A growing collection of game based educational tools work to improve player resilience to misinformation and disinformation. The threat of such misleading information continues to threaten the foundation on which a myriad of high-impact... more
This paper presents a project currently in development that examines novel approaches to creating and presenting emergent narrative as a live performance. The proposed approach will allow a narrative to emerge from a systemic relationship... more
Dentro de las artes escénicas, la tecnología presenta un reto interesante al momento de reflexionar sobre producciones artísticas que hagan uso de ellas y sean consideradas íntegramente como una obra teatral o similares.
Dentro de las artes escénicas, la tecnología presenta un reto interesante al momento de reflexionar sobre producciones artísticas que hagan uso de ellas y sean consideradas íntegramente como una obra teatral o similares. La conceptualidad... more
Narrative mechanics have many "faces", displays and interfaces. They occur as texts, recipes, stories, dramas in three acts, movies, videos, tweets, journeys of heroes, but also as rewarding stories in games and as narratives in society... more
User interfaces are substantial parts of the gamer's experience, but they are not only showing useful information to the player. Indeed, they can also be used to transmit narrative elements, even if sometimes only under the form of the... more
In recent years, games with a focus on narrative have been a growing area. However, so far, interactive narrative aspects have not been the focus of video game education (with the noted exception of a small number of programs in game... more
This paper complements the article "Restraints as a Mechanic for Bodily Play" by presenting the paraphernalia of games as different mechanics that address the surrounding and contextual factors of movement-based game and play activities,... more
Children typically have extensive expertise and experiences of computer games, which can enable them to make valuable contributions when involved in the design of games. Within this paper we discuss our approach to the involvement of... more
The maze, a classic architectural type of post-functional nature, is reinvented through the contemporary lens of video game. With novel analytical insights and computing methodologies on the system-unit relationship of a maze, we design... more
In recent years, games with a focus on narrative have been a growing area. However, so far, interactive narrative aspects have not been the focus of video game education (with the noted exception of a small number of programs in game... more
In this paper, we describe narrative game design as an area for empirical research and aim to promote additional work in this area. The focus of our paper is therefore on the process. We start by discussing the relationship between the... more
The purpose of this essay will be to examine how game designers use mechanics to create emotional bonds between the player and the virtual characters that line up with their chosen narrative. When the player's goals align with the game's... more
This paper outlines the Hanabi competition, first run at CIG 2018, and returning for COG 2019. Hanabi presents a useful domain for game agents which must function in a cooperative environment. The paper presents the results of the two... more
The morality of observed others is a central variable for many media effects research areas, including affective disposition theory, social cognitive theory, and entertainment-education. A scale designed to measure five distinct aspects... more
Becker and Neuberg (this issue) present a theory of archetypes as a consequence of evolutionary dynamics and personal experience. In particular, they suggest that archetypes are tendencies that have evolved to provide adaptive responses... more
An Alternate Reality Game (ARG) is an interactive storygame hybrid whose core mechanics include collaborative problem solving and storytelling. ARGs are also participatory experiences, because game designers dynamically adjust content in... more
Figure 1: In the game Detroit: Become Human, the players fnd themselves in moral dilemmas, having to make moral decisions that impact all androids and-in this example screenshot-whether to attack the police, stand ground with other... more
Financial literacy can play an important role in supporting the livelihood of the poor. Sri Lanka, being a country that aims to become a knowledge economy, has started to integrate the use of technology in its primary education. This... more
In this study we have followed a participatory design process in a class of children aged 11 and 12. The development team, a group of Danish schoolteachers, invited the children to participate in the design of a computer game for... more
The visual design of antagonists—typically thought of as “bad guys”—is crucial for game design. Antagonists are key to providing the backdrop to a game's setting and motivating a player's actions. The visual representation of... more
In recent years, games with a focus on narrative have been a growing area. However, so far, interactive narrative aspects have not been the focus of video game education (with the noted exception of a small number of programs in game... more
In this paper, we describe narrative game design as an area for empirical research and aim to promote additional work in this area. The focus of our paper is therefore on the process. We start by discussing the relationship between the... more
In this study we have followed a participatory design process in a class of children aged 11 and 12. The development team, a group of Danish schoolteachers, invited the children to participate in the design of a computer game for... more
Financial literacy can play an important role in supporting the livelihood of the poor. Sri Lanka, being a country that aims to become a knowledge economy, has started to integrate the use of technology in its primary education. This... more
In this study we have followed a participatory design process in a class of children aged 11 and 12. The development team, a group of Danish schoolteachers, invited the children to participate in the design of a computer game for... more
In this study we have followed a participatory design process in a class of children aged 11 and 12. The development team, a group of Danish schoolteachers, invited the children to participate in the design of a computer game for... more
Financial literacy can play an important role in supporting the livelihood of the poor. Sri Lanka, being a country that aims to become a knowledge economy, has started to integrate the use of technology in its primary education. This... more
Human computation games lack established ways of balancing the difficulty of tasks or levels served to players, potentially contributing to their low engagement rates. Traditional player rating systems have been suggested as a potential... more
We contribute to research and practice in User Centred Design (UCD) by arguing that, in certain contexts, the literal and restrictive interpretation of 'user' as hands-on user can be a hurdle to achieving development processes that are... more
This paper draws on a 2-week design workshop conducted at a rural primary school in northern India to provide recommendations on carrying out participatory design with school children in rural, underdeveloped regions. From our experiences... more
Curiosity is a fundamental trait of human nature, and as such, it has been studied and exploited in many aspects of game design. However, curiosity is not a static trigger that can just be activated, and game design needs to be carefully... more
La ruptura de la cuarta pared revela la condición de artificio de una ficción. Exploramos aquí las rupturas en los videojuegos, con especial atención a juegos como Baten Kaitos (Monolith Soft, 2003), Drawn to Life (WayForward, 2007) o... more
Today, no generally accepted definition of video game narrative exists. The academic discourse has pointed out ontological and phenomenologi- cal differences to more traditional forms of narra- tive, and therefore, the relationship to... more
This paper reports on an aspect of a long-term project to create a body of evidence-based interactive narrative design methods. In this context, we discuss aspects of formal design descriptions as a basis for a quantitative approach to... more
This paper aims to expand existing knowledge on narrative game design. Specifically, the paper discusses the importance of game design patterns for the analysis of narrative game mechanics. By bringing together insights from cognitive... more
Executive Summary—The purpose of this study was to create a process for game designers to use during development that would achieve ludonarrative harmony. This process includes a model that evaluated mechanics for ludonarrative harmony.... more
![Table 1. Table comparing the three types of ludonarrative found in game research and their definition: meaningful to someone [18]. In the game Passage, Mattie Brice states that players engage with the game not through traditional feedback system, but because there is a specific feeling the game wants to convey to the player [17]. Her critique argues gameplay can strengthen the narrative, but does not necessitate the synchronization of mechanics and narrative in the experience [17]. With ludonarrative resonance, narrative and mechanics are two separate entities. Game critics that use ludonarrative resonance talk about how the player responds to the game, not the interactions between those elements within the game [16]. Mattie Brice defines udonarrative resonance as the successful use of mechanics to communicate a specific narrative experience [17]. The impact the mechanics have on the narrative in games directly amplifies or dampens the overall experience for the player. Resonance in this definition is the quality that makes something personally](https://figures.academia-assets.com/54189550/figure_001.jpg)
![CC - we: Figure 6: initial example ludonarrative loop for walking form of the verb, while the narrative became the infinitive® form of the verb followed by the word “to.” According to Lazzaro, the emotion of an action carries an inherent story associated with that emotion [5]. The designer took this principle and executed it. The emotion is the driving force behind the ludonarrative loop. For example, walking to explore an unknown environment provides a sense of mystery that encourages players to keep walking.](https://figures.academia-assets.com/54189550/figure_006.jpg)
![Figure 10: Core game loop for the thesis level artifact The Interactions phase is the second phase of testing ludonarratively harmonious mechanics as they interact with each other in game loops. Games have a core game loop that defines the second-to-second as well as the moment-to-moment gameplay player’s experience [26]. The designer wanted the gameplay of centered around exploring a_ tomb-like environment, and being awed, and wondering, in this environment. The interactions between mechanics needed to emphasize these feelings, and mechanics that were associated with those feelings, were prioritized. The designer altered the GDD’s core game loop, which was simply walking, casting light, and find runes, to account for the mechanics tested in the Analysis phase. The designer updated all documentation that altered any previous assumptions.](https://figures.academia-assets.com/54189550/figure_009.jpg)
![Figure 32: placing mark mechanic unsupported by systems in the ludonarrative harmony model An indent in the wall would show players where they could mark the wall. The player’s device would show the button to press when they got close to this indent. In the first implementation, the indents too closely resembled the environment; players did not use the new mechanic. In the second implementation, the indents became “x’s” and gameplay improved. However, reviewers felt the mechanic was arbitrary placed and did not have a visual consistency within the environment. Players must see consistent messaging in the environment in order to keep the suspension of disbelief [11] [26]. This inconsistency between the futuristic environment and the “x’s” on the walls created ludonarrative dissonance. Although the mechanic enhanced the gameplay experience of exploring, the mechanic’s visual implementation did not adhere to the established fiction of the environment. Also, the lack of structural support for the mechanic meant that the designer had not implemented a system for the mechanic.](https://figures.academia-assets.com/54189550/figure_026.jpg)
![Easy fun has emotions that convey a sense of lingering in a world that makes players wonder [5]. The walking mechanic’s exploration narrative falls in line with the easy fun key. For walking, the designer identified that navigation mechanics can be primarily associated with easy fun, which stemmed from novelty—figuring something out and discovering something new [5]. In the level, the player was surrounded by darkness and would not always know where to go. Darkness created a sense of mystery in the level. Walking in the level needed to invoke mystery in players. The same reasoning went to casting light— where discovering the next part of the level was the narrative. The emotion of casting light encouraged feelings of ambiguity. The player should not know what is around the next corner if they had not discovered it already. In this way, casting light revealed areas to the player all around them. The following is the initial test chart for the Analysis Phase.](https://figures.academia-assets.com/54189550/table_004.jpg)
Narrative-centric analog games 1 have emerged from a hybridization of genres: they borrow conventions from pen and paper-based role-playing games such as Dungeons and Dragons, as well as the foundations of eurogames and war games.... more
Dragon Age creates a finely-layered and complex system of religion that not only enhances the narrative of gameplay, but also makes the player re-examine the impacts of religion, the archetypes of faith, and how both affect modern Western... more
This paper explores the notion of narrative game mechanics byapposing theories from the field of cognitive narratology with design theorieson game mechanics The paper aims to disclose how narrative game mechanicsinvite game agents,... more
End users' expertise in the development of new applications is acknowledged in user-centered and participatory design. Similarly, children's experience of what they find enjoyable and how they learn is a valuable source of inspiration for... more
Costly props, complicated authoring technologies, and limited access to space are among the many reasons why children can rarely enjoy the experience of authoring room-sized interactive stories. Typically in these kinds of environments,... more
This study examines the potential role of morality subcultures in mediating the relationship between one's nationality and the preferences for three movie (drama, action, horror) and three TV (comedy, news, sports) genres in a sample... more
Intellectual property, as a core element of modern economies in developed nations, has rapidly jumped to the top of legal debates. Its primary fields of influence involve the development of art, music, literature, films, video games, and... more
This research examines relationships regarding moral foundations and moral deci- sions in the Mass Effect video game series. The findings suggest that moral foundation predicts what type of moral decisions a player will make during play.... more