Lesser-known worlds : bridging the telematic flows with located human experience through game design

This paper represents a new theorization of the role of location-based games (LBGs) as potentially playing specific roles in peoples’ access to the culture of cities [22]. A LBG is a game that employs mobile technologies as tools for game play in real world environments. We argue that as a new genre in the field of mobile entertainment, research in this area tends to be preoccupied with the newness of the technology and its commercial possibilities. However, this overlooks its potential to contribute to cultural production. We argue that the potential to contribute to cultural production lies in the capacity of these experiences to enhance relationships between specific groups and new urban spaces. Given that developers can design LBGs to be played with everyday devices in everyday environments, what new creative opportunities are available to everyday people?

The 10% rule. Maximising learning through collaborative game design

This paper presents a retrospective view of a game design practice that recently switched from the development of complex learning games to the development of simple authoring tools for students to design their own learning games for each other. We introduce how our ‘10% Rule’, a premise that only 10% of what is learnt during a game design process is ultimately appreciated by the player, became a major contributor to the evolving practice. We use this rule primarily as an analytical and illustrative tool to discuss the learning involved in designing and playing learning games rather than as a scientifically and empirically proven rule. The 10% rule was promoted by our experience as designers and allows us to explore the often overlooked and valuable learning processes involved in designing learning games and mobile games in particular. This discussion highlights that in designing mobile learning games, students are not only reflecting on their own learning processes through setting up structures for others to enquire and investigate, they are also engaging in high-levels of independent inquiry and critical analysis in authentic learning settings. We conclude the paper with a discussion of the importance of these types of learning processes and skills of enquiry in 21st Century learning.

Evolutionary game design

Abstract—It is easy to create new combinatorial games but more difficult to predict those that will interest human players. We examine the concept of game quality, its automated measurement through self-play simulations, and its use in the evolutionary search for new high-quality games. A general game system called Ludi is described and experiments conducted to test its ability to synthesize and evaluate new games. Results demonstrate the validity of the approach through the automated creation of novel, interesting, and publishable games. Index Terms—Aesthetics, artificial intelligence (AI), combinatorial game, evolutionary search, game design.

Performing design analysis: game design creativity and the theatre of the impressed

We report and reflect upon the early stages of a research project that endeavours to establish a culture of critical design thinking in a tertiary game design course. We first discuss the current state of the Australian game industry and consider some perceived issues in game design courses and graduate outcomes. The second sec-tion presents our response to these issues: a project in progress which uses techniques originally exploited by Augusto Boal in his work, Theatre of the Oppressed. We appropriate Boal’s method to promote critical design thinking in a games design class. Finally, we reflect on the project and the ontology of design thinking from the perspective of Bruce Archer’s call to reframe design as a ‘third academic art’.

Performing design: game design, practice, praxis and the theatre of the impressed

This paper is a reflection on a design teaching project that endeavours to establish a culture of critical design thinking in a tertiary game design course. In the first instance, the ‘performing design’ project arose as a response to contemporary issues and tensions in the Australian games industry and game design education, in essence, the problem of how to scaffold undergraduate students from their entry point as ‘players’ (the impressed) into becoming designers. The performing design project therefore started as a small-scale intervention to inspire reflection in a wider debate that includes: the potential evolution of the contemporary games industry; the purpose of game design education; and the positioning of game design as a design discipline. Our position is that designing interactive playful works or games is victim of a tendency to simplify the discipline and view it from either the perspective of science or art. In this paper we look at some of the historical discussions on the distinct identity of games. Then we present an overview of the typical state of play in contemporary game design education which inspires the performing design project as an intervention or teaching technique. This leads us to question understandings of education and training and creativity and innovation. Finally we reflect on insights arising from the performing design project which lead us to support Archer’s call for a ‘third area’ that balances the monolithic practices of the two major academic disciplines.

Evolutionary game design : automated game design comes of age

The "Humies" awards are an annual competition held in conjunction with the Genetic and Evolutionary Computation Conference (GECCO), in which cash prizes totalling $10,000 are awarded to the most human-competitive results produced by any form of evolutionary computation published in the previous year. This article describes the gold medal-winning entry from the 2012 "Humies" competition, based on the LUDI system for playing, evaluating and creating new board games. LUDI was able to demonstrate human-competitive results in evolving novel board games that have gone on to be commercially published, one of which, Yavalath, has been ranked in the top 2.5% of abstract board games ever invented. Further evidence of human-competitiveness was demonstrated in the evolved games implicitly capturing several principles of good game design, outperforming human designers in at least one case, and going on to inspire a new sub-genre of games.

Instructional objectives to core-gameplay : a serious game design technique

This paper explores a gap within the serious game design research. That gap is the ambiguity surrounding the process of aligning the instructional objectives of serious games with their core-gameplay i.e. the moment-to-moment activity that is the core of player interaction. A core-gameplay focused design framework is proposed that can work alongside existing, more broadly focused serious games design frameworks. The framework utilises an inquiry-based approach that allows the serious game designer to use key questions as a means to clearly outline instructional objectives with the core-gameplay. The use of this design framework is considered in the context of a small section of gameplay from an educational game currently in development. This demonstration of the framework brings shows how instructional objectives can be embedded into a serious games core-gameplay.

‘Blind Faith’. An experiment with narrative agency in game design

This paper reports on the current field of narrative-based game design through case study analysis with a particular focus on balancing high narrative agency with low production resources.

MILK : the Mobile Informal Learning Kit. Collaborating to design successful mobile learning applications

This paper suggests ways for educators and designers to understand and merge priorities in order to inform the development of mobile learning (m-learning) applications that maximise user experiences and hence learning opportunities. It outlines a User Experience Design (UXD) theory and development process that requires designers to conduct a thorough initial contextual inquiry into a particular domain in order to set project priorities and development guidelines. A matrix that identifies the key contextual considerations namely the social, cultural, spatial, technical and temporal constructs of any domain is presented as a vital tool for achieving successful UXD. The frame of reference provided by this matrix ensures that decisions made throughout the design process are attributable to a desired user experience. To illustrate how the proposed UXD theory and development process supports the creation of effective m-learning applications, this paper documents the development process of MILK (Mobile Informal Learning Kit). MILK is a support tool that allows teachers and students to develop event paths that consist of a series SMS question and answer messages that lead players through a series of checkpoints between point A and point B. These event paths can be designed to suit desired learning scenarios and can be used to explore a particular place or subject. They can also be designed to facilitate formal or informal learning experiences.

Now everything looks like a game : Mobile phones and location-based games.

This paper explores how we may transform peoples’ perceived access to cultural participation by exploiting the possible relationships between place, play and mobile devices. It presents SCOOT; a location-based game in order to investigate how aspects of game-play can be employed to evoke at once playful and culturally meaningful experiences of place. In particular this paper is concerned with how the portable, communicative and social affordances of mobile phones are integral to making a “now everything looks like a game” experience.

Reflective learning through social network sites in design education

Reflective learning is vital for successful practice-led education such as animation, multimedia design and graphic design, and social network sites can accommodate various learning styles for effective reflective learning. In this paper, the researcher studies reflective learning through social network sites with two animation units. These units aim to provide students with an understanding of the tasks and workflows involved in the production of style sheets, character sheets and motion graphics for use in 3D productions for film and television and game design. In particular, an assessment in these units requires students to complete their online reflective journals throughout the semester. The reflective learning has been integrated within the unit design and students are encouraged to reflect weekly learning processes and outcomes. A survey evaluating for students’ learning experience was conducted, and its outcomes indicate that social network site based reflective learning will not be effective without considering students’ learning circumstances and designing peer-to-peer interactions.

SCOOT game event : families as partners in learning

How games can be designed to engage families in learning spaces outside of the classroom. SCOOT Game has been played by families in various science museums and art galleries in Australian capital cities since 2004. Families form groups to collaborate in the game that takes them on an SMS quest through these places engaging them with artworks, historic facts, landmarks, puzzles, street performances etc.

Studio game-on

The studio-gameon event was supported by the Institute of the Creative Industries and Innovation and the Faculty of IT as part of the State Library of Queensland GAME ON exhibition (ex Barbican, UK) The studio produced a full game in six weeks. It was a curated event, a live web-based exhibition, a performance for the public and the team produced a digital / creative work which is available for download. The studio enabled a team of students to experience the pressures of a real game studio within the space of the precincts but also very much in the public eye. It was a physical hypothesis of the University's mantra - "for the real world" statement: Studio GameOn is an opportunity running alongside the GAME ON exhibition at the State Library of Queensland. The exhibition itself is open to the public from November 17th through to February 15th. The studio runs from January 5th to February 13th 2009. The Studio GameOn challenge? To put together a team of game developers and make a playable game in six weeks! The studio-game on team consists of a group of game developers in training - the team members are all students who are either half-way through or completing a qualification in game design and all its elements - we have designers, artists, programmers and productionteam members. We are also fortunate to have an Industry Board consisting of local Queensland Games professionals: John Passfield (Red Sprite Studios), Adrian Cook (WIldfire Studios) and Duncan Curtis and Marko Grgic (The 3 Blokes). We also invite the public to play with us - there is an ideas box both on-site at the State Library and a number of ways to communicate with us on this studio website.

Workshop on HCI and game interfaces : a long romance

This full day workshop invites participants to consider the nexus where the interests of game design, the expectations of play and HCI meet: the game interface. Game interfaces seem different to the interface to other software and there have been a number of observations. Shneiderman famously noticed that while most software designers are intent on following the tenets of the “invisible computer” and making access easy for the user, games inter-faces are made for players: they embed challenge. Schell discusses a “strange” relationship between the player and the game enabled by the interface and user interface designers frequently opine that much can be learned from the design of game interfaces. So where does the game interface actually sit? Even more interesting is the question as to whether the history of the relationship and sub-sequent expectations are now limiting the potential of game design as an expressive form. Recent innovations in I/O design such as Nintendo’s Wii, Sony’s Move and Microsoft's Kinect seem to usher in an age of physical player-enabled interaction, experience and embodied, engaged design. This workshop intends to cast light on this often mentioned and sporadically examined area and to establish a platform for new and innovative design in the field.