Learning Production Management with ”The Clock Manufacturing Game”

Purpose: Design a business game to provide hands-on training on processes, related to production management Methodology: A stepwise approach is taken. First learning goals, existing approaches and constraints are considered. As a next step a system of conceptual models is developed and finally the model is formalized to the level of detail, necessary for real implementation Findings: The methodology is applied for goals of common interest among teachers in industrial management. Constraints and game features are adapted to computer environments. Good practices for simulation and training games are also formulated. Practical implications: In the paper a strictly formalized game model is developed. In order for it to be able to fit both in trainees comprehension and computer's hardware, the model is simplified and abstracted-out of key concerns. These are stated explicitly. Value: The paper comes to meet specific needs in an area that covers rich and highly competitive industries. It both steps on previous experience and puts its focus in a poorly exploited field

Games and simulations in distance learning: the AIDLET Model

This chapter discusses the selection and potential use of electronic games and simulations in distance learning supported by an operational model called AIDLET. After analyzing the different approaches to the use of games and simulations in education, and discussing their benefits and shortcomings, a framework was developed to facilitate the selection, repurposing, design and implementation of games and simulations, with focus on the practical aspects of the processes used in Open and Distance Learning (ODL). Whereas traditional learning is based on knowledge memorization and the comple- tion of carefully graded assignments, today, games, simulations and virtual environments turn out to be safe platforms for trial and error experimentation, i.e. learning by doing/playing. New instructional models may require that rich interactive processes of communication are supported, that assignments are structured as game-like projects, and that a culture of interaction, collaboration, and enablement drives learning and personal development. In this context, the AIDLET model was set out and verified against a taxonomy representing the main categories and genres of games to meet the requirements of distance education teachers, instructional designers and decision-makers

Virtual Reality and Art History: A Case Study of Digital Humanities and Immersive Learning Environments

The potential benefits of integrating immersive realities into traditional humanities curricula have been touted over the last two decades, but budgetary and technical constraints of implementation have limited its adoption. However, recent advances in technology, along with more affordable hardware coupled with more user-friendly interfaces, have seen widespread adoption beyond that of the military and healthcare. In fact, higher education institutions are poised to adopt VR on a broader scale to enhance learning with virtual environments. This study seeks to determine the expectations and results of integrating virtual reality into coursework with students and faculty in Art History. The study surveyed students, first to ascertain the prevalence and familiarity of immersive reality technologies, as well as the perceived benefit of integration into curriculum. Next, surveys collected data on student experience relating to virtual reality assignments integrated into coursework for both face-to-face and online learners. The results provide a model for other institutions for a variety of disciplines to reinforce outcomes through strategic use of the technology

Gamification of Education and Learning: Heuristic Elements, Player Types, and Learning Outcomes for Art History Games

The technology of virtual reality (VR) and the gamification of education and learning has had proven educational benefits, especially in secondary education. However, there remains little to no research on the heuristic elements and mechanics that contribute to learning at the postsecondary level of education. Most research conducted has been refined to science programs, but even in these instances, a study of the effects and interests of different demographics has yet to be considered. Given the visual nature of how the discipline of art history has traditionally been taught, there are a number of virtual reality (VR) applications to assist instructors in the field better engage students in immersive environments to provide a more accurate understanding of subjects covered. In order to capitalize on the strengths of the new digital medium, including immersion, engagement, and presence, the end user needs to be considered. This heuristic study investigates the different experiences, preferences, learning styles, and expectations relating to educational gaming of art history students at a private, Midwestern college. Results demonstrate that effective game design and development need consider the target audience to optimize user experience and learning outcomes

An Overview of Serious Games

Serious games are growing rapidly as a gaming industry as well as a field of academic research. There are many surveys in the field of digital serious games; however, most surveys are specific to a particular area such as education or health. So far, there has been little work done to survey digital serious games in general, which is the main goal of this paper. Hence, we discuss relevant work on serious games in different application areas including education, well-being, advertisement, cultural heritage, interpersonal communication, and health care. We also propose a taxonomy for digital serious games, and we suggest a classification of reviewed serious games applications from the literature against the defined taxonomy. Finally, the paper provides guidelines, drawn from the literature, for the design and development of successful serious games, as well as discussing research perspectives in this domain

Virtual Reality Games for Motor Rehabilitation

This paper presents a fuzzy logic based method to track user satisfaction without the need for devices to monitor users physiological conditions. User satisfaction is the key to any product’s acceptance; computer applications and video games provide a unique opportunity to provide a tailored environment for each user to better suit their needs. We have implemented a non-adaptive fuzzy logic model of emotion, based on the emotional component of the Fuzzy Logic Adaptive Model of Emotion (FLAME) proposed by El-Nasr, to estimate player emotion in UnrealTournament 2004. In this paper we describe the implementation of this system and present the results of one of several play tests. Our research contradicts the current literature that suggests physiological measurements are needed. We show that it is possible to use a software only method to estimate user emotion

Investigating the Effect of Pace Mechanic on Player Motivation and Experience

Games have long been employed to motivate people towards positive behavioral change. Numerous studies, for example, have found people who were previously disinterested in a task can be enticed to spend hours gathering information, developing strategies, and solving complex problems through video games. While the effect of factors such as generational influence or genre appeal have previously been researched extensively in serious games, an aspect in the design of games that remains unexplored through scientific inquiry is the pace mechanic—how time passes in a game. Time could be continuous as in the real world (real-time) or it could be segmented into phases (turn-based). Pace mechanic is fiercely debated by many strategy game fans, where real-time games are widely considered to be more engaging, and the slower pace of turn-based games has been attributed to the development of mastery. In this thesis, I present the results of an exploratory mixed-methods user study to evaluate whether pace mechanic and type of game alter the player experience and are contributing factors to how quickly participants feel competent at a game. 36 participants were invited to play one session of a real-time game and one session of a turn-based game, and asked to provide feedback about their experience. The results of the study highlight some of the differences between these two pace mechanics. Drawing inspiration from previous work in game design, these differences are then used to present implications for the design of games for both play and serious tasks (e.g., educational games)