Computer Game Scenario Representation: A Systematic Mapping Study

Background: Game scenario is an important factor for achieving player enjoyment; consisting a key business success factor. Additionally, the production of early design artifacts is crucial for the success of the development process. However, representing scenarios is a non-trivial task: (a) multiple aspects of the game need to be visualized; and (b) there is a plethora of representation approaches, out of which the game designer needs to select from. Aim: The goal of this work is to provide a panorama of the current scenario representation approaches, to aid game engineers in selecting the most fitting scenario representation approach and understand the existing designing options. Method: We have performed a Systematic Mapping Study, using 4 digital libraries, since the main goal can be achieved through study classification. By following an established search and filtering process, we have identified 717 articles, and analyzed in detail 95. Results: Diagrams are the most common generic approach to represent scenario; Game story is the most usual part of the scenario being represented; Characters are the most common component; and Transitions are the most usual connectors. Conclusion: Researchers may get useful information for empirically investigating several game engineering aspects; whereas game engineers can efficiently select the most fitting approach

A GRAPH-BASED APPROACH FOR ADAPTIVE SERIOUS GAMES

Traditional education systems are based on the one-size-fits-all approach, which lacks personalization, engagement, and flexibility necessary to meet the diverse needs and learning styles of students. This encouraged researchers to focus on exploring automated, personalized instructional systems to enhance students’ learning experiences. Motivated by this remark, this thesis proposes a personalized instructional system using a graph method to enhance a player’s learning process by preventing frustration and avoiding a monotonous experience. Our system uses a directional graph, called an action graph, for representing solutions to in-game problems based on possible player actions. Through our proposed algorithm, a serious game integrated with our system would both detect player errors and provide personalized assistance to direct a player in the direction of a correct solution. To verify system performance, this research presents comparison testing on a group of students engaging in the game both with and without AI. Students who played the AI-assisted game showed an average 20% decrease in time needed and an average 58% decrease in actions taken to complete the game

A Serious Games Development Environment

Un ambiente per lo sviluppo di Serious Game

‘IMPLICIT CREATION’ – NON-PROGRAMMER CONCEPTUAL MODELS FOR AUTHORING IN INTERACTIVE DIGITAL STORYTELLING

Interactive Digital Storytelling (IDS) constitutes a research field that emerged from several areas of art, creation and computer science. It inquires technologies and possible artefacts that allow ‘highly-interactive’ experiences of digital worlds with compelling stories. However, the situation for story creators approaching ‘highly-interactive’ storytelling is complex. There is a gap between the available technology, which requires programming and prior knowledge in Artificial Intelligence, and established models of storytelling, which are too linear to have the potential to be highly interactive. This thesis reports on research that lays the ground for bridging this gap, leading to novel creation philosophies in future work. A design research process has been pursued, which centred on the suggestion of conceptual models, explaining a) process structures of interdisciplinary development, b) interactive story structures including the user of the interactive story system, and c) the positioning of human authors within semi-automated creative processes. By means of ‘implicit creation’, storytelling and modelling of simulated worlds are reconciled. The conceptual models are informed by exhaustive literature review in established neighbouring disciplines. These are a) creative principles in different storytelling domains, such as screenwriting, video game writing, role playing and improvisational theatre, b) narratological studies of story grammars and structures, and c) principles of designing interactive systems, in the areas of basic HCI design and models, discourse analysis in conversational systems, as well as game- and simulation design. In a case study of artefact building, the initial models have been put into practice, evaluated and extended. These artefacts are a) a conceived authoring tool (‘Scenejo’) for the creation of digital conversational stories, and b) the development of a serious game (‘The Killer Phrase Game’) as an application development. The study demonstrates how starting out from linear storytelling, iterative steps of ‘implicit creation’ can lead to more variability and interactivity in the designed interactive story. In the concrete case, the steps included abstraction of dialogues into conditional actions, and creating a dynamic world model of the conversation. This process and artefact can be used as a model illustrating non-programmer approaches to ‘implicit creation’ in a learning process. Research demonstrates that the field of Interactive Digital Storytelling still has to be further advanced until general creative principles can be fully established, which is a long-term endeavour, dependent upon environmental factors. It also requires further technological developments. The gap is not yet closed, but it can be better explained. The research results build groundwork for education of prospective authors. Concluding the thesis, IDS-specific creative principles have been proposed for evaluation in future work

Languages of games and play: A systematic mapping study

Digital games are a powerful means for creating enticing, beautiful, educational, and often highly addictive interactive experiences that impact the lives of billions of players worldwide. We explore what informs the design and construction of good games to learn how to speed-up game development. In particular, we study to what extent languages, notations, patterns, and tools, can offer experts theoretical foundations, systematic techniques, and practical solutions they need to raise their productivity and improve the quality of games and play. Despite the growing number of publications on this topic there is currently no overview describing the state-of-the-art that relates research areas, goals, and applications. As a result, efforts and successes are often one-off, lessons learned go overlooked, language reuse remains minimal, and opportunities for collaboration and synergy are lost. We present a systematic map that identifies relevant publications and gives an overview of research areas and publication venues. In addition, we categorize research perspectives along common objectives, techniques, and approaches, illustrated by summaries of selected languages. Finally, we distill challenges and opportunities for future research and development

As cinemáticas e narrativas de jogos digitais: implicações para o design de jogos

Game cinematics integrating filming techniques, cutscenes, and animations are likely to have a pivotal role in the player experience, emotional attachment, and relatedness to the game narrative content. In recent years, the avoidance of cuts to generate a seamless and connected game experience has challenged older patterns on storytelling in games and find new ways of intertwining gameplay with the narrative. However, a one-size-fits-all strategy may not be applied when considering different storytelling purposes, structures, and language used in diversified game genres. The purpose of this research is to examine the contributions of cinematics to affect game story comprehension, especially in young adults. A multi-stage development research method is applied, encompassing the following activities: (1) identification of requirements to develop game cinematics based on the literature review and interviews with 16 scholars and industry professionals in Game UX, and cinematic development; (2) Development of a Game Cinematics experiment for the game Mutation Madness, using first- and third- perspectives; and a (3) Comparative evaluation of game cinematics in terms of experience and narrative comprehension. The cinematics developed are tested with 46 young adults to assess the effect of the Point Of View (POV) camera on visual attention and story comprehension in Mutation Madness, using an eye- tracking experiment. The results suggest that third- perspective in game cinematics constitute omniscient knowledge of the story, evoking the sense of time and focusing on the story agents, while first- perspective visually guides the player to the game events happening in the time of gameplay. This research contributes to the Communication Sciences and Technologies field by presenting a set of best practices developing game cinematics.As cinemáticas de jogos que integram técnicas de filmagem, cutscenes, e animações, tendem a ter um papel central na experiência do jogador, envolvimento emocional, e relação com a narrativa. Nos últimos anos, os padrões mais antigos inerentes ao processo de contar histórias nos jogos têm sido desafiados pela ausência de cortes e interrupções na experiência, de modo a garantir a interconexão e o entrelaçar da jogabilidade com a narrativa. No entanto, a adoção de uma estratégia de dimensão única pode não atender a diferentes propósitos da narrativa, estruturas e linguagem utilizadas em diferentes géneros de jogos. O objetivo desta investigação é compreender o modo como as cinemáticas podem afetar a compreensão de histórias de jogos, especialmente em jovens adultos. O método de investigação de desenvolvimento é aplicado, subdividido nas seguintes etapas: (1) Identificação de requisitos para desenvolver cinemáticas de jogos com base na revisão da literatura e entrevista a 16 académicos e profissionais da indústria em experiência de jogo, e desenvolvimento de cinemáticas; (2) Desenvolvimento de cinemáticas do jogo Mutation Madness, com recurso à primeira e terceira perspetiva; e (3) Avaliação comparativa das cinemáticas de jogo em termos de experiência e compreensão da narrativa. As cinemáticas desenvolvidas são testadas por 46 jovens adultos, recorrendo à metodologia eye-tracking, para avaliar o efeito da perspetiva da câmara [Point Of View (POV)] na atenção visual e na compreensão da narrativa do jogo Mutation Madness. Os resultados sugerem que a cinemática em que é adotada a terceira perspetiva no jogo proposto contribui para um conhecimento omnisciente da história, evocando o sentido do tempo e concentrando-se nos agentes da história, enquanto a primeira perspetiva orienta visualmente o jogador para os eventos do jogo que acontecem no tempo da jogabilidade. Esta investigação contribui para a área das Ciências da Tecnologia da Comunicação ao apresentar um conjunto de melhores práticas para desenvolver as cinemáticas nos jogos.Mestrado em Comunicação Multimédi

The Art of Adaptation in Film and Video Games

This Special Issue of Arts explores the art and practice of adaptation in several different mediums with a focus on film and video games. The topics covered include experimental game design, narrative design, film and trauma, games adapted from literature, video game cinema, film and the pandemic, film and the environment, film and immigration, and film and culture