Group items tagged

Abstract: "The advantage of using app verses tradition browsing on mobile devices in the market can improve communication with customer. Allowing more creative way to promote brand and advertise to the growing crowd of mobile ecommerce. Mobile apps will be a great tool to simplify the customer‟s path to products that they value in the future as mobile market grows larger and more complex. Organizations that fail to see and act on the potential of the growing mobile market will get left behind. Additionally those that can simplify mobile commerce, making commerce more interactive with less hassle, give customer the experience they want, more secure, and put all that in the palm of a customer‟s hand will be able to ride the trend to success."

P. 158 in a long document. Abstract: " 157 Chapter 8Design and Implementation of Mobile Educational Games: Networks for Innovation Rob Harrap 1 , Sylvie Daniel 2 , Michael Power 3 , Joshua Pearce 4 , Nicholas Hedley 5 1 Queen's University, Department of Geological Sciences and Geological Engineeringharrap@geol.queensu.ca 2 Université Laval, Department of Geomaticssylvie.daniel@scg.ulaval.ca 3 Université Laval, Faculty of Educationmichael.power@fse.ulaval.ca 4 Michigan Technological University, Department of Materials Science & Engineering and theDepartment of Electrical & Computer Engineering, USApearce@mtu.edu 5 Simon Fraser University, Department of Geographyhedley@sfu.ca Abstract :" Research networks foster creativity and break down institutional bar-riers, but introduce geographic barriers to communication and collaboration. Indesigning mobile educational games, our distributed team took advantage of di-verse talent pools and differing perspectives to drive forward a core vision of our design targets. Our strategies included intense design workshops, use of online meeting rooms, group paper and software prototyping, and disseminationof prototypes to other teams for refinement and repurposing. Our group showedstrong activity at the university-centered nodes with periods of highly effectivedissemination between these nodes and to outside groups; we used workshopinvitations to gather new ideas and perspectives, to refine the core vision, toforge inter-project links, and to stay current on what was happening in othernetworks. Important aspects of our final deliverables came from loosely-associated network members who engaged via collaborative design exercises inworkshops, emphasizing the need to bring the network together and the im-portance of outside influences as ideas evolve. Our final deliverable, a mobileeducational game and a series of parallel technology demonstrations, reflect themix of influences and the focus on iterated development that our net

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."

Abstract: "We describe ANGELINA3, a system that can automatically develop games along a defined theme, by selecting appropriate multimedia content from a variety of sources and incorporating it into a game's design. We discuss these capabilities in the context of the FACE model for assessing progress in the building of creative systems, and discuss how ANGELINA3 can be improved through further work."

"The Becker College Department of Design announced the winning teams in the seventh bi-annual 24-Hour Game Jam, held from 5:00 p.m. on October 19 to 5:00 p.m. on October 20. The submissions were judged by a panel of Becker College faculty, advisors, and student representation, basing their ratings on each team's ability to represent the theme/object they received, the creativity of the game design, the quality of gameplay, overall appearance, and the fun factor."

"Editor's note: Ann DeMarle is director of the Emergent Media Center and associate professor of communication and creative media at Champlain College in Burlington, Vermont. "(CNN) Talking about Champlain's game development degree programs.

"This paper presents the theoretical foundations of and the research methodologies for designing, developing, and evaluating stealth assessments in digital games. ... There are four main sections in this paper. First, we discuss problems with existing traditional assessments. Second, we review evidence relating to digital games and learning. Third, we define and then illustrate our stealth assessment approach with a set of assessments we are currently developing and embedding in a digital game (Newton's Playground). The stealth assessments are intended to measure levels of creativity, persistence, and conceptual understanding of Newtonian physics during game play. Finally, we discuss future research and issues related to stealth assessment in education."

Abstract: Video games are no longer a means of simple entertainment that serve as a form of escapism. They are perceived not simply as free time distractions, but as logic of engagement and platforms of creative thinking. Furthermore, online video games have taken the idea of interaction to a level no any other media has ever achieved. Online video games known as virtual world or MMO (massively multiplayer online) are a mega interaction platform that attract millions of players across the globe. They are the ultimate goal that all architects have ever dreamed of, i.e. to create an interactive space that satis es the needs of users. This thesis research will tend to examine a variety of video games from 3 perspectives: space, structure and interactivity, with a view to understanding and exploring the behaviour of players in video games, as known as, virtual stages. In recognizing and articulating such behaviour, followed by exploring the relationship between architects, users and spaces, the interpretation of architectural languages can then be translated into physical spatial form. This research then questions the possibilities of promoting the gaming industry in South Africa. In the current digital era, the IT (information and technology) industry is a main stream profession that helps with the growth of a country as a whole. The role of the gaming industry therefore cannot be ignored in this instance. The gaming industry is a rapid growing profession that comprises a lot of speci c professionals. SA does not offer nor focus on the video game eld and as a result, we are experiencing a shortage of professionals in this eld. This thesis proposes a facility to facilitate current and future game industry related professionals, on the same time, providing a playful environment that integrates the building and local context, allowing deeper engagement for those who haven t been exposed to the real meaning behind video games.

"Video recordings of 19 play sessions in home environments generated the empirical data. The study comprises 39 players in groups of two or three, aged 10 to 14, as they were playing The Sims or The Sims 2 for one hour. The theoretical tools in the analysis were assembled within a sociocultural perspective on learning and communication, and also by using Vygotsky's ideas on fantasy and creativity and Goffman's ideas on social interaction. ....

"Without achieving a clear understanding of the learning domain, it is difficult to develop a successful serious game that enables users to achieve the desired learning outcomes. Thus, the first step in serious game design is to establish an understanding of the particular learning domain, usually through consultation with domain experts. Whilst game design is inherently a creative process, we believe the capturing of the knowledge domain can be systematised and we present a structured approach to knowledge elicitation and representation as a basis for serious game design. We have adapted and extended the applied cognitive task analysis (ACTA) method and have combined it with additional knowledge representation frameworks. We explain how the outputs of this approach can inform the game mechanic and the development of non-player characters, and apply it to the design of a serious game aimed at reducing time-tocompetence in soft project management skills for professionals working in corporate environments. A total of 26 domain experts from five different countries were involved in a two-stage interview process. The interviews yielded more than 300 task elements, and information about the cognition underlying the more challenging tasks. This data was incorporated into several representation frameworks and used to indicate features to be implemented in the game and the game mechanics of the supported features."

Ongoing series at Mesa Community College in Arizona, Video Games as a Force and Art Form: Teaching, Learning, and the Creative Economy, free and open to the public

Abstract: "In this paper, the researchers use an educational technology and instructional design framework to explore key aspects of game design used by educators and university students to teach road safety rules in general. The use of a framework is inspired by the game design literature and graduate students' prior domain experience in their respective fields of teaching. The study also looks at whether student-collaborated game design can lead to more effective learning and/or teaching constructs. Finally, the study explores the steps involved in game design and development, and through student interviews the researchers explain how collaboration plays a major role. To evaluate the proposed framework, a study was conducted with the participation of 6 graduate students using four phases: brainstorming, design, prototyping, and implementation. The students were then interviewed on their goal setting and design methodologies and shared their perspectives on whether these games provided a more creative setting for road safety learning. The study indicated that the proposed framework may simplify the game design process with effective and efficient collaborative design sessions in an educational setting."

Abstract: "This article discusses the application of an Alexandrian pattern language to the design of interactive systems. It grew out of an University course titled A Pattern Approach to Action Game Design, which was offered as an elective in the Creative Technologies program at Auckland University of Technology, NZ, in 2011. We sketch out the idea of design patterns and describe our experiences with the process of using them for designing oldschool action games, that is, finding patterns, making a language, using it for creating several game designs and realizing one of these designs collaboratively. We discuss the concept of the course and present our pattern language and the game we made. While the language is arguably more like a patchy pattern collection, the various game designs quite loose and the realized game unfinished, the process was challenging and intense, and offered students a new perspective on design. In the spirit of design patterns, we only did what the task at hand required, not artificial exercises. We attempted to connect theory and practice in a natural, direct way as we presented, discussed and used everything we did in order to continue our journey. Our course was not aimed at fixed or frozen products, but on a process that is constantly in flux through collaboration by people who interact and share a common pattern language, use, test, revise and refine it while moving on."

Abstract: "Digitalization has given rise to new opportunities for small and medium-sized video game development studios. No longer bound by physical products and creative restrains, the de-veloper has been empowered with independency. This qualitative study is aimed to under-stand how a development studio develops their business model and how underlying strate-gy is formulated. Additionally we evaluate the degree of innovativeness of the business model in terms of radical and incremental innovation according to Damanpour (1991). To achieve this we present a comprehensive literature review as to gain a more theoretical un-derstanding of industry mechanics and to be able to comprehend reasoning behind existing business models. We structure the dynamics of the business model by analyzing nine busi-ness model aspects as suggested by Osterwalder, Pigneur and Clark (2010). Following our theoretical framework we gain practical input from four separate case studies. An interpret-ative research method is used to gain better understanding of reasoning and choices made. We interpret our findings following a narrative approach which shows that the digitaliza-tion has preluded a paradigm shift in the sense that development studios have started to adopt activities otherwise performed by key partners. As barriers dissipate small and me-dium-sized development studios try to make sense of the current industry, but struggle in doing so. Having to reinvent themselves we conclude that a focus towards creating thicker customer relationships is considered and the idea of seeing games as a service is acknowl-edged to depict the future of the industry. The conclusions of this study contribute to both academic science and industry practice."

"ABSTRACT The art form of the video game has a very idiosyncratic reliance on the process and practice of its designers. We work with creative and computational problems that form a web of deep complexity. And yet, as I have noticed in my professional practice as a game designer, we do not use tools to support our design process. For more than a decade, designers and researchers have argued for the development and use of both conceptual and concrete tools. To this end, formal and semi-formal game design models have been proposed and, more recently, experimental software-based tools have been developed by the research community. To date, however, none of these tools or models have been adopted into mainstream practice within the game design community. In this paper I argue that it is difficult, if not methodologically flawed, to assess the work in the field of game design support without more qualitative data on how such tools fare in actual game design practice. Evaluation research would be an essential contribution towards answering the question of whether - and if so, how - these experimental formal models and tools can support and improve the game design process."

From the introduction: "This paper describes why and how an introductory video game design course was conceived and implemented, the best practices developed, and lessons learned since its first implementation in spring 2009. Introduction to Video Game Design was conceived at Johns Hopkins University as a creative, design-based course in which undergraduates work in collaborative, interdisciplinary teams on authentic projects. Students gained a broad knowledge of the gaming industry, along with practical development skills, through regular lecture-discussion sessions coordinated with weekly labs. The interdisciplinary student teams were mentored by industry professionals and worked throughout the semester to produce video games. The course development team faced a variety of challenges stemming from the inter-institutional, inter-departmental collaboration. The authors hope the case study described and evaluation data shared can help other schools planning to implement design-based courses, whether it is based on video game design or not."

Designer for well-known games such as Fallout3 and The Elder Scrolls V is remembered

From Imperial College London, Computational Creativity Group. Abstract. We present initial results from ACCME,A Co-operative Co-evolutionary Metroidvania Engine, which uses co-operative co-evolution to automatically evolve simple platform games. We describe the system in detail and justify the use of co-operative co-evolution. We then address two fundamental questions about the use of this method in automated game design, both in terms of its ability to maximise fitness functions, and whether our choice of fitness function produces scores which correlate with player preference in the resulting games.

Video games have vastly evolved since their introduction nearly 40 years ago. Some, including the Smithsonian American Art Museum, would argue that this creative evolution gives video games the honor of being an art form. From March 16 through September 30, an exhibition titled "The Art of Video Games" will be on view at the museum, Smithsonian Magazine reports.

"Gamers don't just play Nicholas Graham's new video game, Liberi Live – they design it. While one player is rolling and bouncing a ball over obstacles and collecting coins another player can control the course design. The two interact together and with a touch of a button, obstacles or ramps can be added to completely change the game."