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

Authoring of Adaptive Single-Player Educational Games

Digital Educational Games, as one of the most important application areas of Serious Games, combine positive properties of digital games, such as strong motivation for players and inherent learning processes, with educational methods and technologies. Adaptive algorithms allow such games to be aligned automatically to the needs of different players, thereby increasing the learning efficacy. However, educational games are among the most complex game production endeavors, since they are often faced with small budget on the one hand and special requirements with impacts on all aspects of game development, from design through programming to asset production, on the other. Authoring tools have been successfully created and used in fields related to Serious Games and educational games, including e-Learning, multimedia, interactive storytelling and entertainment games. These tools incorporate parts of the production workflows in their respective areas and allow all authors, including non-programmers, to create applications. While it appears beneficial to create authoring tools for educational games, we find that authoring tools for educational games have to account for the higher complexity and interactivity of games compared to other forms of multimedia and that they have not been researched thoroughly in the past. These challenges are addressed in this thesis by presenting a concept for an authoring tool for adaptive educational single-player games that accounts for the specifics of educational game development. Major results are an educational game description model, concepts for adaptive control of educational games and author support mechanisms specifically for adaptive educational game authoring. These concepts are implemented in the authoring tool "StoryTec", which is validated in the course of a set of evaluation studies. The novel features of StoryTec include the specific support for adaptive educational games, a concept for structural and interaction templates shown to increase the efficiency and effectiveness of the authoring tool, as well as the support for collaborative work. It builds the foundation for a number of current and future research and development projects, including the extension towards authoring of multiplayer games, and is tested and used by over 120 members of an open community

Agency in and around videogames

This thesis conceptualises player agency in avatar-based videogames as an affordance of game design (Gibson 1979). By examining how agency is discussed in different discourses surrounding videogames, such as those of game studies and game design, it puts forward a multidimensional heuristic framework for conceptualising agency in avatar-based games. Game studios with a particular design focus that draw on ‘game design lineages’ (Bateman and Zagal 2018) feature as case studies to demonstrate the analytical power of this framework, examining how agency is designed, and how developers discuss how it is designed. The combined methods of textual and paratextual analysis provides insight not only into how game designers think about agency but also into how design intentions can translate into features of the released game. Such an approach facilitates a way of looking at agency as designed, which is informed by the vocabularies of academic discussions concerning videogames, as well as the language used to refer to these phenomena by industry practitioners, thereby grounding abstract theory in production practices and discourses

Narrative patterns in FarCry3

Thesis is submitted in partial fulfilment for the degree of Master of Arts (Digital Arts) to the Faculty of Humanities, School of Arts, University of the Witwatersrand, Johannesburg, 2016.This paper aims to go down into the rabbit-hole, by analysing the narrative experience derived from games and investigate how it functions in conjunction with the gameplay. This analysis will focus in detail on a case study of Ubisoft's 2012 title Far Cry 3 (FC3). FC3 is a sequel to Far Cry (2004), the original title was developed by Crytek, and produced by Ubisoft. The sequels have been Ubisoft Montreal creations. I have selected FarCry3 as it is commercially successful, as of February 2013 it sold over 4, 5 million copies (Phillips, T. "Far Cry sales hit 4.5 million" 2013). It also received various nominations, including an award for its story, during the 9th British Video Game Awards (Reynolds “Bafta Game Awards 2013” 2012). FC3 can, therefore, be viewed as being indicative of what the populist gaming community desires in a game, an indicator of present trends in narrative development in games. For this paper, I intend to use Hendry Jenkins’ narrative model to analyse how FC3 structured. As a result, illuminating how FC3, manages to engage with a cogent narrative, while operating in conjunction with an engaging game mechanic. I intend to present the structures as they exist within the case study's fictional world. In this research report I will argue that FC3 incorporates multiple narrative structures which promote gameplay. I will play the FC3 critically to gain an overall perspective and through the use of in play videos to select key scenes for analysis within my case study. With the knowledge invested, I intend to apply Jenkins’ narrative architecture in my analysis. [No abstract provided. Information taken from introduction].MT201

Implementation of digital role-playing games in Higher Education classrooms to accomplish learning outcomes

Industries have expectations that university graduates possess well-rounded theoretical and practical knowledge to be successful in their jobs. While effective teaching and learning are essential goals in higher education institutions, lessons and learning activities in traditional classroom settings are often out of context, presented to students with much theoretical generality and abstract representations. This leads to a disconnection between academia and industry, where students struggle to apply abstract principles and knowledge in a real-world context to perform effectively in their workplace. Live role-play has been traditionally used as an educational technique to engage students and provide them the opportunity to learn with a real-world context within classroom settings. While role-playing in the classroom encourages transfer of learning, one of its limitation is traditional role-play often does not provide an authentic and believable real-world experience to participants. The primary aim of this study is to converge the pedagogical benefits of role-playing, educational technology and digital games to investigate the effectiveness of using digital role-playing games in classrooms to achieve learning outcomes. Qualitative data were collected from digital media lecturers of a transnational university based in Vietnam and Australia to identify desirable learning outcomes and describe teaching and learning challenges of digital media courses. Through interviews, lecturers also discussed their perceptions of digital RPGs and their level of acceptance in using this educational technology as part of their teaching practice to accomplish learning outcomes. The results highlighted three key desirable learning outcomes: The first learning outcome is students should develop solid understanding of theoretical and foundational design knowledge, enabling effective application of theoretical knowledge to produce creative digital media outputs. The second learning outcome - students should speak the "design language". Students should develop the ability to articulate, critique and explain creative works using appropriate design vocabularies and terminologies, which are used by design practitioners in the industry. The third learning outcome indicated that students should be resourceful and self-sufficient to conceptualise and generate creative ideas. Using Bloom’s taxonomy categories, game characteristics and identified learning outcomes, a conceptual framework was developed for the design and use of digital RPGs to achieve learning outcomes for digital media education. In validating this conceptual framework, a 3d digital role-playing game, Virtual Designer was developed and implemented in classroom environment. A pre/post-test experimental setup was implemented, in which performance gains were measured and compared between control (conventional learning methods) and treatment group (played digital RPG) to determine the learning effectiveness of digital RPGs. Opinion-based survey and focus group interview was also conducted. Based on collected feedback, students find Virtual Designer an effective tool to assess their state of knowledge in different areas of design and apply theoretical knowledge into practical contexts. Students find the game to be an engaging alternative to conventional learning methods, but some have commented the game to be too difficult and at times frustrating to play. Lecturers have also play-tested Virtual Designer and provided favorable views on the overall feasibility of using similar digital RPGs as a teaching and learning tool to sustain students’ interest in learning their subjects – and successfully accomplishing learning outcomes

Agency in and around videogames

This thesis conceptualises player agency in avatar-based videogames as an affordance of game design (Gibson 1979). By examining how agency is discussed in different discourses surrounding videogames, such as those of game studies and game design, it puts forward a multidimensional heuristic framework for conceptualising agency in avatar-based games. Game studios with a particular design focus that draw on ‘game design lineages’ (Bateman and Zagal 2018) feature as case studies to demonstrate the analytical power of this framework, examining how agency is designed, and how developers discuss how it is designed. The combined methods of textual and paratextual analysis provides insight not only into how game designers think about agency but also into how design intentions can translate into features of the released game. Such an approach facilitates a way of looking at agency as designed, which is informed by the vocabularies of academic discussions concerning videogames, as well as the language used to refer to these phenomena by industry practitioners, thereby grounding abstract theory in production practices and discourses