Video Game Design

This essay attempts to shed a light on the intricate relationship between player agency-the player's capacity to act and make choices in a videogame-, and that of the developers-the limitations and possibilities creators must navigate in order to release their title. Firstly, we explore the complex concept of agency, drawing upon fields like philosophy and sociology. Then, we turn to the unique position videogames occupy among other mass media by having interactivity as their centre stage.

This work will explore the literature on the different ways in which videogames can elicit negative emotions and which game's elements can provoke such reactions in players. Videogame development and research have, in their early years, mostly focused on their fun and pleasant side. In the last two decades, however, research on different emotions evoked by certain videogame titles and essays on how failure is an indivisible part of the playing experience have been successfully illuminating the nuances of what we feel when we play. The tools used to bring out such reactions are many, such as story aspects, visual and audio cues and mechanical elements. Most of these not completely fun games are also pleasant, even though this is not their main characteristic, which implies a certain type of balance between positive and negative meanings, a composition that is similar to the eudaimonia concept of media studies. This research hypothesis is that, although the majority of videogames aim mainly to stimulate pleasure and fun in their players, there is a growing number of games that aim to engender negative emotions. These games, however, do not stimulate only these emotions, but rather, weaving them together with the most commonly used emotions, such as pleasure and fun. This will be done firstly by examining released games that already evoke these emotions, secondly by isolating the elements in the game that could be responsible. This research will be convenient for researchers by providing a snapshot of what is currently known about the relationship between negative emotions and game design elements and also for the game design field by providing designers with extra knowledge and even tools to approach their métier in a different light and crafting richer experiences.

Per oltre sei anni, Hollow Knight: Silksong non è stato semplicemente un videogioco. È trasceso la sua natura di prodotto d'intrattenimento per diventare un mito culturale, un simbolo quasi religioso di attesa e speranza per una comunità globale. Un'attesa durata 1.692 giorni, secondo il conteggio meticoloso di un canale di fan, un periodo durante il quale il silenzio degli sviluppatori di Team Cherry ha creato un vuoto assordante. Questo vuoto non è rimasto tale; è stato riempito da un'energia collettiva che ha trasformato l'anticipazione in un fenomeno a sé stante.

For over six years, Hollow Knight: Silksong has not simply been a video game. It has transcended its nature as an entertainment product to become a cultural myth, an almost religious symbol of expectation and hope for a global community. A wait that lasted 1,692 days, according to the meticulous count of a fan channel, a period during which the silence of the developers of Team Cherry created a deafening void. This void has not remained such; It was filled with a collective energy that turned anticipation into a phenomenon in its own right.

E-sports is rapidly gaining popularity among young people and attracting significant interest from universities. However, there is still no consensus on what e-sports curricula should include, and a comprehensive framework for e-sports education has yet to be fully established. In this regard, the present study aimed to develop, implement, and evaluate an undergraduate-level e-sports curriculum in Turkey, designed to be adaptable within an international framework. The research was conducted using a mixed-methods design. The curriculum development process was structured in four main stages: Needs Analysis, Program Design, Program Implementation, and Program Evaluation and Revision. During the needs analysis phase, two distinct participant groups were consulted. A total of 100 stakeholders participated in a needs analysis workshop, and based on the data obtained, surveys were administered to 386 stakeholders across Turkey. For implementation, pilot testing involved 32 undergraduate students (7 weeks, 4 hours per week), while the main implementation

UFPE) e pós-doutorando no PPGDesign da Universidade Anhembi Morumbi. Atua em pesquisas ligadas a concepção de jogos e produtos digitais, abrangendo temas como: métodos de design, usuários, personas, gamificação, análise de produtos, engenharia reversa e prototipação. Resumo "Jogos sérios" (serious games) é o termo adotado para games utilizados para propósitos que extrapolam o entretenimento, em áreas como a educação, treinamento, simulações e a saúde -objeto de preocupação dos governos e tida como relevante para o bem-estar de uma sociedade. Considerando a presença cada vez mais ubíqua e pervasiva dos computadores e smartphones, o texto parte da premissa que jogos de exercícios (exergames) podem vir a ser um caminho viável para a melhoria de práticas relacionadas à saúde na sociedade contemporânea. Após revisão bibliográfica, fez-se perceber uma carência em métodos e ferramentas para auxílio no design desse tipo de jogo. Desta forma, o presente artigo apresenta os estudos exploratórios iniciais de uma pesquisa sobre metodologias de design pensadas para exergames.

Playing video games is a popular leisure activity among adolescents and youths. People's motivations for playing video games, as well as the potential benefits and drawbacks, are an issue of continual debate. Some researchers believed that playing video games negatively impacted academic achievement among students. Consequently, the purpose of this analytical paper is to identify the link between the academic performance of UiTM Pahang Branch, Jengka Campus students and the amount of time they devote to video games. A survey was distributed online in order to collect information regarding the amount of time students spend playing video games and their academic performance. The sample for the study was comprised of 103 students from UiTM Jengka, Pahang, who were chosen at random. This study indicates that there is a statistically significant correlation between the amount of time students spend playing video games and their academic performance at UiTM Jengka, Pahang. The finding...

O character design visa a construção de personagens e é um dos pilares essenciais para o desenvolvimento de jogos. Considerando os arquétipos presentes na composição da silhueta, da paleta de cores e do exagero ao construir personagens, observa-se, consequentemente, uma influência no desenvolvimento de sua personalidade, estética, comportamento e principalmente sua aparência, elementos que são fundamentais na construção tanto da narrativa quanto na própria percepção do personagem. Este artigo visa, através da game analysis, evidenciar e analisar esses arquétipos em protagonistas silenciosos à partir dos conceitos designados por Jung (2011) nos jogos Hollow Knight e Undertale e o que agregam ao storytelling, considerando técnicas e mecanismos usados para evocar catarse e influenciar o jogador a empatizar com a obra.

This study aims to thoroughly examine the relationship between digital game design and illustration by analysing the artistic, design, and narrative dimensions of illustrations through popular 2D and 3D digital games. In this context, Minecraft, Fortnite, Animal Crossing: New Horizons, Super Mario Odyssey, Hollow Knight, Cuphead, Gris, Hades, and Undertale were selected as prominent examples representing 2D and 3D illustration styles due to their popularity and artistic designs. The research employs a descriptive analysis method to evaluate the color schemes, character designs, environmental details, and general stylistic features of game illustrations, exploring their artistic impacts on the gaming world. The selected games span various genres, and their visual, artistic, and technical contributions were analysed in detail. This study emphasizes that illustrations play a critical role in digital game design by enhancing aesthetics, storytelling, user experience, and character depth. The findings reveal that illustrations are not merely visual elements but serve as fundamental tools in game design processes, fostering interaction with players, enriching the gaming experience, and creating anemotional connection to the game world.

The purpose of this research is to develop a Class Library in the domain of Scrolling Shooter games. The built of this Class Library will be used to develop Scrolling Shooter games as the result of this research. In software engineering, there is a reuse concept that is used to reuse functional systems. One application of this concept is the class library. With the class library, programmers can directly call the functions they need without building them from scratch. This study also used the class library concept for the domain of the shooter scrolling game case. The development of a Class Library is done through seven phases, Domain Analysis, Frozenspot Analysis, Hotspot Analysis, Modelling Class Library, Implementation Class Library, Unit Testing, and Integration Testing, and those will be the main discussion of this research. Furthermore, this research's conclusion is expected to help game programmers develop Scrolling Shooter games without making the whole system functional...

In this article we carried out a review of religious education based on Ken Wilber's AQAL model, for which purpose a review of the current understanding of religious education is made, widely equated with school religious education, verified both in magisterial, doctrinal and ministerial documents. This is followed by a review and clarification of the origin of Ken Wilber's integral model (AQAL model) and then an analysis of the way in which it is applied to all knowledge as its principles state. From this explanation, the analysis of religious education is undertaken in order to broaden the foundations that underpin its understanding, expanding it far beyond school education and encompassing the full breadth of personal, social and institutional religious experiences. It is concluded, through this research, that religious education is a field unjustly reduced to its school dimension and that it can be developed from an integral epistemology to extra-school, extra-ecclesial and, without absolutist intention, universal dimensions.

El objetivo de este proyecto es sentar las bases dentro del ámbito educativo para realizar videojuegos innovadores en términos de mecánicas, estéticas e interfaces hombre-máquina poco comunes.Eje: Ingeniería de Software.Red de Universidades con Carreras en Informátic

"Indeed, with hardship will be ease" ( Al Insyirah : 6 ) "I refuse to let my fear control me anymore!" v vi ACKNOWLEDGEMENT Alhamdulillah, all praise and thanks is for the Almighty Allah SWT, the lord of the universe, for all blessing and mercies so the researcher was able to finish this thesis entitled "An Analysis of Language Game Structures of FITK of IAIN Surakarta". Peace and salution be upon the great messenger Muhammad SAW the greates leader and the greatest leader and good inspiration of world revolution. The researcher is sure that this thesis would not be completed without the helps, support and suggestion from several sides. Thus, the researcher wold like to express her deepest thanks to all of those who had helped, supposed, and suggestion her during the process of writing this thesis, this goes to: 1. Prof. Dr. H. Mudofir, S. Ag., M. Pd as the Rector of the State Islamic Institute of Surakarta. 2. Prof. Dr. Toto Suharto, S.Ag., M. Ag as the Dean of Cultures and Languages Faculty. 3. Nur Asiyah, S.S., M.A as the Head of English Letters Department. 4. Muhammad Zainal Muttaqien, S.S., M.Hum., as the advisor for his guidance, precious advices, correction, time, motivation and helping revise the mistake during the entire process of wrting this thesis. Thank you so much. 5. Bayu Dewa Murti., M. Hum. as the validator of the data in this research. thanks for willing to take apart in this thesis. 6. All lectures of english Letters, thanks for guidance, advice and share knowledge with me. 7. For my beloved father, Warkim Rusmiarjo and my amazing mother, Rustinah. Thanks for your love, you teach me so well. Thank you so vii much for everything, for supporting and praying for me. 8. My beloved brothers, Ruswandi and Ruswanto. Thanks for your support. 9. All of my friends in English Letters 2014 especially of A life Alive class thanks for your support and expereience. 10. All my friends who willing to take a part in this research (Ilham, Rika, Ridha, Aya) thanks for your support and big help. 11. All of my best friends of Ashabul Nolep, Asri Fathin Azizah and Sutanti Prasetyaningsih. Thanks for always support and pray. 12. The big family of PC IMM Ahmad Dahlan Kota Surakarta for the expereience. The researcher realize that this thesis is still far from being perfect. The researcher hopes that this is useful for the researcher in particukar and the reader in general.

This thesis presents a comprehensive case study on the use of AI-generated music in video game development, examining the role of music in depth. The study included both an observational preliminary study examining the technical capabilities of AIgenerated music tools and semi-structured interviews examining the experiences and perceptions of game development professionals. Starting from the historical development of game music and the basic principles of ludomusicology, this research examined the artistic, technical, professional, and ethical dimensions of integrating AI into the video game development field. The research was conducted in two stages. In the first stage, a pilot study was conducted to evaluate the capabilities of existing AI music production tools, Udio and Suno.AI, to produce music for different game genres (puzzle, action-adventure, horror). By observing the performance of the produced music in terms of structural, emotional, technical, and genre harmony, preliminary ideas were obtained on integrating these tools into professional development processes. In the second stage, semi-structured interviews were conducted with eleven people working in the gaming industry. The thematic analysis method was used to analyze the experiences of video game developers and musicians regarding these tools, the purposes for which they prefer them, how they use them in professional production processes, their perceptions on the artistic, technical and creative process, their concerns about issues such as originality, copyright and ethics, and their thoughts on how their long-term impact on the gaming industry will be. According to the findings, AI music tools were primarily used by developers in the early stages, such as idea generation, prototyping, and testing. It was stated that these tools provided advantages, especially for independent teams, in terms of speed, accessibility, and cost. However, due to structural limitations in controlling the music, difficulties in producing cyclical music, and uncertainties about copyrights and originality, participants were hesitant to incorporate this music into their final products. Participants generally evaluated AI as an auxiliary, supportive, and complementary tool, stating that no system can replace human creativity. This thesis contributed to the literature by providing a developerfocused perspective on how AI-assisted music production integrates into the game development process. In addition to technical capabilities, the study's consideration of developers' interactions and user experience with AI provided data on human-AI collaboration. The limited number of tools, types and participants, and the rapid change in AI technologies limited the study. Future research should explore a broader range of AI music tools and game genres, examine how players emotionally connect with AI-generated music, evaluate its impact on immersion compared to traditionally composed music, assess its ability to produce adaptive, interactive, and dynamic soundtracks, investigate integration with interactive audio engines, and develop frameworks for ethical use, legal clarity, and hybrid human-AI collaboration in music production.

La industria de los videojuegos ha crecido notablemente durante la última década. Estudios realizados en 2017 por la Entertainment Software Association (ESA, 2018) demuestran que, solo en Estados Unidos, la inversión de consumidores pasó de 17.5 billones de dó- lares en el 2010 a 29.1 billones de dólares en 2017. Los informes de dicha asociación también estimaron que durante 2018, el 60% de la población estadounidense utilizó cualquier tipo de videojuego al menos una vez al día. Estudios similares documentan este crecimien- to de la industria a nivel mundial.
Respecto al contexto latinoamericano, puede citarse la infor- mación más reciente del Global Game Market Report (Newzoo, 2018), el cual señala que los consumidores de videojuegos en Mé- xico gastaron 1.6 billones de dólares durante 2018, y se estima que existen 55.8 millones de videojugadores mexicanos. Con ello, el ran- king mundial del GGM 2018 ubica a México en la posición número doce entre los cincuenta países que más consumen videojuegos, siendo el primero de América Latina. Cabe destacar que el primer lugar mundial está ocupado por China, con 619.5 millones de con- sumidores de videojuegos, en segundo lugar, Estados Unidos con 178.7 millones y, en tercer lugar, Japón con 67.6 millones (New- zoo, 2018).
Ahora bien, dentro de los estudios mencionados se revela infor- mación adicional que va más allá de la estadística económica y resulta pertinente para los fines de este capítulo. Entre los hallazgos de la Entertainment Software Association (ESA, 2018) se señalan los factores que influencian la decisión de compra de un videojuego, y la primera consideración del consumidor es la calidad de los gráficos; en segundo lugar, se encuentra el precio y, en tercer lugar, el interés por la premisa narrativa. Otros tres factores de menor injerencia son la posibilidad de conectividad para partidas en línea, la vinculación del videojuego con una saga específica y la pertenencia del videojuego como producto de un universo transmedia.
Siguiendo entonces, los resultados de Gallager (ESA, 2018) se destaca que para los consumidores resulta sumamente importante el disfrute visual del videojuego, es decir, la experiencia estética que se propondrá en el consumo del hipermedio. Durante el presente capí- tulo, al hablar de estética se toma en consideración la filosofía de la belleza de Umberto Eco, referente a las cosas que en determinada época y para determinada cultura “se reconocen como agradables a la vista, independientemente del deseo que experimentemos ante ellas” (Eco, 2010).
En ese sentido, Gallager (en ESA, 2018) menciona que en el crecimiento espectacular de la industria del videojuego “los artistas digitales pueden ser la estrella más brillante de la economía norteamericana”.

Web-based learning has revolutionized distance education from the foundations. The tremendous variety of new possibilities offered has also caused the upgrade of methodologies and strategies entailed in face-to-face education. The possibility to exploit remote and distributed resources, multimediality and hypermediality, all allow establishing unprecedented dynamic links among traditional chunks of knowledge and novel ways of representing information. The use of social networks further spurs discussion, exchange of ideas and experience, and cultural mix-up. This supports the concrete implementation of socio-constructivism in a way that was unexpected by its pioneers. However, every medal has a reverse side. Relying uniquely on remote deployment of knowledge and configuration of learning tasks suffers from the lack of personal, concrete interaction both among learning peers and with teachers. It is often the case that distance learning becomes a lonely experience, with no factor actu...

Sound is both an atmospheric and functional element of understanding one's orientation within a space, whether real or virtual, evoking a sense of spatial awareness. With videogame engines becoming increasingly prevalent in architectural practice for constructing virtual spaces, coupled with the growing interest of architects in videogame design, an opportunity emerges for the intentional designing of sound as an essential spatial component. By examining the role of audio in videogame environmental storytelling, this article provides insights for environmental designers, world-building artists, and architects seeking to comprehend dynamic sounds to narrate their digital stories using interactive and non-linear storytelling media. It does so by illustrating how videogame sound designers and music composers create and integrate sonic experiences that respond to in-game environments in three case studies. This research was conducted through a series of interviews with leading videogame sound

Virtual reality has great potential for immersive experiences that is not available in other mediums. Thus, it has a significant place in the entertainment and the game industry. However, creating a well-designed immersive experience can be extremely complicated due to the replacement of human perception from the real-world to an isolated virtual world. Understanding the essentials of virtual reality (VR) experiences and game design principles is necessary for designing an immersive VR game. Although there are many differences in design elements of VR games according to the experience that is wanted to be given to the player, many games also have common elements. In the line of this view, a guideline is aimed to be framed for VR game designers in the current study. For this purpose design pillars of VR experiences and game design principles were reviewed, and five VR games were analyzed. Games are highly plastic mediums that can be adapted to any environment and technology. Many gam...

is a game scholar and researcher specializing in curriculum development, training, narrative, and psychology. Her research focuses on how video games can foster health-promoting behaviors, how female protagonist agency affects youth and young adult female player identity. She co-developed a Bachelor of Serious Games degree and designed the Interactive Narrative minor within that program. Her most prominent research includes "Cognitive Behavioral Game Design: a framework for creating Serious Games", and "Using Twine as a Therapeutic Writing Tool for Creating Serious Games". In her teaching, she loves creating showcasing engaging stories, whimsical characters, and conveying worlds through simple interactions that convey meaning.

Desde a virada do milênio, os videogames se expandiram e diversificaram, consolidando uma posição hegemônica dentro da cultura pop contemporânea. O público que consome games, da mesma forma, também se diversificou. Hoje, estima-se que mais de 40% da população mundial jogue em algum tipo de dispositivo eletrônico. À luz da relevância que os games possuem nas sociedades contemporâneas, o presente dossiê temático teve como foco reunir trabalhos que problematizem a relação entre jogos eletrônicos, cultura e sociedade. As contribuições aqui reunidas, oriundas de diferentes áreas do conhecimento, abordam e aprofundam um conjunto questões intrínsecas ao universo dos videogames. Dessa forma, este dossiê contribui para o fortalecimento dos games studies, sendo uma importante referência àqueles/as que se dedicam a investigação dos jogos.

We propose a set of six topics of inquiry into historical games as regards their feminine characters, and we illustrate them through an analysis of This War of Mine, Valiant Hearts and 80 Days. Historical games may include documented historical characters and fictive characters as well; the latter may aim to represent a type of real persons, or may be individualized as a purely fictional character. We argue that This War of Mine, Valiant Hearts and 80 Days have both strong and weak points in their construction of feminine characters, when taking into account the proposed set of indicators.

We propose a set of six topics of inquiry into historical games as regards their feminine characters, and we illustrate them through an analysis of This War of Mine, Valiant Hearts and 80 Days. Historical games may include documented historical characters and fictive characters as well; the latter may aim to represent a type of real persons, or may be individualized as a purely fictional character. We argue that This War of Mine, Valiant Hearts and 80 Days have both strong and weak points in their construction of feminine characters, when taking into account the proposed set of indicators.

As games are becoming an increasingly popular medium in various demographic and professional strata, scholars are discussing their content and how they shape society. However, despite an increase in gender analysis of video games, little has been written about orienting games towards an elderly audience, or game representations of aging and older persons. Games specifically designed for older persons are focused on improving cognitive functions, starting from the assumption that the elderly are in need of special games in order to repair age-related deficits. This repair-focused design philosophy comes at the expense of pursuing a broader understanding of quality of life and non-programmatic entertainment. Games-for-fun that also explicitly target the elderly as an audience are almost invisible. In this article we turn our attention to a powerful elderly feminine character in an AAA game designed for entertainment without a serious mission, namely Flemeth from Dragon Age. We discuss how the game depicts and models older characters: What repertoire of portraits has Flemeth as an old woman, in the Dragon Age games? How does Flemeth contribute to an enlarged repertoire of portrayals of old women in video games? We conclude that Flemeth's gender and age displays in Dragon Age do not impoverish her portrayal but, on the contrary, turn her into a powerful and complex character, thus offering a model for game design to represent and invite older players.

This article introduces a method for exploring liminal horror environments using a modified Wave Function Collapse algorithm. This approach employs real-time generated regions to create infinite, non-deterministic environments, removing the feeling of security due to familiarity. An eventdriven system further reinforces unpredictability by dynamically integrating horror experiences. While still in an exploratory stage, this method provides a foundation for future research on how architectural structures, unpredictability, and environmental cues contribute to unsettling experiences in games.

Game development is a complex task that requires a lot of hard work and patience because it contains various elements such as 3D objects, collision detection, scripting, sound management, animation, rendering, control, and artificial intelligence. Video games are also interactive applications; therefore, they need to be designed in such a way that would enable a high level of usability. In this paper, the development methodology steps that were done for creating a video game are presented. The goal is to gain knowledge in game development with a hands-on experiment and to obtain a highly functional and usable game.

In this paper we describe a pedagogical interactive activity currently in development, which takes the form of a mobile game. The subject of the game is a curriculum topic in Mathematics, namely the four elementary operations on polynomials. The design options considered emerged from previous work of the authors, specifically a survey on the gaming preferences of students and their favorite game. We present the main results of our research and how it has contributed to the creation of the game.

Las investigaciones coordinadas por Diego Maté y María Luján Oulton compiladas bajo la publicación titulada “Derivas: concentración y aperturas de los game studies” divulgadas en Cuadernos del Centro de Estudios en Diseño y Comunicación Nº130, dejan constancia de como la gamificación se ha convertido en una tendencia y un objeto de estudio asociado directamente a procesos de aprendizaje y a la resolución de problemas morales.

A number of video games involve moral narratives or require the player to make moral decisions and research from psychologists has helped to understand the effects video game content can have on how individuals behave. Recent research has started to examine the role of morality in video games: however, there are many inconsistencies in the findings. We propose that some of these inconsistencies could be due to using commercial video games for research purposes, which contain biases such as familiarity with the game and favourite characters. The process of playing video games requires consideration of Human Computer Interaction (HCI); i.e., how the game is designed and then how it is received by the player. The aim of this poster is to highlight the work being conducted to design a game in order to investigate how moral decisions are made in video games. The design of video games usually draws on an understanding of HCI to produce play that is entertaining and engaging for the player. The game development process in this research draws on a fusion of psychology and HCI, and by drawing on theories of morality the design of the game will be grounded in psychology, as well as entertainment. Through fusing video game design principles, HCI and psychology, this work is novel in terms of a methodological as well as theoretical contribution to the area.

A game’s power lies in its ability to transcend the player beyond the screen into a game world where their actions and decisions feel genuinely engaging, resulting in the player feeling immersed in the world. Immersion makes gaming a unique medium that defies passive entertainment as it is multifaceted, providing each player with varied experiences and personalised engagement. This essay explores four distinct forms of immersion: perceptual immersion, immersion as transportation, narrative-based immersion, and challenge-based immersion to analyse how they shape player engagement across different game genres. By understanding these immersive mechanics, I will highlight how games not only captivate players but also influence creative design choices, ultimately signifying the responsibility of my desired role as a 3D artist in the gaming industry.

An introduction to the core concepts and methodologies that inform game design, development, and criticism. This course will provide students with a critical overview of each of these content areas and will demonstrate how their specific concerns intersect in the design, production, and reception of contemporary games. It will also teach students hands-on methodologies through which to translate these concepts into creative and critical praxis.

El progreso tecnológico en el diseño conlleva beneficios e impactos negativos, como la aceleración del consumo, la desigualdad y la obsolescencia. Mientras el diseño impulsa innovaciones, también refuerza modelos de producción que favorecen la rentabilidad sobre la sostenibilidad. La automatización y la inteligencia artificial optimizan procesos, pero generan incertidumbre laboral. Por ello, es clave que el diseño promueva enfoques sostenibles y equitativos.

Desde la perspectiva de Yuk Hui, la tecnología no es universal, sino que se desarrolla según cosmologías específicas. La hegemonía tecnológica moderna impone un único modelo de desarrollo (monotecnología), limitando alternativas más sostenibles (tecnodiversidad). Esta visión se refuerza con la lógica del consumo masivo, promovida tras la Segunda Guerra Mundial, que fomenta la obsolescencia programada y el deseo constante de renovación a través de la publicidad.

La brecha (technology gap) y dependencia tecnológicas afectan la competitividad y autonomía de los países en desarrollo, dificultando su acceso a innovaciones. Para reducir esta desigualdad, se requiere inversión en educación, investigación y transferencia tecnológica equitativa. El aceleracionismo plantea que la tecnología y el capitalismo deben impulsarse al máximo para trascender sus límites y generar un cambio social radical. La inteligencia artificial juega un papel central en esta transformación, desafiando los modelos tradicionales de organización y producción.

El diseño también debe repensar su papel ante la obsolescencia. La sociedad de consumo ha reducido la durabilidad de los productos en favor de la inmediatez, impulsando un modelo insostenible. Estrategias como el ecodiseño y la economía circular buscan contrarrestar estos efectos, promoviendo productos más longevos, reparables y sostenibles. Finalmente, el análisis se alinea con la visión de la encíclica Laudato Si’, promoviendo una “conversión ecológica” que incentive el uso responsable de los recursos y la justicia social. Desde una perspectiva ignaciana, la educación debe fomentar una reflexión crítica sobre el impacto del diseño y la tecnología, orientada hacia un desarrollo más equitativo y sostenible.

For over a decade now game research has aimed at describing the game experience by attempting to see it from one perspective. In this paper, we collect, analyse, and merge together this work. As a result, we claim that a game experience is composed of three pairs of elements, none of which can be removed, or the system in question is no longer a game. These elements are: (1) the game mechanics and action, (2) storyworld and narrative, and (3) aesthetics and sensory stimulus. This model can be illustrated in the form of a gem that encloses the fantasy and immersion of a game. Apart from games, this model is applicable to all kinds of storytelling, particularly interactive kinds. Beyond games, the different facets of the gem can be used by ignoring elements absent in the given narrative media.

Interactive digital storytelling (IDS) allows a human user to become an active part in a story and to affect how the story unfolds. To understand IDS systems, we need to consider the partakers present in them as well as their roles and interconnections. In this chapter, the authors discern four partaking entities-interactor, author, developer, and storyworld-and describe both their affiliated sub-entities as well as their relationship to one another. Based on both reviewing relevant literature and analyzing existing IDS systems, the ontology presented here provides a cohesive view into the current state of both theoretical and practical research.

The research team applies narrative theory to design a location based context-aware mobile role playing game in order to make students feel that they are living in the game world and role playing an actor, exploring the game world, completing the quests, and learning things. The research finds that students' confidence of playing computer games and degree of liking computer games do not influence their voluntariness of using such game in the future; on the contrary, their attitude towards computer games and how they feel comfortable to computer games significantly influence their voluntariness of using such game.

What is this? It's a piece of writing exploring the development of a small international ecolinguistics pilot project that used Animal Crossing New Horizons (ACNH) as a vehicle to connect university students and researchers in conversation about issues of environmental and community sustainability. • Why did you make it? We wanted to share and make sense of what we tried, what we learned, and we wanted to explore ideas for possible future iterations. • Who is it for? People interested in exploring the use ACNH, or similar games, as a vehicle for meaningful discussion about environmental and social issues. Tweet synopsis Animal Crossing: New Horizons offers the opportunity to think about environmental issues locally and internationally, through the shared experience of developing a thriving island paradise. This article investigates the places, processes, and ecosophies represented in the interactions of student and faculty participants in a unique international collaboration around the game.

BioDiveIn and GoCOLife are two of several interventions developed within COlife studios over 2022 and 23. These aim to lead towards transition towards Post-Anthropocene, engaging ecological aesthetics. BioDiveIn intervention is an installation that offers multiple species habitats, edible landscapes and water pools for bats, swifts, small-size birds, squirrels, insects and plants. The intervention serves as a touch point that is - leading to DIY recipes to multiply the installation and to spot-a-bee application for joining the citizen science on pollinators. This was gamified in GoCOLife intervention. An urban game application that is engaging people in biodiversity support, and reproducing the DIY recipes, amongst others. The interventions were codesigned through gigamapping and full-scale prototyping through experimental Systems Oriented Design (SOD) studio courses in winter and summer with students, invited experts and other stakeholders. The design processes resulted in DIY events, a launch with a gardening party to accommodate the plants in the prototype and the urban game application GoCOLife.

For many people, video games play a crucial role in everyday life. Video games can have a significant impact on the players, and this impact can manifest in a multitude of different forms. One of the ways an individual can be affected by video games includes the representation, and perception, of gender stereotypes. Within the Final Fantasy game series multiple gender stereotypes are represented. This paper aims to determine if those who identify as part of the LGBTQ+ community view gender stereotypes in Final Fantasy differently from heterosexual cis-gendered people-specifically, whether the gender stereotypes depicted in video games influence individual player's perceptions of specific gender identities. The research undertaken determined that the perceptions of stereotypes differ for each individual player, depending on the Final Fantasy game. This paper concludes by explaining how those who identify as members of the LGBTQ+ community do in fact view gender stereotypes differently, perceiving them as more harmful than their heterosexual, cisgendered counterparts.

In this paper we present the result of our work on implementation of an interactive environment that can be used to develop adaptive games with animating characters. The environment is designed to run in design and run mode, whereas certain design mode characteristics are still applicable in run mode so that the player can enhance the game and keep the features for future playing sessions. In design mode, the designer, can create a whole new world with animating characters, define rules using a predefined syntax to set certain features, restrictions and conditions. The designer can run the game in simulation mode, visualize the results, make corrections, package and deploy the game when satisfied with no need to write even a single line of code. The approach presented here provides much more flexibility comparing with static games fixed at compile time. Interactive development environment with combination of modifiability gives the player the power to let the game be evolved in time without waiting the game developers to deploy a new version. Additionally, this flexibility reduces the stress on the game vendors arises from dealing with high and varying expectations of players within a limited time and development resources. Finally, the environment can be used to design special purpose games for teaching, healing, or any other gamification case study.

Este artículo analiza la evolución de los videojuegos de mundo abierto desde sus orígenes hasta 2023, estableciendo una cronología que contextualiza su desarrollo en relación con la evolución tecnológica y las tendencias del sector. A través del análisis del ritmo de lanzamientos, se examina la progresión del modelo de mundo abierto y su consolidación en distintas generaciones de consolas. El estudio emplea un enfoque comparativo, cruzando la evolución de los videojuegos con las capacidades del hardware. Se han aplicado criterios de verificación mediante el análisis de fuentes especializadas y comentarios de jugadores para garantizar la coherencia en la selección de títulos. Los resultados indican que la expansión de los mundos abiertos ha estado fuertemente ligada a la potencia de las plataformas, aunque también refleja cambios en las preferencias del sector. El reciente descenso en su ritmo de lanzamientos sugiere una posible transición en su diseño y consumo.

En Sudamérica el estudio en torno a juegos y videojuegos ha ido en aumento los últimos años pero, debido a las características particulares de la región, las dificultades de adoptar la nomenclatura anglosajona así como la falta de espacios especializados para su de-sarrollo, se complejiza la definición de este campo de estudio. Con el objetivo de caracterizar el desarrollo del campo de los game studies a nivel regional, se efectuó una revisión del estado del arte de artículos de acceso abierto enfocados en el juego y los videojuegos en Sudamérica entre 2013 y 2023, en idioma español, portugués e inglés. Se discuten las características de la producción académica regional y su posicionamiento a nivel internacional.

This paper presents work on the development of a Game-Based Learning (GBL) application’s requirements for female middle school students which teaches fundamental concepts of programming. Currently, there are not enough students who desire to pursue Science, Technology, Engineering, and Mathematic (STEM) career fields. Additionally, female are underrepresented in STEM fields, and increased female participation may help partially address this gap. GBL was used to encourage middle school student interest in STEM by allowing them to practice computer science concepts in engaging contexts outside the classroom. The game Sorceress of Seasons was built to teach fundamental programming concepts, and was based on six requirements specifically targeted at female middle school students. The game was tested with 15 middle school-aged students. Playing the game had a positive effect on students’ attitudes towards programming, with female students reporting a larger increase in computer science i...

What makes Iron Storm (4X Studios, Kylotonn, 2002) relevant to the ongoing discussion on game textuality? How can this game be used to explore the limits of a story that is stretched across media? What does Iron Storm tell us about the narrative possibilities in an interactive space? This reading of Iron Storm attempts to probe both the game and its narrative content in order to put into practice some of the key concepts evolved during the course the ludology versus narratology debate. Before getting to the actual dissection of Iron Storm, it is worth mentioning that this game gets personal -inevitably -at some point, a claim that is argued throughout this article. Attempting to analyze Iron Storm from an individualistic perspective is a part of extended research to discover a feasible method by which game narratives can be interpreted, a perspective striving to be informed by the discussion on interactive media.

This reading attempts to show how Iron Storm connects history and fiction by means of a three-dimensional storytelling system. This paper further explores new limits of game concepts such as Jenkins space architecture and Murray's immersion, and directed towards the testing of an experientail approach to game narrative and play analysis.  

What makes Iron Storm (4X Studios, Kylotonn, 2002) relevant to the ongoing discussion on game textuality? How can this game be used to explore the limits of a story that is stretched across media? What does Iron Storm tell us about the narrative possibilities in an interactive space? This reading of Iron Storm attempts to probe both the game and its narrative content in order to put into practice some of the key concepts evolved during the course the ludology versus narratology debate. Before getting to the actual dissection of Iron Storm, it is worth mentioning that this game gets personal -inevitably -at some point, a claim that is argued throughout this article. Attempting to analyze Iron Storm from an individualistic perspective is a part of extended research to discover a feasible method by which game narratives can be interpreted, a perspective striving to be informed by the discussion on interactive media.

Em termos de bem e mal, o nosso objetivo e mostrar o quanto tres personagens do videogame The Cave (2013) sao nebulosos, a luz da convencao pos-modernista de anti-heroi. Como em todas as midias, o pos-modernismo parece ter permeado tambem as historias de videogame. Ao longo do artigo, tentaremos destacar aspectos escorregadicos da distincao entre o heroi e o anti-heroi em The Cave, em oposicao a clara demarcacao em outros jogos.

Various digital games have been developed that focus on providing a sense of enjoyment and excitement for their players in order to be a modern tool for releasing stress or simply for pleasure. In recent years, digital games were also used for teaching and learning. For example, in History subject, games were used for retelling historical stories; at the same time, to preserve the history for the next generation to learn, understand and appreciate. Similarly, Digital games with Islamic values have also been developed to teach Islamic values or knowledge among players, in other words to persuade players to learn or improve their knowledge on Islam. Many designers assumed that games could be used as a persuasive tool to influence players, to learn and understand Islam as a way of life. However, no prior research has been done on the perception of players before and after playing Islamic digital games. To this end, this paper investigates and reports if Islamic Digital Games could persuade gamers to understanding Islam by exploring the use of these games among gamers. A total of 20 school children voluntarily participated in the experiment and the findings are reported in this paper. The study found positive effects on the users' perception toward playing digital games embedded with Islamic values.