Dark Patterns in the Design of Games

Game designers are typically regarded as advocates for players. However, a game creator’s interests may not align with the players’. We examine some of the ways in which those opposed interests can manifest in a game’s design. In particular, we examine those elements of a game’s design whose purpose can be argued as questionable and perhaps even unethical. Building upon earlier work in design patterns, we call these abstracted elements Dark Game Design Patterns. In this paper, we develop the concept of dark design patterns in games, present examples of such patterns, explore some of the subtleties involved in identifying them, and provide questions that can be asked to help guide in the specification and identification of future Dark Patterns. Our goal is not to criticize creators but rather to contribute to an ongoing discussion regarding the values in games and the role that designers and creators have in this process

A Framework for Games Literacy and Understanding Games

Based on research that studied the challenges and difficulties faced by students taking games studies and game design courses, this paper proposes that while many students enrolled in games education programs are adept at playing games, they are usually neither games literate nor do they have a deep understanding of games. This article provides a framework that can be used to evaluate and assess games literacy. Using Gee’s notion of literacy, I propose that a deep understanding of games involves having the ability to explain, discuss, describe, frame, situate, interpret, and/or position games (1) in the context of human culture (games as a cultural artifacts), (2) in the context of other games, (3) in the context of the technological platform on which they are executed, (4) and by deconstructing them and understanding their components, how they interact, and how they facilitate certain experiences in players. I describe each of these aspects and also discuss two educational lenses that can be used to help contextualize what it means to understand and learn about games as well as support games literacy in students

Definitions of Role-Playing Games

Many de nitions of “role-play” and “role-playing games” have been suggested, but there is no broad consensus. People disagree because they often have an unclear idea of what kind of phenomena they are talking about and, therefore, what kind of definition is appropriate. Existing definitions often assume games and, with them, RPGs to be a natural kind with some unchanging essence. However, because “role-playing games” is a social category created by humans, it has no unchanging, context-independent essence. Hence, if we ask for a definition of “role-playing games”, we can only refer to either how particular groups at particular points in time empirically use the word and organize actions and the material world around it or how we, as a scientific observer, choose to use the word to foreground and understand a particular perspective: viewing RPGs as a performance or as a virtual economy, etc. RPGs can be traced to a shared historical ancestor: the TRPG D&D. From there, RPGs and their communities evolved increasingly idiosyncratic forms and styles, afforded by their material under-determinations. Commonly recognized forms are TRPGs, larps, CRPGs, and MORPGs. Common styles – ideas of what experience one hopes to achieve through play – are achieving goals and making progress according to rules, acting out and immersing oneself in a role, creating an interesting story, or simulating a world. Every local community, form, or style captures only a subset of the phenomena people call “role-playing games” and carries with it some implicit or explicit normative ideas about what makes an RPG “good”. Thus, people often disagree on the definition of “role-playing games” because they are usually only familiar with and/or aesthetically prefer a subset of RPG forms, styles, and communities: “this is not a role-playing game” often means “this is not something I am familiar with calling and/or like in RPGs”. Still, across forms and styles of RPGs, some characteristics commonly reoccur: they are play activities and objects revolving around the rule-structured creation and enactment of characters in a fictional world. Players create, enact, and govern the actions of characters, defining and pursuing their own goals, with great choice in what actions they can attempt. The game world, including characters not governed by individual players, usually follows some fantastic genre action theme, and there are often rules for character progression and combat resolution. Forms diverge in the structure of the play situation, the constitution and governance of the fictional world, and the form and importance of rules. Play situations range from a single player and computer to small face-to-face groups to large co-located or online mediated populations that organize into smaller groups. The fictional world may be constituted through joint talk and inscriptions; physical locales, props, and player bodies; or computer models and user interfaces. It can be governed by one or more human referees or a computer. Rules may be extensive or minimal, resolving the outcome of actions by player negotiation, a model and testing of probabilities, physical abilities of players, or combinations of all three. Given the social constitution of RPGs and the diversity of their forms and styles, we argue that it is pointless to capture an “essential nature” in a definition. Instead, as the following chapter begins to do, it is more fruitful to empirically describe this diversity and analyze it through a multitude of explicit disciplinary perspectives: not asking what something RPGs are but what we can learn when we view them as a particular something

When the Good Turns Ugly:Speculating Next Steps for Digital Wellbeing Tools

Concerns surrounding technology use in society has led to the HCI community creating tools for ‘digital wellbeing’. These aim to improve users’ relationships with technology, but these positively motivated tools may initiate further negative impacts for users e.g. on their privacy or autonomy. Using Pierce’s speculative design concepts of ‘foot-in-the-door’ technologies and focusing on three common digital wellbeing features (time limits and prompts, social ‘do not disturb’ modes, app and service blocking), I highlight how these tools are a small step away from being used to manipulate users which could enact slow shifts in users accepting such manipulation. Through this and the discussion, I accentuate that positively motivated designs may not explicitly lead to positive interactions by default. I hope this paper will facilitate speculative design and discussion in the digital wellbeing community, to ensure that our designs continue to mitigate negative impacts from technology now and in the future

Exploring Twitter as a game platform; strategies and opportunities for microblogging-based games

Recent years have seen the massive daily engagement of players with games that are integrated with online social networking sites, such as Facebook. However, few games have successfully created engaging experiences through integration with microblogging websites. In this paper, we explore the opportunities and challenges in using Twitter as a platform for playing games, through the case study of the game Hashtag Dungeon, a dungeon-crawling game that uses Twitter for collaborative creation of game content. Two studies were carried out. A quantitative user study with 32 participants demonstrated that players found the game engaging and rewarding. A follow-up qualitative study with 8 participants suggests that Twitter integration in this game is meaningful, but that there are concerns over the impact of the game on players’ Twitter profiles. Based on findings from both studies, we propose strategies for the design of Microblogging-based games, and discuss wider implications of social media integration in games

Backfiring and favouring:how design processes in HCI lead to anti-patterns and repentant designers

Design is typically envisioned as aiming to improve situations for users, but this can fail. Failure can be the result of flawed design solutions, i.e. anti-patterns. Prior work in anti-patterns has largely focused on their characteristics. We instead concentrate on why they occur by outlining two processes that result in anti-patterns: 1) backfiring, and 2) favouring. The purpose of the paper is to help designers and researchers better understand how design processes can lead to negative impacts and to repentant designers by introducing a richer vocabulary for discussing such processes. We explore how anti-patterns evolve in HCI by specifically applying the vocabulary to examples of social media design. We believe that highlighting these processes will help the HCI community reflect on their own work and also raise awareness of the opportunities for avoiding anti-patterns. Our hope is that this will result in fewer negative experiences for designers and users alike

Electrocatalytic oxidation of hydrazine in alkaline media promoted by iron tetrapyridinoporphyrazine adsorbed on graphite surface

The electrocatalytic oxidation of hydrazine was studied using an ordinary pyrolytic graphite electrode modified with iron tetrapyridinoporphyrazine complex (FeTPyPz), employing cyclic voltammetry and rotating disk electrode techniques. Analyses of the voltammograms recorded at different potential scan rates and the polarization curves at different electrode rotation rates showed that the reaction of electrooxidation of hydrazine on FeTPyPz occurs via 4-electrons with the formation of N2 as main product. The kinetic parameters suggest that the second electron transfer step is rate controlling. The activity of FeTPyPz depends on its Fe(II)/Fe(I) formal potential and fits well in a volcano plot that includes several iron phthalocyanines, indicating that such formal potential is a good reactivity index for these complexes