The Character as subjective interface

This paper re-frames virtual interactive characters as " subjective interfaces " with the purpose of highlighting original affordances for interactive story-telling through conversation. This notion is theoretically unpacked in the perspectives of narratology, interaction design and game design. Existing and imagined scenarios are presented in which subjective interfaces are elevated as core interaction mechanics. Finally, technical challenges posed by this approach are reviewed alongside relevant existing research leads.Fonds de Recherche du Québec - Société et Cultur

Time invaders:conceptualizing performative game time

This chapter characterizes framing devices and other game elements as unstable signifiers, evaluating performances according to how they generate diachronic or synchronic effects by acting on those signifiers. Videogames make use of computers’ capabilities to present a very large set of these signifiers and thus generate highly complex forms of temporal experience. Because neither diachrony (exemplified by player performance) nor synchrony (computer-coded rule structures) can complete their respective operations and always leave a differential margin, videogames can be understood as diachrono-synchronic systems.Performative multiplicities of various sizes can be analyzed in terms of how they draw together or separate performances, creating a comparative methodology for describing temporal experience in videogames. One of the key synchronic effects is the Game Over, which has a high-level effect on all performances of a game. Considered as a synchronic horizon of experience, the Game Over provides a concept capable of addressing the heterogeneous and composite set of videogame elements in terms of how players interpret unstable signifiers. This includes narrative, which can be rigorously defined in terms of its synchronizing effect on a game’s performative multiplicity

Games as (not) culture: a critical policy analysis of the economic agenda of Horizon 2020

This article presents a critical examination of European policy in relation to gamification. We begin by describing how gamification “traveled” as an idea, evolving from controversial yet persuasive buzzword to legitimate policy priority. We then focus on how gamification was represented in Horizon 2020: the flagship European Research & Development program from 2014 to 2020, worth nearly €80 billion of funding. The article argues that the ethically problematic aspects of gamification were removed through a process of policy capture that involved its assimilation in an established European network of research and small and medium enterprise (SME) actors. This process of “ethical neutering” is also observable in the actual funding calls, where the problematic assumptions of gamification around agency and manipulation are made invisible through a superficial commitment to vague and ill-defined criteria of responsible research and innovation

Ghosts in the Garden: locative gameplay and historical interpretation from below

© 2017 Steve Poole. Published with licence by Informa UK Limited, trading as Taylor & Francis Group. The heritage industry now makes extensive use of digital audioguides and similar interpretation tools to reach new audiences but many remain rooted in authoritative and didactic conservatism. This paper critically evaluates the state of play in the field, from downloadable audio tours and apps, through more complex engagements with theatrically enhanced and affective simulation, to attempts at fuller dialogic visitor participation and the use of gps or RFID-triggered game mechanics. While ‘armchair’ and home screen-based game and interpretation models are addressed, particular attention is paid to the use of mobile and locative design, where embodiment in place is privileged over less associative or remote experience. The paper takes a research project led by the author as a case study. Ghosts in the Garden was conceived in collaboration with a museum and an experience design SME to test the potential of immersive, affective real world games on public understandings of history. It sought to engage visitors with researched history from below by using a pervasive media soundscape, the ‘ghosts’ of past visitors and a ‘choose-your-own-adventure’ game mechanic in which outcomes are variable, visitor agency is retained and a more radical model of historical knowledge suggested

Validity Threats in Quantitative Data Collection with Games : A Narrative Survey

Background. Games are increasingly used to collect scientific data. Some suggest that game features like high cognitive load may limit the inferences we can draw from such data, yet no systematic overview exists of potential validity threats of game-based methods. Aim. We present a narrative survey of documented and potential threats to validity in using games for quantitative data collection. Method. We combined an unsystematic bottom-up literature review with a systematic top-down application of standard validity threat typologies to games to arrive at a systematisation of game-characteristic validity threats. Results. We identify three game characteristics that potentially impact validity: Games are complex systems, impeding the predictable control and isolation of treatments. They are rich in unwanted variance and diversity. And their social framing can differ from and interact with the framing of research studies or non-game situations they are supposed to represent. The diversity of gamers and their differences to general populations bring further complications. Discussion and Conclusions. The wealth of potential validity threats in game-based research is met by a dearth of systematic methodological studies, leading us to outline several future research directions

Introduction: The Other Caillois: The Many Masks of Game Studies

The legacy of the rich, stratified work of Roger Caillois, the multifaceted and complex French scholar and intellectual, seems to have almost solely impinged on game studies through his most popular work, Les Jeux et les Hommes. Translated in English as Man, Play and Games, this is the text which popularized Caillois’ ideas among those who do study and research on games and game cultures today, and which most often appears in publications that attempt to historicize and introduce to the study of games—perhaps on a par with Johan Huizinga’s Homo Ludens. The purpose of this article is to introduce the papers and general purposes of a collected edition that aims to shift the attention of game scholars toward a more nuanced and comprehensive view of Roger Caillois, beyond the textbook interpretations usually received in game studies over the last decade or so

Where stories end and games begin

Every medium has been used to tell stories, says Eric Goldberg, one of my oldest friends and president of Unplugged Games. “That's true of books and theater and radio drama and movies. It's true of games as well.” I have this argument all the time, and I think Goldberg's statement is balderdash. It's not true of music, music is pleasing sound, that's all. Yes, you can tell a story with music, ballads do that. So do many pop songs. Certainly some types of music -- opera, ballet, the musical -- are “story-telling musical forms,” but music it self is not a story-telling medium. The pleasure people derive from music is not dependent on its ability to tell stories: Tell me the story of The Brandenberg Concertoes. Nor is gaming a storytelling medium. The pleasure people derive from games is not dependent on their ability to tell stories. The idea that games have something to do with stories has such a hold on designers'and gamers'imagination that it probably can't be expunged, but it deserves at least to be challenged. Game designers need to understand that gaming is not inherently a storytelling medium any more than is music--and that this is not a flaw, that our field is not intrinsically inferior to, say, film, merely because movies are better at story-telling. Nevertheless, there are games that tell stories--roleplaying games and graphic adventures among others -- and the intersection of game and story, the places where the two (often awkwardly) meet has bred a wide variety of interesting game styles. Examining them is useful, because doing so illuminates the differences between game and story -- and the ways in which stories can be used to strengthen (and sometimes hinder) games