Becker Video Game Design

"In this paper we will discuss how positive psychology can contribute to the design of digital games and in particular training applications like Serious Games. While digital games have been known for their ability to deeply immerse users, stimulate the senses and tap into a broad range of emotions, it has proven rather challenging to use them as a vehicle for pedagogy. Relevant research is still at its infancy and many of the mechanisms that foster knowledge creation and enhance learning need to be mapped out before scripted in the game. The theory of psychological flow and the role of positive emotions in broadening people's thought-action repertoires bring some practical insights and pave the path for tackling some important de-sign questions. Yet there are still major challenges and uncharted waters to be explored in order for the technology to deliver what has been promised."

"Electronic Arts CTO Rajat Taneja on big data's growing role in the video game world."

Abstract: "Design techniques can have an important effect on how video games teach and players learn. The ability to harness these techniques in the design of educational video game can impact the motivation and engagement of playing and learning by creating more options for players to connect with game content as well as to other players. This article focuses on the design phase of the game development process and highlights the role of some techniques that can be used to design a successful educational video game (guidelines and design patterns). These techniques provide information on good practice and form a basis for evaluating the educational video game quality, acting as useful tools for developers to enhance video game playability. To this end, we have presented a set of guidelines and design patterns in order to provide an acceptable level of playability and, in this way, a better player experiences and learning achievement."

Abstract: "The paper describes the process of building a new database of sound effects recordings for computer games and the first version of such product. Ways of applying signal processors for postproduction is described, as well as differences in audio edition for films and games. Some aspects of using sounds in games are also mentioned as well as the first version of the list of possible tags of the audio files in the database. Both the language of the tags and the datatabse will be substanially enlarged."

"gamification, a business trend - some would say fad - that aims to infuse otherwise mundane activities with the excitement and instant feedback of video games. "

"A collaborative English language video game experience for students ages 12-16. Learn English and explore American culture through puzzles, games, and adventures in an interactive world. "

abstract: "This paper shows the design of an interactive game-based application developed with Blender 2.49b tool to be implemented in the area of computer networks."

"By analyzing the data taken from many different types of gamers through gameplay testing the players linear difficulty graph slope can be found. Once a target slope has been established the difficulty will increase or decrease based on how the player performs; that is, if they are falling too far behind or staying too far ahead of the target curve it will have to readjust again to keep them from getting bored or frustrated."

Abstract: "This paper proposes a new framework for automated analysis of game-play metrics for aiding game designers in nding out the critical aspects of the game caused by factors like design modications, change in playing style, etc. The core of the algorithm measures similarity between spatial distribution of user generated in-game events and automatically ranks them in order of importance. The feasibility of the method is demonstrated on a data set collected from a modern, multiplayer First Person Shooter, together with application examples of its use. The proposed framework can be used to accompany traditional testing tools and make the game design process more efficient."

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."

"In this work we present a methodology especially designed to facilitate usability testing for serious games, taking into account the specific needs of such applications and resulting in a systematically produced list of suggested improvements from large amounts of recorded gameplay data. This methodology was applied to a case study for a medical educational game, MasterMed, intended to improve patients' medication knowledge. We present the results from this methodology applied to MasterMed and a summary of the central lessons learned that are likely useful for researchers who aim to tune and improve their own serious games before releasing them for the general public."

Excerpts in Google Books. Published 2012. Includes chapters such as "Three things game designers need to know about assessment"

Published 2013, excepts in Google Books. Includes an overview "History of Video Game Music," chapters on interactivity and game audio and music in specific time periods (the '90s), etc.

Excerpts in Google Books. "Foundation Game Design with HTML5 and JavaScript teaches you everything you need to know about how to make video games. If you've never done any programming before and don't know where to start, this book will show you how to make games from start to finish. You'll learn all the latest programming technologies (HTML5, CSS, and JavaScript) to create your games. All written in a fun and friendly style with open-ended projects that encourage you to build your own original games."

Abstract: "Macquarie University, in 2012, introduced two undergraduate coursework programs in the area of video games. These programs are a joint initiative of the Departments of Computing and Media, Music, Communication and Cultural Studies. The programs represent an innovative approach to curriculum structure in this area, combining technical, design and reflective critical practice to produce rounded graduates with a wide knowledge of issues and practices in interactive media. This paper describes the process of designing these programs, the aims and rationales guiding their design and their detailed structure. The central guiding principle behind the programs was that accomplished designers of interactive media, particularly video games, need both a sound technical background and an appreciation of the relationship between users, society and their designs. This is reflected in both the structure of the programs and the pedagogical approaches in the specialist units."

Abstract: "There have been tremendous ways of developing creativity, yet instead of traditionally formal instruction, games are the best media to spur creativity, as creativity can easily and spontaneously be evoked through games. On the other hand, metacognition is a good way to promote creative thinking, as metacognition which contains the abilities such as self-planning, self-monitoring, and self-evaluation can foster creative-relevant cognitive processes. Games are exactly the ideal platform that provides a playful context for metacognitive awareness prompting creative processes. Based on the advantages of games and that design is a creativity-relevant cognitive and constructive process, this research adopts the means of digital game-based learning (DGBL) to propose a metacognitive approach to inspiring creativity through a creativity game of players as game story designers."

Abstract: "With the growing availability of personal communication devices we are witnessing a tremendous increase in the demand for mobile services based on location and context. Mobile gaming is, of course, following this same trend. Unfortunately, differently from other services, location- and context-based gaming strictly requires near-field communication to interact with nearby players in order to create teams and arenas. Since currently adopted technologies suffer from scalability (Bluetooth) or energy (WiFi) constraints, Opportunistic Networks (ONs) have already been addressed as a viable solution to involve a considerable number of players on a wider area. While massive multiplayer games are commonplace on wired networks, it is not yet clear how player experience is affected by the increased delay and probabilistic message forwarding introduced by a huge population over an ON. In this paper we address this problem by proposing an opportunistic collaborative game, which is meaningful for the category of collaborative puzzle games, and evaluating its playability and scalability by means of simulations on a real city topology."

"This paper investigates aspects of learning in museums through mobile games, i.e games that are played usually by groups of players, using mobile devices that allow interaction with the space and the exhibits and physical mobility of the players. It is argued that playing these games (which usually follow the pattern of scavenger hunt or role playing narratives), results in visitor engagement, motivation and knowledge about museum exhibits. Despite of these positive aspects, it has been observed that learning remains at the level of transfer of factual information about the exhibits. It is argued that in order to enrich the learning experience of game play we need to also involve the visitors in the process of designing mobile games for the museum."

2012, excerpted in Google Books