, both smelting and refining, in the late Iron Age, with a second phase of activity in the 2nd/3rd century AD. At the time the 1200kg of slag was the largest quantity recovered from any early site in Britain. The chronology is based on radio-carbon dates and a suite of archaeomagnetic determinations

Serious games are games with a purpose beyond entertainment and are widely acknowledged as fruitful tools for learning and skills development across multiple domains, including specifically educational enhancement. ‘How To Fail Your Research Degree’ is a serious game developed to deliver knowledge and understanding of research processes and techniques, within the context of a postgraduate training programme at Glasgow School of Art which guides students transitioning from undergraduate to Masters. Development focussed on encouraging creativity and risk-taking within a safe game environment and learning by (potentially) failing. Intended learning outcomes (ILOs) are to: highlight various risks of research projects and suggest their impact on projects; reinforce dependencies between tasks at different stages of research; directly reinforce the interrelations of different risks with the activities taken to negate or ameliorate them; and replicate the time-critical nature of short resea...

Part 1: Introduction. Moves in Mind. Board Games and Cognitive Psychology. The Role of Board Games in Science. The Role of Board Games in Psychology. Structure of the Book. Part 2: Formal Analyses of Board Games. Fundamental Concepts. Board Games in Computer Science and Artificial Intelligence. Information and Complexity Analysis. Game Theory and the Concept of Error. Conclusion. Part 3: Theories of Board-game Psychology. A Brief History of Board-game Psychology. Theories of Chess Skill. Influences from Other Theories of Cognition. Theories of Development and Environment. Conclusion. Part 4: Perception and Categorization. Low-level Perception. High-level Perception and Categorization. Conclusion. Part 5: Memory, Knowledge, and Representations. Memory for Board Positions. Recall of Sequences of Moves and of Games. Estimation of the Number of Chunks in LTM. Mode of Representation. Representations Used in Blindfold Playing. Knowledge and Memory Schemata. Discussion. Conclusion. Part 6:...

A BOARD GAME FROM A KHUNNU BURIAL

This article is about the research of a board game, found in the 1st burial at Gol mod’s khunnu cemetery in Khairkhan sum of Arkhangai province, excavated by archaeologists of the Mongolian-French joint expedition.

This paper describes a learning-objective-centric workflow for modifying ('modding') existing tabletop games for educational purposes. The work-flow combines existing research for serious games design with novel systematic analysis techniques for learning and game mechanics and gameplay loops to improve the understanding and rigour of the process. A detailed worked example applies the workflow to the development of a serious tabletop game with the educational goal of increasing knowledge and confidence of performing postgraduate literature reviews. Systematic application of the workflow to a real example supports the value of this approach and provides a useful template for educators to follow for increasing the quality and feasibility of self-designed serious games. 1 Introduction It is now well evidenced that games can be engaging and effective tools for education but that the design of an intervention has as large an effect on success as the medium [1] and that designing effective game-based learning solutions requires significant expertise in both game-design and pedagogy [2]. Educational games which do not successfully combine game design with learning design are ineffective in terms of engagement , learning, or both (often known as a 'spinach sundae': a product which is neither appealing nor good for you [3]). Furthermore, research into game-enhanced learning demonstrates that the different characteristics of different games have discernible effects on the learning behaviours of players [4] and consequently on how well the game achieves its educational purpose [1, 5]. In short, educational game design is complex, resource intensive, and requires multiple interdisciplinary skillsets. Games designed for digital platforms also need significant technical expertise and the resources to support them. Despite these barriers, the well-documented advantages of game-based learning (GBL) drive demand for games for learning, training, or behavioural change (hence-forth referred to as 'serious games') across a wide range of contexts [6-8]. However, as evidence of the efficacy of GBL grows, the discipline gains new advocates from a variety of backgrounds which increases the risk of GBL solutions being designed and implemented in isolation of the expertise and resource contexts necessary to make them effective. This paper presents a practical solution to the tension between the growing desire for serious games amongst students and educators and the barriers to effectively implementing them [9]. It is proposed that serious game design can be streamlined and

This article is dedicated to board games as museums exhibits that so far have not
received due attention. Research on board games manufactured in Lithuania or
adopted for its market at the beginning of the twentieth century is based on the
objects kept at nine museum and private collections in Lithuania. Information from
contemporaneous literature, commercials, periodicals, and bookstore catalogues
was used as the source of contextual data. The analysed information suggests that
during the period discussed the main distributors of board games were bookstores,
but these games could also be purchased at toy shops or general stores. The distribution of board games started only after the lifting of the ban on the Lithuanian press, in the second half of the first decade. However, the amount of locally manufactured games significantly increased only in the 1920s. During the 1920s and the 1930s, the amount of advertising in the press noticeably grew thus showing an active competition among the manufacturers. In some cases, the competition even resulted in legal disputes and lawsuits related to board games. Compared to the diversity of the supply in Western Europe, the variety of locally manufactured board games during the discussed period is relatively poor. Available information suggests that in the first half of the twentieth century only eight different board games, sometimes in different versions, were manufactured by different Lithuanian companies.

Keywords: board games, entertainment, trade, advertising

W 2013 roku, dzięki współpracy wydawnictw gier planszowych z Telewizją Polską, na rynku zaczęły pojawiać się gry nawiązujące do polskich seriali. Pierwszym tytułem była wojenna gra karciana dla dwóch osób oparta na fabule serialu Czas honoru. Obecnie na rynku jest dostępnych dziesięć tytułów, co nie stanowi finalnej liczby, ponieważ TVP ma w planach wydanie nowych tytułów na podstawie kolejnych kultowych seriali. Ponadto wydawnictwo publikuje gry nawiązujące do telewizyjnych programów, na przykład Rolnik szuka żony. Ten nowy trend na polskim rynku gier planszowych zachęca do podjęcia refleksji badawczej poświęconej relacjom gier z innymi tekstami kultury.
Niniejszy rozdział składa się z dwóch części. W pierwszej został omówiony termin planszoizacji oraz zaproponowano w nim narzędzia z innych dziedzin nauk humanistycznych, które można zaadaptować do badania tego zjawiska. Druga część jest przykładową analizą gry Alternatywy 4 jako planszowej adaptacji serialu Stanisława Barei. Ma ona przede wszystkim pokazać, że planszoizacja tekstu kultury odbywa się na dwóch poziomach: fizycznym (elementy gry oraz ich warstwa graficzna) oraz gameplay (interakcji między graczami, którą umożliwia mechanika gry).

In this paper, I explore the idea of board games as a play-type model as described by Juri Lotman. The gothic cathedral as an architectural text had the function to represent to the people of the middle ages the structure of the universe from the cosmic level down to the social structure and the place of each person in that model. This representation is translated to the narrative model in the Novel "The pillars of the earth", which, in turn, is translated into the mechanics of a board game. In this paper, we observe which elements of the architectural text are conserved in the game and how are they conveyed to the players.

This article explores the world-building activities of players of the tabletop game Blood Bowl—a game that parodies American Football within a fantasy setting. It utilizes a ritual framework to focus on players’ activities relating to the considerable amount of luck inherent to the game. Based on fieldwork and survey data, it interprets players’ rituals and other actions as an effort to enact a particular social space, a “magic circle,” where enjoyable risk-taking and “edgework” take place. This social space is then analyzed within the Mary Douglas-derived theory of sociocultural viability (cultural theory). Using the theory’s typology, Blood Bowl tournaments can be characterized as individualist–hierarchy hybrid institutions. The article contributes by offering cultural theory as a tool for analyzing and comparing risk-taking behavior in diverse social contexts. The worlds built through Blood Bowl play are both analyzable and comparable with those integral to other social institutions, with cultural theory’s social solidarities ubiquitous. The article thus innovates by linking literatures on leisure and gaming with broader social theory.

One aspect of sustainability that often baffles design students is the need to balance
concepts such as the triple bottom line (environment, economy and social issue) with
the product�s life cycle in their design process. In some cases, this is a result of a lack
of understanding of interactions between these aspects since the theoretical part of
them is often removed from the student�s daily life experience. One proposal to solve
this barrier and allow for a better understanding and integration is the use of board
games. Board games have shown to be a useful tool to teach conflict resolution,
strategy development, forward and lateral thinking, either through cooperation or
competition. Therefore they can be used to teach basic sustainability concepts (i.e. the
tragedy of the commons, population bomb) and their participation in the triple bottom
line. Games such as Settlers of Catan, Civilization, Carcassonne and CO2 (an
example of a board game with environmental aspect as the core concept), are games
where winning conditions can be achieved through balancing several aspects.
Therefore this can be extrapolated into the development of educative board games that
can be used as a tool to explain design students the need for balance the triple bottom
line and other sustainability concepts and allow for a better understanding. The aim of
this paper is to reflect upon the initial findings of a research project whose objective is
to develop board games for use as learning tool in sustainable design courses at
undergrad level.dy/3.1

Introduction. Experts on vaccine hesitancy recommend tailoring interventions to local contexts, which presents an opportunity for game-based interventions to reflect local demographics and make them central to the experience of the game. Experimental game design is a research method that has already been used in educational games. Board games are relevant to the topic of vaccination, and present possibilities for game design of openness and flexibility. INFLUENZA was an experimental game design with the objectives of designing a vaccination-themed educational board game where: an aspect of local context was highly-relevant but also easily modifiable, means of emotional engagement were explored, and openness and flexibility in board game design were explored. Methods. The experimental game design study consisted of finding design solutions for achieving the study objectives in a single game, by analyzing comparable games and using iteration and two stages of live testing with players...

Unexpected Encounters is an architectural board game for two players, in which these players create diagrammatic models of 'the home' they imagine against and with each other, and in which this act of play creates a spatial language that results in unexpected narratives of the notion of domesticity. The research element of the game focuses on how 'place' and 'placelessness' are constructed and interpreted through our innate creativity by manipulating the intricate operations of initial design decisions. This exhibition is a performance of o2: U E, where designers meet with others through their imaginations.

The family of mancala games offers opportunities for new research in both Mathematics and Artificial Intelligence. To illustrate this, we will present an overview of long-time known and more recent results on mancala games. Although board-games researchers may be familiar with mancala games, the general properties of this family of board games will be explained as far as they are relevant to the understanding of the results. The results mainly reflect the mathematical characteristics of mancala, although computer science also played a significant role in the research presented. Next to this, research in the field of Artificial Intelligence is included. The paper then concludes with a discussion of new research opportunities in both Mathematics and Artificial Intelligence. These opportunities are not restricted to pure theoretical research but include issues that allow interdisciplinary co-operation of applied research.

This article discusses how designers learn about the creation of board games by familiarizing
themselves with tacit knowledge and company processes. To some extent board game design depends on
general design methodology and knowledge. However, in order to be able to work in an international board
game publishing house and to design board games (and thus facilitate play) for a multicultural audience, the
designer has to know about preferences regarding materials, production processes, visualization and
packaging. A board game is usually a product of teamwork where designers from different fields of expertise
come together to solve design challenges having to do with both form and function. Since a board game
sometimes is created from the idea to a ready made product all set for marketing inside a game publishing
house, the designer also has to understand the different stages of the product development process.
This study is conducted in the department of product development at a Scandinavian game publishing house
with professional board game designers coming from different educational backgrounds. The designers are of
different ages and in different stages of their careers. Traditional research methods such as qualitative
thematic interviews are used to demonstrate how tacit knowledge is transferred by both management and
fellow designers and how a designer becomes familiar with the company’s design philosophy. The findings
are that expertise in game design involves mastering a multitask challenge which may best be learned through
familiarizing oneself with both tacit knowledge learned in everyday work but also by analyzing feedback
coming from different sources.

Board, dices and cards as a form of historical narrative:
analysis of modern board games

The article sets three goals. The first is to draw attention to the dynamic development
of the board games industry and the development of a new product, which are modern
board games. In order to be able to talk about the use of board games in historical education in the near future, a tool analyzing the “historicity” of a given title should be created.
That is why the second part presents a tool for analyzing the game and its way of conducting historical narrative. It consists of five steps, which, in turn, include considerations on
1) the title of the game, 2) the visual appearance of the game, 3) the plot of the game,
4) game mechanics, 5) theoretical thought. The proposed method will allow to indicate
the areas in which the game touches historical content, to note errors and inaccuracies, and
to assess the suitability and purposefulness of using a given game in school education. The
later concerns the last goal of the text, i.e. the indication of the potential possibilities of
using games about history and the requirements that are connected with this. These requirements have to be fulfilled primarily by the teacher. There is no doubt, however, that board
games are a valuable medium telling the story of the past, yet more importantly – a medium
appreciated by young people.

Cubic dice were brought by the Romans to the Low Countries, and are found in small numbers at many archaeological sites dating to the last 2000 years. We report on a systematic analysis of 110 well-dated dice from the Netherlands, showing that shape, pip confi guration, and pip style changed signifi cantly for bone and antler dice from the Roman to the recent historical period. Dice predating 650 CE are highly variable in all attributes, those dating between 1100 and 1450 are highly standardized, and those post-dating 1450 CE are standardized for some attributes, such as symmetry and confi guration, but variable for others, such as material type. There is also a major shift from “sevens” to “primes” and back to “sevens” pip confi guration across these temporal windows, and pip style was simplifi ed over time from a dot-ring-ring pattern to simple dots. We compare these trends to a smaller set of well-dated dice from the United Kingdom and speculate on possible reasons for these chan...

This article presents a proposal for the elaboration of an RPG game with board support based on the remediation of literary narratives and which is thought both for use in the classroom, as a  didactic  tool,  but  understood  essentially  as  a  playful  activity.  For  that,  we  first  start  an observation  about  the  act  of  playing  and  what  it  means  in  society  and  in  linguistic  terms. Subsequently, we are concerned with defining what a game is so that we can effectively present the  proposal. To  better exemplify it,  we present as an  example the remediation of  Arthurian legends from Le Morte d’Arthur, by Thomas Malory, a project that we have previously tested. The discussion about the behaviour of games then runs through authors such as Johan Huizinga (1980) and Jesper Juul (2005).

This book is about the three identities of the videogame, the gamer, and Game Studies. I write that there are no definitive truths but rather discourses and constructions; ideas, actions, beliefs, and practices related to videogames are discourses that merge and shape our perception of videogames as an area of study of its own right. These discursive responses meet and clash creating what we call truths, which are temporary and negotiable.

This perspective is inspired by Foucauldian ideas and present few questions about videogame-related identities in and outside of academe. Does Game Studies have a conceptual core? What makes game studies difficult to be disciplined in academe? What do we learn from the scholarly and popular discourses on videogames that would help understand the identity questions related to games?

I go on to describe what makes the videogame identity according to game studies: aesthetics, fictions, meaning-making, performance, transformation, etc. and what makes it difficult for game studies being an open market of ideas and an academic "un-discipline". This leads me to the gamer's identity: an aficionado first, and a connoisseur of fictional worlds.

The publication in 2013 of the first volume in this series, "Games-Makers to the Empire: Roberts Brothers of Gloucester, 2890 - 1950" has been referenced on Amazon as "5.0 out of 5 stars. The best history of any games manufacturer".
The new volume builds on that work, with hundreds more images of games and products of the company which between the wars was described as the largest makers of games in the country. Profusely illustrated, and including examples of games from publishers with whom Roberts Bros were associated, this book is designed to inspire further research, and perhaps similar publications for other makers.

Background. The rapid development of technologies changes the nature and objectives of artistic and design activities, pushing them away from the craft tasks closer to the realization of the relationship between the object-user system, closer to mastering the methods of design-thinking, synergy of the humanities and mathematical approaches. Therefore, the actual training of designers-specialists involves the cultivation of syncretic thinking, which arises only as a result of the implementation of complex non-deterministic innovation tasks. In the article the author focuses on the development of board games, as an example of such a task.
Objectives. Is to analyze the market of original “insets” development and to demonstrate the necessity of introducing such types of tasks for senior-student students. So the few smaller tasks arised:
– to establish and to disclose the basic concepts and terms;
– to analyze the market of table games in Ukraine and in the world;
– to classify the stages and components of the development of board games;
– to confirm the necessity of implementation of this type of tasks for senior-student students.
Methods. Used at this research are common in scientific culture: analysis, synthesis and a conclusion based on structured materials. Classification of the stages and components of the development of board games was made.
Results. The key to the effectiveness of education abroad is the ability to work in a team. Specialists involved in UI / UX design, in addition to specialized skills, note the importance of so-called “soft skills”. In particular, such as team members ability to argue, critique, and debate – skills that, unfortunately, are not a priority for higher education in Ukraine. It’s virtually impossible to create an exciting game on your own. That is why the introduction of tasks, the work on which will promote the professional communication of designers – the priority task of modern design education. The development of a board game combines various types of design, and also takes into account their marketing. The development process is close to the design-thinking mechanisms. But if the application of DT is often revealed on important social and community projects, the stages of the development of a board game are easier to understand, the effectiveness of project iterations is tangible and easily verifiable. As noted, the core of creating a board game is the development of game mechanics, and this is an important step towards understanding the design of the interaction. Various game attributes also help to captivate game interaction: maps, cubes, playing fields, chips and tokens, tokens, tiles, tablets, miniatures, screens – the list is limited only by the imagination of the developer. Their graphic and 3D spatial design is not able to replace the satisfaction with well-thought-out and balanced game mechanics, but can allow it more complex to admire it. Students with advanced visual thinking will be more effectively implemented in aesthetic solutions. Effective design – imperceptible design. By the simplicity of any design-development – an industrial product, a subject environment, a mobile application, there are many hidden invisible for the work of an amateur. Works on simplification, cutting off superfluous thanks to testing on mockups and prototypes. A good design is the absence of unnecessary details. The quintessence of this approach is best represented in the development of the board game, and this is repeatedly confirmed by the developers.
Conclusions. The market of board games is developing and requires some interesting new products. The focus on creating a game without the prospect of localization in the global market is a task that is doomed to commercial failure. Only local games with excessive dominance of the “national” ideology, specificity or political situation are created only for grant money and in fact can not claim to be successful due to the mechanics of the game. Development of a board game – an actual and complex task for students-designers. This task is contained in the field of opportunities for implementation by senior students and even requires their mental efforts, combining the functionality of the design of the interaction and the integrity of the aesthetic decisions. Creating a quality design product is built on high empathy and numerous iterations to simplify and adapt the design. The process of creating an exciting board game develops empathy, syncretic approach and teamwork skills – the skills needed by the designer and which are the foundation of design thinking.

“Antigua Grecia: Época Helenística. Anábasis” es un juego didáctico de aula diseñado para el alumnado de 1º de ESO en la asignatura Geografía e Historia. Sobre un mapa histórico que estaba en desuso y adaptado como un tablero de juego, realizaremos una carrera por el territorio del Imperio Persa en el siglo IV a.C. poniéndonos en la piel de cuatro grupos de macedonios que acompañan a Alejandro Magno. Esta es una de las propuestas finales de una serie de tres juegos que abarcan los contenidos sobre la Historia de Grecia.

Otras propuestas en las que incluimos instrucciones y materiales de referencia o descarga son:

-“Cuadrado” de Ciencias Sociales
https://www.academia.edu/50914488/Gamificaci%C3%B3n_en_Geograf%C3%ADa_e_Historia_Propuestas_I_Cuadrado_de_Ciencias_Sociales_
-”Top Trumps” de Historia
https://www.academia.edu/50941795/Gamificaci%C3%B3n_en_Geograf%C3%ADa_e_Historia_Propuestas_II_Top_Trumps_de_Historia_
-Risk del siglo XV
https://www.academia.edu/50941965/Gamificaci%C3%B3n_en_Geograf%C3%ADa_e_Historia_Propuestas_III_Risk_del_siglo_XV_
-Escape Rooms “Antropocenus: ¡Salvar la Tierra!” y “Agenda 2030: ¿El final de los ODS?
https://www.academia.edu/50942009/Gamificaci%C3%B3n_en_Geograf%C3%ADa_e_Historia_Propuestas_IV_Escape_Rooms_Antropocenus_Salvar_la_Tierra_y_Agenda_2030_El_final_de_los_ODS_
-Trivial de Geografía
https://www.academia.edu/66183309/Gamificaci%C3%B3n_en_Geograf%C3%ADa_e_Historia_Propuestas_V_Trivial_de_Geograf%C3%ADa_
-Prehistoria en la Península Ibérica
https://www.academia.edu/72742384/Gamificaci%C3%B3n_en_Geograf%C3%ADa_e_Historia_Propuestas_VI_Prehistoria_en_la_Pen%C3%ADnsula_Ib%C3%A9rica_
-Próximo Oriente en la Antigüedad: Grecia, Egipto y Mesopotamia”
https://www.academia.edu/73481276/Gamificaci%C3%B3n_en_Geograf%C3%ADa_e_Historia_Propuestas_VII_Pr%C3%B3ximo_Oriente_en_la_Antig%C3%BCedad_
-Antigua Grecia: Época Arcaica y Clásica
https://www.academia.edu/77109586/Gamificaci%C3%B3n_en_Geograf%C3%ADa_e_Historia_Propuestas_VIII_a_Antigua_Grecia_%C3%89poca_Arcaica_y_Cl%C3%A1sica_
-Antigua Grecia: Época Helenística. Reinos Helenísticos.
https://www.academia.edu/79787378/Gamificaci%C3%B3n_en_Geograf%C3%ADa_e_Historia_Propuestas_VIII_c_Antigua_Grecia_%C3%89poca_Helen%C3%ADstica_Reinos_Helen%C3%ADsticos_
-Antigua Roma
https://www.academia.edu/82108729/Gamificaci%C3%B3n_en_Geograf%C3%ADa_e_Historia_Propuestas_IX_Antigua_Roma_
-La conquista romana de Hispania
https://www.academia.edu/82109524/Gamificaci%C3%B3n_en_Geograf%C3%ADa_e_Historia_Propuestas_X_La_conquista_romana_de_Hispania_

In Storytelling in the Modern Board Game: Narrative Trends from the Late 1960s to Today, Marco Arnaudo describes how board games can create narratives by using the tools that ludology and postclassical narratology provide. The way narratives emerge from tabletop games is extremely unique and interactive: they are created through the synergy of the game rules, material components, and actions undertaken by players. Board games, treated as transmedial narrative systems in which the text is entangled in various relations with images, sounds, or the ludic aspects of games, can become an area of research in literary studies. The aim of this paper is to demonstrate that a scholar can effectively use knowledge of hypertext novels or ergodic literature to study narrative-oriented board games.

LudoChat is a game which refreshes the childhood days in a modern way. Being a classic board game, it can be played between friends, family & kids via offline and also with online worldwide players by using online modes.


This cross-platform multiplayer game app is available for Android mobile platform at the same time. Real chats and video calling features make LudoChat more interesting and exciting among player of all age.

Jogos de tabuleiro estão presentes na vida de boa parte da sociedade, tanto oriental quanto ocidental. Uma atividade que, mesmo em tempos de profusão dos jogos digitais, ainda persiste, mas não da mesma forma como acontecia há tempos atrás. Neste artigo, vamos fazer um breve panorama do cenário dos jogos de mesa modernos e entender, através das teorias de imediação, hipermediação e remediação, como estes jogos, enquanto mídias, aplicam (ou não) esses conceitos. Palavras-chave: jogos de mesa modernos; jogos de tabuleiro; remediação; hipermediação. Abstract: Board games are present in many lives of the occidental and oriental society. An activity which, even in times of profusion of digital games, still remains, but not in the same way as it was years ago. In this paper, we'll make a brief panorama of the modern tabletop games' scenario and understand, through the imediation, hypermediation and remediation theories, how those games, as medias, applies such concepts or not. Introdução: conceituando jogo e os jogos de mesa modernos Os jogos de mesa estão na vida de boa parte das pessoas desde a mais tenra idade. Ainda que nem sempre de forma direta, os símbolos e metáforas usando elementos desses jogos estão sempre lá. Não seria incomum ouvir alguém dizer "a vida é um jogo" fazendo menção aos acontecimentos aleatórios da vida humana, além de deixar implícito que a vida em sociedade tem regras tal qual um jogo. Mais especificamente sobre os jogos de mesa, podemos pensar na expressão "colocar as cartas sobre a mesa" fazendo menção ao ato de revelar intenções de maneira semelhante a que um jogador de baralho (poker, geralmente) faz ao revelar as cartas que tinha escondidas em sua mão. E, claro, há também a forma mais direta e clássica do contato com os jogos de mesa que é jogando de fato.

Schon im Jahre 1978 hatte ich anläßlich des 30jährigen Bestehens unseres Schachbezirks eine "Kleine Geschichte des Bezirks III (Süd-Niedersachsen) des Niedersächsischen Schachverbandes" herausgegeben. Inzwischen sind weitere 20 Jahre verstrichen, und der Bezirk Süd-Niedersachsen wird das Jubiläum des 50jährigen Bestehens am 24. Mai 1997 im Anschlusse an seine Bezirksversammlung im Münster in Northeim in einer kleinen Feier würdig begehen. Die kleine Schrift von 1978 – längst vergriffen – soll deshalb mit dieser Schrift fortgeschrieben und aktualisiert werden, wobei ich den bis zum Jahre 1977 niedergeschriebenen und festgehaltenen Zeitraum nur noch stark zusammengefaßt wiederholen will.

Combinatorial Game Theory (CGT) is a branch of applied mathematics that studies two-player perfect information games with no random elements. Many of these games
decompose in such a way that we can determine the outcome of a game from its components. However this is the case when the rules include the normal play convention,
which means that the first player unable to move is the loser. That is not the case in many classic games, like Chess, Go or Dots-and-Boxes. The latter is a well-known game in which players try to claim more boxes than their opponent. We consider the game of Nimstring, which has almost the same rules as Dots-and-Boxes, slightly modied by replacing the winning condition by the normal play convention so we can apply the theory of impartial combinatorial games. Although altering the winning condition leads to a completely different game, paraphrasing Berlekamp, Conway and Guy, "you cannot know all about Dots-and-Boxes unless you know all about Nimstring".

The purpose of the project is to review some results about Dots-and-Boxes and Nimstring, how to win at each one and how are they linked, while filling in the gaps and complete
some proofs which are only informally presented in the existing literature.

Resumen:
Los juegos de mesa han evolucionado hasta convertirse en un producto editorial desde finales del siglo XX, hasta llegar al concepto nuevo de Eurogame. A lo largo de este estudio analizamos la historia de los juegos y su evolución hacia un producto editorial, desde la era pre-Gutenberg, hasta la actualidad. Se explica el concepto del nuevo paradigma, qué actores intervienen en su producción y cuáles son sus procesos.
Las aportaciones de este proyecto se dividen en tres partes: estudiar de manera breve, pero exhaustiva la historia y evolución hacia un producto editorial. Plantear una teoría de diseño, producción y comercialización de un juego de mesa moderno y mostrar una aplicación práctica de esta teoría, mediante un caso de estudio.
Palabras clave: juego de mesa, diseño gráfico, producto editorial, eurogame, ludología

Abstract:
Board games have evolved into an editorial product since the late twentieth century, until the new concept of Eurogame. Throughout this study, we analyze the history of the games and its evolution towards an editorial product, from the pre-Gutenberg era, to the present.
The concept of the new paradigm, the actors involved in its production and processes which are explained. The contributions of this project are divided into three parts: study brief but thorough history and evolution towards an editorial product. Ask a theory of design, production and marketing of a Eurogame and show a practical application of this theory through a case study.
Key Words: boardgame, graphic design, editorial product, eurogame, analogic game studies

“Learning and fun go together” (G, Petty, 2004) ; shouldn’t it be the case with learning English grammar too?  This question has been a point of ponder for many of us who are associated with teaching English as a second language.  Like everyone, the trainer in me wanted to go down to the core of the ‘language instinct’ as Steven Pinker calls it and understand the use of fun & games in syntheses of a sentence (using a grammatically correct Structure). The book ‘Reality is Broken’  Jane McGonigal inspired the author towards Gamification of language learning. Particularly, how time is represented and understood in English Language- the concept 12 or 16 real/unreal tenses - is always one of the most difficult components for learners of English as a second language (ESL). Some of the people in the field of ESL/EFL have made statements like ‘you cannot teach grammar!’ No doubt that the student learns it on his own but as instructional designers, can’t we make it easier and fun to learn!

This Paper introduces a new game - tip or time it perfect! The game is a first of its kind creation from lifelong learning.

Since before the beginning of recorded history, board games have been a constant source of fascination and entertainment for human beings. From 7000-year-old bone dice and the Ancient Egyptian religious game of Senet to the spread of chess throughout medieval Eurasia, the history of board games is as sprawling, oftentimes mysterious, and complex as history itself. Though sometimes correctly characterized as meaningless fun or simple distractions, board games have also been assigned varying degrees of spiritual, cultural, and competitive importance. Often this importance can be examined not only to learn more about board games but also about the people who played them. In History of Board Games Throughout the Ages, we take a general look at the history of board games from ancient to modern times, including some of the most popular and influential board games ever played, their various roles in the societies and cultures they occupied, and the reasons why board games are so compelling and fun for us humans in the first place.

Ph.D. thesis
Title: Gamification and history teaching at primary school.
Quick resume of the arguments:
Evolution of history didactics in Europe
Evolution of history didactics in Italy
From disciplinary epistemology to disciplinary didactics
Teaching historical skills to support the historical thinking
in-depth analysis of the epistemology applied to history teaching
Gamification in history teaching, the Italian context
Design of new gamified teaching activities for the primary school
Using ancient board games in history teaching
Examples

Unfortunately the pandemic led our faculty to limit the lenght of the Ph.D. thesis to 150 pages, and this reduced the possibility to further expand the topics here mentioned.

The people of Kiribati play a broad assortment of card and board games. The game rules show several innovations that were made outside the purview of the games’
manufacturers. The presence and regional development of proprietary board games illustrates product development scenarios that are counterintuitive to marketers. Using game boards and game rules collected in Kiribati, this study offers an explanation on how game development in Micronesia can be understood using cultural transmission theory by locating the Republic of Kiribati both geographically and economically within the Pacific Islands economies and their communities and within their own anthropological context. The findings emphasize the importance of understanding regional and country-specific cultural practices when applying principles of product development, placement and distribution.

In this paper I will describe the current state of commercially produced board games and how they can be used to study collaborative learning. Board games are analog systems designed to create a gameplay experience. They include specific rules that players must translate in order to play the game. While board games come in a wide variety of types, their rules are constructed very similarly, including a game overview, order of play, and victory conditions. In a study conducted over 6 weeks, I examined what strategies players used to explain the game to others and learn the game for themselves. These sessions revealed many similarities between explanation strategies and common thinking in collaborative learning. I will explore these similarities and how various frameworks and theories can be used to describe player behavior during a board game play session.

In the rescue excavation project, conducted in 2001-2002 at the private property plot K. Diakogeorgiou at the city of Rhodes, an incised board for the nine men’s Morris game was discovered.
The board game was clearly incised at the lower surface of an ancient roof tile fragment, after its disposal. The historical analysis and the geographical distribution of the game, points out that it was already known in Roman times, even though finds from Roman Greece are scarce. Furthermore, the game was well known and favorable in Medieval Europe and is attested also in many crusader sites in the Holy lands, as well as in sites from Greece associated with the presence of Western Europeans in late Medieval times. In the aforementioned historical framework the board game from Rhodes can easily be associated with the presence of the order of St. John, the Hospitalliers, on the island.
Nevertheless the stratigraphical data, the spatial analysis of the plot, in association with its proximity to the medieval fortifications of the city of Rhodes, and the fact that the game was already known in Islamic world from the 9th century, lead to another assumption, that the board game could have been also used in the intermissions of battles during the second siege of Rhodes by the Ottomans in 1522.

La investigación y el análisis sectorial es fundamental para el conocimiento del sector de los juegos de mesa, es por ello por lo que publicamos la segunda edición del Estado del Mercado de los Juegos de Mesa en España 2020 (#MJM2020). En el estudio se analizan las editoriales de juegos de mesa en España.

The editors of this CfP are already in discussion with the MIT Press GAME HISTORIES SERIES editors who enthusiastically voiced support for the collection. The website of the series: https://mitpress.mit.edu/books/series/game-histories.
The deadline for submitting the abstract is May 1, 2022.

Enhance students' multiplication skills and informally expose them to the notion of prime factors through this engaging dicebased game, inspired by the board-game Ludo. Multiplication Ludo is suitable for 2 or 3 players. To play, you need a 120's chart, a 6-sided dice and 4 counters of a particular colour for each player.

Mancala boardgames are characterised by many changes when playing a move. We can argue for a similar feature of change when considering the physical aspects of a mancala board. Mancala collections can be found in many museums of ethnography, I will discuss the changing physical aspects of mancala boards and the possible perspectives when presenting mancala boards in a museum setting. My remarks stem in part from my preparations for a catalogue of The British Museum mancala collection, the largest in the world. At this museum an exhibition of mancala boards is being planned for the second half of 1997.

Oricât de clișeu ar părea, jocurile de societate adună oamenii. Studiile arată că tipul de interacțiune față în față implicată în jocuri de societate construiește un sentiment de conexiune , dar beneficiile nu se opresc aici.

Jocurile de societate in familie construiesc un fundament de încredere care întărește relația de familie. Când joci și râzi împreună cu copiii, eliberezi fiecare endorfina care promovează încrederea și empatia.

Citeste acest indrumar despre dezvoltarea creierului la copii cu ajutorul jocurilor de societate.

In epoca greca e romana, i giochi rappresentavano una componente fondamentale della vita privata di adulti e bambini appartenenti ai ceti più bassi, così come a quelli più alti. Dei giochi atletici, tra cui i celeberrimi giochi olimpici, e dei combattimenti, di cui i ludi gladiatori sono solo i più noti, ai quali il popolo partecipava da spettatore, è giunta ricca testimonianza grazie alle fonti scritte ed archeologiche. Esse tuttavia permettono di ricostruire, almeno in parte, anche il mondo meno appariscente, ma altrettanto interessante, rappresentato di giochi giocati dai greci e dai romani nella quotidianità. I termini greci e latini per "gioco" (rispettivamente paignion e ludus) includevano sia gli spettacoli, che i giochi da tavolo, i dadi, i giochi dei bambini...
I giochi da tavola, dai più complessi di strategia fino ai più semplici, diffusi come giochi d´azzardo, erano generalmente appannaggio degli uomini.
I giochi greci di cui è giunta notizia fino a noi sono il Pente grammai, la Cubea e la Polis (spesso nominata Patteia), dal quale sembra aver tratto origine il celebre "Gioco dei soldati" romano (Ludus Latruncolorum). Anche a Roma si giocava una grande varietà di giochi, oltre al già citato Ludus Latruncolorum, conosciamo giochi come Duodecim scripta, Alea, "Filetto" e "Fossette".
Molti dei giochi che hanno allietato la vita di greci e romani, diffusi in diverse varianti, sono stati tramandati per secoli e rappresentano i precursori dei giochi moderni.

In 2010 a Roman token was discovered in the mud of the Thames near Putney Bridge in London. When the token was discovered to have an erotic image on one side and a Roman numeral on the other, and was identified in a Museum of London press release as a rare Roman “brothel token”, the press reported on the story in the expected manner, for example: “A Roman coin that was probably used by soldiers to pay for sex in brothels has been discovered on the banks of the River Thames” (Daily Telegraph, 4 Jan 2012) and “Bronze discs depicting sex acts, like the one discovered in London, were used to hire prostitutes – and directly led to the birth of pornography during the Renaissance” (The Guardian, 4 Jan 2012). Even before this particular spate of media interest, these curious tokens have generated confusion, speculation and prurience – often simultaneously. They are of interest to games scholars because the speculation often includes the suggestion these objects may have had a ludic function, and were used as game counters. This paper will look at some of the proposals that have been offered by way of explanation of these peculiar objects.

Tic-Tac-Toe is one of the board games. It is played by filling the columns on the board with X or O in such a way as to form parallel lines vertically, horizontally and diagonally. This study aims to design Non-Player Characters (NPC) in the tic-tac-toe game with the minimax algorithm. The Tic-tac-toe game will be designed with two game modes: easy and minimum random modes. While in minimax NPC mode will determine the best step. The game development process of the tic-tac-toe application is based on a linear sequence process model. In the analysis phase, the NPC will be designed based on the concept of minimax. Software modeling was designed using Unified Modeling Language (UML), and coded with Visual Basic programming. Our tests show that NPCs with the Minimax algorithm can work well.

Apesar de os jogos de tabuleiro terem perdido a sua popularidade para os jogos electrónicos não deixa de ser notável que nos últimos tempos tenham voltado a conquistar adeptos. Na sua essência os jogos de tabuleiro podem ser considerados objetos de comunicação visual, que englobam uma grande variedade de imagens, símbolos e instrumentos de suporte a essa atividade. Neste sentido, pretendemos apresentar o projeto prático “A Lenda do Galo”, um jogo de tabuleiro desenvolvido no âmbito do Mestrado em Ilustração e Animação do Instituto Politécnico do Cávado e do Ave. Nascido em 2012, este projeto teve como objetivo primordial compreender de que forma um ilustrador deve tratar os conteúdos de uma narrativa para serem utilizados num jogo de tabuleiro. Como tal, nesta proposta vamos demonstrar através deste projeto como é possível aplicar conceitos por meio da ilustração, associando uma narrativa com os elementos característicos de um jogo de tabuleiro.