Survei Awal Evolusi Pada Perangkat Lunak Permainan

Perangkat lunak permainan memiliki karakteristik yang unik, karena menekankan aspek emosional dan kesenangan. Kebutuhan akan aspek emosional tersebut terus mengalami perkembangan, sehingga perangkat lunak permainan dituntut untuk dapat berevolusi. Walau demikian, masih belum dipahami bagaimana jalannya proses evolusi tersebut. Kami melakukan survei untuk mengetahui karakteristik evolusi dari perangkat lunak permainan, ditinjau dari sudut pandang perangkat lunak secara umum dan sudut pandang perangkat lunak permainan secara khusus. Survei yang dilakukan didasarkan pada taksonomi evolusi perangkat lunak dan model evaluasi GameFlow. Hasil survei kami menunjukkan bahwa evolusi yang terjadi sangat bergantung pada jenis permainan yang disajikan

Video Game Development in a Rush: A Survey of the Global Game Jam Participants

Video game development is a complex endeavor, often involving complex software, large organizations, and aggressive release deadlines. Several studies have reported that periods of "crunch time" are prevalent in the video game industry, but there are few studies on the effects of time pressure. We conducted a survey with participants of the Global Game Jam (GGJ), a 48-hour hackathon. Based on 198 responses, the results suggest that: (1) iterative brainstorming is the most popular method for conceptualizing initial requirements; (2) continuous integration, minimum viable product, scope management, version control, and stand-up meetings are frequently applied development practices; (3) regular communication, internal playtesting, and dynamic and proactive planning are the most common quality assurance activities; and (4) familiarity with agile development has a weak correlation with perception of success in GGJ. We conclude that GGJ teams rely on ad hoc approaches to development and face-to-face communication, and recommend some complementary practices with limited overhead. Furthermore, as our findings are similar to recommendations for software startups, we posit that game jams and the startup scene share contextual similarities. Finally, we discuss the drawbacks of systemic "crunch time" and argue that game jam organizers are in a good position to problematize the phenomenon.Comment: Accepted for publication in IEEE Transactions on Game

Software development processes for games: a systematic literature review

This paper describes the methodology and results from a Systematic Literature Review (SLR) of the software processes used in game development. A total of 404 papers were analyzed as part of the review and the various process models that are used in industry and academia/research are presented. Software Process Improvement (SPI) initiatives for game development are dis-cussed. The factors that promote or deter the adoption of process models, and implementing SPI in practice are highlighted. Our findings indicate that there is no single model that serves as a best practice process model for game development and it is a matter of deciding which model is best suited for a particular game. Agile models such as Scrum and XP are suited to the knowledge intensive domain of game development where innovation and speed to market are vital. Hybrid approaches such as reuse can also be suitable for game development where the risk of the upfront investment in terms of time and cost is mitigated with a game that has stable requirements and a longer lifespan

INDCOR white paper 3: Interactive Digital Narratives and Interaction

The nature of interaction within Interactive Digital Narrative (IDN) is inherently complex. This is due, in part, to the wide range of potential interaction modes through which IDNs can be conceptualised, produced and deployed and the complex dynamics this might entail. The purpose of this whitepaper is to provide IDN practitioners with the essential knowledge on the nature of interaction in IDNs and allow them to make informed design decisions that lead to the incorporation of complexity thinking throughout the design pipeline, the implementation of the work, and the ways its audience perceives it. This white paper is concerned with the complexities of authoring, delivering and processing dynamic interactive contents from the perspectives of both creators and audiences. This white paper is part of a series of publications by the INDCOR COST Action 18230 (Interactive Narrative Design for Complexity Representations), which all clarify how IDNs representing complexity can be understood and applied (INDCOR WP 0 - 5, 2023).Comment: 17 pages, 1 figur

Levantamento de requisitos no desenvolvimento de jogos / Requirements gathering in game development

O desenvolvimento de jogos digitais exige o envolvimento de diversas áreas: música, gráficos, programação, enredo, artes e muitos outros.  Ao analisar o processo de criação de jogos pode-se constatar a aplicação de várias práticas de Engenharia de Software (ES), incluindo métodos da engenharia de requisitos (ER). O objetivo desse artigo é mostrar boas práticas da ER no processo de criação de jogos. 

Experience requirements

Video game development is a high-risk effort with low probability of success. The interactive nature of the resulting artifact increases production complexity, often doing so in ways that are unexpected. New methodologies are needed to address issues in this domain. Video game development has two major phases: preproduction and production. During preproduction, the game designer and other members of the creative team create and capture a vision of the intended player experience in the game design document. The game design document tells the story and describes the game - it does not usually explicitly elaborate all of the details of the intended player experience, particularly with respect to how the player is intended to feel as the game progresses. Details of the intended experience tend to be communicated verbally, on an as-needed basis during iterations of the production effort. During production, the software and media development teams attempt to realize the preproduction vision in a game artifact. However, the game design document is not traditionally intended to capture production-ready requirements, particularly for software development. As a result, there is a communications chasm between preproduction and production efforts that can lead to production issues such as excessive reliance on direct communication with the game designer, difficulty scoping project elements, and difficulty in determining reasonably accurate effort estimates. We posit that defining and capturing the intended player experience in a manner that is influenced and informed by established requirements engineering principles and techniques will help cross the communications chasm between preproduction and production. The proposed experience requirements methodology is a novel contribution composed of: a model for the elements that compose experience requirements, a framework that provides guidance for expressing experience requirements, and an exemplary process for the elicitation, capture, and negotiation of experience requirements. Experience requirements capture the designer' s intent for the user experience; they represent user experience goals for the artifact and constraints upon the implementation and are not expected to be formal in the mathematical sense. Experience requirements are evolutionary in intent - they incrementally enhance and extend existing practices in a relatively lightweight manner using language and representations that are intended to be mutually acceptable to preproduction and to production

Gamification in Education: A Study of Design-Based Learning in Operationalizing a Game Studio for Serious Games

The gamification of learning has proven educational benefits, especially in secondary education. Studies confirm the successful engagement of students with improved time on task, motivation and learning outcomes. At the same time, there remains little research on games and learning at the postsecondary level of education where traditional pedagogies remain the norm. Studies that have been conducted remain almost exclusively restricted to science programs, including medicine and engineering. Moreover, postsecondary subject-matter experts who have created their own gamified experiences often are forced to do so on an ad hoc basis either on their own, teaching themselves game engines, or with irregular support from experts in the field. But to ensure a well-designed, developed, and high-quality educational experience that leads to desired outcomes for a field, a sustainable infrastructure needs to be developed in institutions that have (or can partner with) others that have an established game design program. Moreover, such a design-based learning approach can be embedded within an existing studio model to help educate participants while producing an educational product. As such, this qualitative case study provides an example of the process of operationalizing a game design studio from pre-production through post-production, drawing from the design and development of the educational video game The Museum of the Lost VR (2022). The results, resources, and classification system presented are scalable and provide models for different sized institutions. Methods to develop a sustainable infrastructure are presented to ensure interdisciplinary partnerships across departments and institutions with game design programs to collaborate and create educational experiences that optimize user experience and learning outcomes