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"Never mind that they're now among the most lucrative forms of entertainment in America, video games are juvenile, silly, and intellectually lazy. At least that's what Jonathan Blow thinks. But the game industry's harshest critic is also its most cerebral developer, a maverick bent on changing the way we think about games and storytelling. With his next release, The Witness, Blow may cement his legacy-or end his career. In a multibillion-dollar industry addicted to laser guns and carnivorous aliens, can true art finally flourish?"

Abstract: "We present a case study in the design of an educational video game about collecting, curating, and museum operations. A five-step cyclic design thinking framework was used by the studio during the design and development of the game, and the team was simultaneously the subject of a rigorous and detailed ethnographic study. Three stages of the game's design evolution are presented through the lens of the design thinking framework. The team's practice-based research is tri- angulated with our empirical data to produce four key findings: (a) that empathy for learning context is critical in aligning designs with learning objectives; (b) that meeting with stakeholders spurs empathy-building; (c) that there is a tension between horizontal and vertical slicing that is revealed by design thinking processes; and (d) that iterative design processes challenge conventions of higher education."

From the abstract: "this study investigated how the perspectives of the non-computer science educators changed after learning game-programming and how it could be fitted into the K-12 curriculum. Fourteen non-computer science educators and/or administrators in the K - 16 educational systems who made up a cohort at Sam Houston State University, Master of Education/Instructional Technology Program participated in this study. The participants were required to learn two free Web 2.0 game-programming applications and reflect on an article related to reviving interest in math and science as part of their program. Qualitative data consisted of online reflections, and peer-review processes through Facebook. A quantitative component was added to the analysis. The findings indicated that: (a) the perspectives of the participants changed from negative to positive as they reflected on their own game-programming learning experiences; (b) participants came to understand how game programming could build up students' logical concepts and critical thinking skills improving performances in math, science, and other subjects; and (c) due to the benefits of logical concepts and critical thinking skills game programming could have immense benefits if built into the K-12 curriculum."

"Our group formed around the common theme of piracy, and after iterating through several different subthemes, we finally settled on two distinct persuasive objectives in our game. First of all, we intended to persuade the player that piracy is not theft. Secondly, we intended to convey the message that the media industry hides and distorts the reality of the situation for its own benefit. The game is meant to inspire critical thinking and discussion about the topics being discussed in the game."

Abstract: "This paper is a reflection on a design teaching project that endeavours to establish a culture of critical design thinking in a tertiary game design course. In the first instance, the 'performing design' project arose as a response to contemporary issues and tensions in the Australian games industry and game design education, in essence, the problem of how to scaffold undergraduate students from their entry point as 'players' (the impressed) into becoming designers. The performing design project therefore started as a small-scale intervention to inspire reflection in a wider debate that includes: the potential evolution of the contemporary games industry; the purpose of game design education; and the positioning of game design as a design discipline. Our position is that designing interactive playful works or games is victim of a tendency to simplify the discipline and view it from either the perspective of science or art. In this paper we look at some of the historical discussions on the distinct identity of games. Then we present an overview of the typical state of play in contemporary game design education which inspires the performing design project as an intervention or teaching technique. This leads us to question understandings of education and training and creativity and innovation. Finally we reflect on insights arising from the performing design project which lead us to support Archer's call for a 'third area' that balances the monolithic practices of the two major academic disciplines."