Casual Creators in the Wild : A Typology of Commercial Generative Creativity Support Tools

Casual creators are a genre of creativity support tool that integrate a generative system into the creative process with the goal of empowering amateurs to engage in autotelic and enjoyable creativity. They have been posited as a unique means of democratising creativity through the support of user exploration via system generativity, yet little is known about what casual creators are actually available to wider audiences. We conducted a qualitative analysis of currently available casual creators on the App Store. We found three categories of interaction techniques in widely available casual creators, which we describe in their exploration potential, feedback speed, and user autonomy

Curious Users of Casual Creators

Casual creators are a type of design tool identified by Compton & Mateas, characterised by an orientation towards enjoyable, intrinsically motivated creative exploration, rather than task-oriented designer productivity. In our experiments holding rapid game jams with Wevva, a casual creator for mobile game design, we have noticed, however, that users seem to vary considerably even within the context of using a casual creator. Some people focus on designing specific games, while others explore the design space extensively, or even focus exclusively on prodding the edges of the design space looking for its possibilities and limits. We hypothesise that the latter group of users is driven primarily by curiosity about a casual creator and its design space. This results in different patterns of behaviour to the former group (of design-oriented users), which may worth characterising and perhaps explicitly designing for

Casual Poetry Creators : A Design Pattern and Internal Evaluation Measures

We explore the concept of Casual Poetry Creators with the aim of making poetry writing fun and entertaining for the user. We present a simple co-creative interaction design pattern based on constructing poems line by line, suggesting the user a set of line candidates at each step. We also propose objective measures by which a Casual Poetry Creator can evaluate and choose which line candidates to show to the user and sketch out a plan to evaluate the measures and pattern with users.Peer reviewe

Co-creative expertise: Auran games and fury: A case study

This article discusses the ways in which the relations among professional and non-professional participants in co-creative relations are being reconfigured as part of the shift from a closed industrial paradigm of expertise toward open and distributed expertise networks. This article draws on ethnographic consultancy research undertaken throughout 2007 with Auran Games, a Brisbane, Australia based games developer, to explore the co-creative relationships between professional developers and gamers. This research followed and informed Auran’s online community management and social networking strategies for Fury (http://unleashthefury.com), a massively multiplayer online game released in October 2007. This paper argues that these co-creative forms of expertise involve co-ordinating expertises through social-network markets

Living and Learning With New Media: Summary of Findings From the Digital Youth Project

Summarizes findings from a three-year study of how new media have been integrated into youth behaviors and have changed the dynamics of media literacy, learning, and authoritative knowledge. Outlines implications for educators, parents, and policy makers

Automated tweaking of levels for casual creation of mobile games

Casual creator software lowers the technical barriers to creative expression. Although casual creation of visual art, music, text and game levels is well established, few casual creators allow users to create entire games: despite many tools that aim to make the process easier, development of a game from start to finish still requires no small amount of technical ability. We are developing an iOS app called Gamika which seeks to change this, mainly through the use of AI and computational creativity techniques to remove some of the technical and creative burden from the user. In this paper we describe an initial step towards this: a Gamika component that takes a level designed by the user, and tweaks its parameters to improve its playability. The AI techniques used are straightforward: rule-based automated playtesting, random search, and decision trees learning. While there is room for improvement, as a proof of concept for this kind of mixed-initiative creation, the system already shows great promise

Chapter One: “Is this a book?” DC Vertigo and the redefinition of comics in the 1990s

Not only comics publishing but also perceptions of it have changed radically during this century and the comic book has become a graphic novel; invoking notions of permanence, literariness and artistry. This chapter will examine the changes that brought about this redefinition in the 1990s, specifically with regard to the role of DC Vertigo and the rise of the trade paperback. Building on the popularity of British creators in the 1980s and the success of titles such as Hellblazer and Animal Man, DC launched their Vertigo imprint in 1993, with Neil Gaiman’s The Sandman as their flagship title. Having the somewhat paradoxical aim of uniting unique creative voices under one imprint, the majority of Vertigo titles (which feature original characters) are creator-owned and the Vertigo stable is comprised mainly of British authors, many of whom were recruited while writing for 2000AD in the 1980s. Vertigo puts out more trade paperbacks than any other imprint and their great success in marketing the trade paperback form in many senses paved the way for other publishers to repackage their material in similar form. After summarising the position of comics at the close of the 1980s (British invasion, emergent star writers, direct distribution) this chapter proceeds to discuss the emergence of the trade paperback in the 1990s and its role in redefining comics. Relevant industry factors will include: • technical advances – digitising and reproduction has led to higher production values; but also perhaps a homogeneity of style; • employment changes – everything has been brought in-house; • marketing changes (star writer) – uses romantic ideology to assign an author function; • maxi-series versus ongoing serialisation – new permanence of product; writing for a multi-issue story-arc. Outside factors will also be discussed, including: • emergent IP law – this has given more control to the creator; but freezes shared symbols and limits development; • mechanical reproduction – comic book as product; multiple forms; • fan culture – mid 1990s speculators market crash; neglect of child market; • social context/cultural expectations – celebrity culture responsible for the emergence of star writers; youth culture and resisting definition as children’s literature; • new media – trade paperbacks mirror DVD releases (including extras); • bookstore distribution – challenge to direct marketing of 1980s; brings comics closer to ‘proper’ books; reliant upon author function. These changes in comics’ production and consumption, together with the critical attention now afforded them, have brought the contemporary comic book closer to the notion of the literary text