Saturday, October 11, 2008

The Great White Whale of Meaningful Play

Keynote by Tracy Fullerton
http://meaningfulplay.msu.edu/program.php?session=53

Like the meaningful game play that we strive to create, in Moby Dick, Melville takes the story around themes of loss...and so on.

If you take the themes out of Moby Dick, then it would not have been as lasting as it has been.

Mighty Themes are important to meaningful play.

Games
The majority of people drawn to these games are probably drawn, not becasue it is a game, but because of the topic, and a game was made from it.

Huizinga: All play means something.

heresy of the zone defense
gives an excellent discussion on...something the speaker wants us to read about...Urgh!

Gravitation

Braid is a game of love and loss, and time...

The expressive act...Alexander Galloway, Gaming: Essays on Algorithmic Culture

Warren Robinett points out every verb in the dictionary suggests and idea for a simulation.

These create truly touch design challenges, focusing on the radical simplifcation and stylization of the expressive act.

A discussion on the Night Journey.

What is the "mechanic" of enlightenment? How can the aesthetic of a game touch the traditions of spiritual media (enlightened manuscripts and the sort)?

How can we abstract and systematize something that is as intensely personal as spiritual journey?

Conclusions about the mechanic:
  • Exploration
  • Slowing the player down (the virtual speed of human on foot...very slow) The terrain becomes an obstacle in and of itself.
  • Environment is visually complex
  • Rewards for looking deeply.
  • Reflection and Transformation (The transformation gives an immediate visual reward, and a longterm "leveling up" that is not apparent until you need to use it and you then realize it.
  • The cycle of loss and rebirth.
  • Eventaully, night will fall--in an elongated period of "loss." (but loss is not always a bad thing, and can be good, transfromational and even happy)
  • The player "falls asleep" and "dreams"
  • Dreams are procedurally created based on individual exporation and reflection
  • After dreaming, the player is dropped back into the environemtn.
Built to be played by people in a gallery and/or museum setting.

Creating "expressive geography"

Fullerton then showed us the game, a little sneak peak. This excited everyone. You would not believe how quiet the ballroom is right now. No one is talking, everyone is fixated on the screen, the visual and audio is very meditative.

New Challenges:
Walden a Game
CPG History and Civics Intiative to teach contstitutional history to HS students

Walden, a game.

Game would encourage players to live simply: work to live, but not live to work, balance between mind, body, and spirit.

envisioned it as a game for short reflective visits, not addictive play. Play periodically in short bursts.

I think I have a new hero. Time to revisit her book and I can't wait to see Walden, A Game and Night Journey.

A Question of Resposibility & Tangential Learning.

James Portnow, formerly of Activision, is the CCO and founder of Divide by Zero Games. Besides his work as a designer, James Portnow is a recognized design theorist and prominent industry journalist, having been published worldwide and being a regular columnist for such sites as Edge-Online and Game Career Guide.

Program was changed from "Bringing Tangential Learning to Games". He changed his topic based on the presentation earlier on Serious Games.

Propagandic Games
So what should we do with our amazing interactive medium?

How do we do it?
  • Discover what queswions your mechanics inherently present
  • consider the questions raised by the situation or scenario you are placing the player in
  • Design interactions around the intersection between mechanics and storyline
  • don't mask problems as choices?
Can responses to qeustions be biased free?

The greatest danger does not come from the propaganda games. It is from the regular every day games that we have to worry about. We will indoctrinate without purpose, and we need to be aware of what we are doing.

Tangential Learning
A brief musing on Engagement
"I am always ready to learn, although I do not always want to be taught".

Egagement: is directly related to learning and life long retention

Engagement is outside the class room, but video games can do it for us.

Tangential learning is about exposing people knowledge, with out teaching them. If an audience is engaged, your audience will self educate.

300 was not history, however, how many people know about Leonidas today than used to?

Its easier for people to learn something if they know its worth investigating
How do we do it now?
  • Random words
  • highlighting
  • Association
  • Civilopedia
Better implementation: Wikipedia

Tangential learning is not limited to theming
Tangential learning as a whole different set of ideas can be taught through mechanics
We already often teach very valuable ideas via mechanics (see wired article.

From Keyboard to Gameboard.

Lots of Papers

A Transmedia Comparison of Digital and Tabletop Board Games
By: Brian Magerko

Compare board games to computer games

Survey highly rated modern ames form BGG

What are the main game mechanics...

Games

Ra

  • 2-4 Competative.
  • Players draw a random tile to add to tiles on board
  • Start an auction for tiles on boaqrd (voluntarily or involuntarily via a specail drawn tile)
  • Spend a god tile to hand ick a tile
  • Decide wch peronsla tile to discard
  • Table talke /goad other into decision
  • Points are based on personal tile values after three rounds.
Why is ti fun?
  • Bid decision making involves many factors
  • values and probabilities change within a round and as the game gets closer to the end
  • competative auction
Mapping to digital games
  • Auctioning of currency for non-replenishing resources with the value of both the currency and the resources changing over time has no obvious..(slide changed)
Munchkin
  • Flip cards to kick down a dungeon door
  • fight monsters and get treasure for succes or run away
  • Play curse/special cards on self or others
  • Play weapon/armor/class cards on self.
Why is Munchkin fun?
  • Humor
  • adaptation of other game types
  • Rules are'n even serious
  • Asynchronous competition/collaboration
Mapping Munchkin to digital games
  • Humor rarely seen in digital games (self-referential and breaking the 4th wall
Settlers of Catan (skipped for time)

Lost Cities
  • Turn-based 2 players
  • Players maintain hand of 8 cards from 4 suits
  • Play expedition, number cards
  • draw a card
  • cars aare unique --> randomness is big
Why is this fun?
  • Information game: trying to map opponents actions & game state to opponent's hand & Intentions
  • Strategic choice of playing investor cards/when to play number cards
Mapping to digital games
  • Concept of drawing random, unique resources from the same limited, fixed pool
  • Tech tree developmentin in strategy games, online one player can go down a specific tree (civ)
Suggests the need for taxonomy...to discuss mechanics

Contrasting Player Conflicts in Digital Games and Board Games
By: Ben Medler

Defines game as conflict. Previous looked into Conflict Theory (How Humans begin, maintain, and resolve Conflict) and also Imartiality Spectrum (Game mechanics as neutral moderators between players.)

Going to look at Socai conflicts today: Anonymous Conflict in digital games, and how Tacit Conflicts in board games.

Anonymous Conflicts

  • Artificial intelligence
  • Strcit Rules
  • Single Player Experience
Tacit Conflict
  • Player realtionshipos
  • Bendable rules
  • Flow between competititve, cooperative, and collaborative.
Fairness: In digital games, the AI is used to balance the game/throught the mechanics (In mario cart the slower players get new bonuses that the lead players don't.
Board games the Players provide balance, and use indfferent mechanics (like randomness and luck)

Rules: Digital games have set rules and set win conditions. Baord games have bendable rules, builtiple rules sets (Expansions) and hosue rules.

Conflict Play Styles: Digital Games: Cheating, Grief play, Community Policies. Baord games Information Aggregation (you can see cheaters) you can experience groupthink, and accepted griefing.

Implications: Digital Games could implement bendable rules and provide dissemination of information. Board games, the next step is going Digital. (MS play surface table.)

Pigs in the Poke: The Dynamics of Traditional Village Life, Games of Chance and Strategy
By: Brian Hayden

Comparison of Monopoly vs. Pigs in the Poke

  • Common element: Self-interest
  • Difference:
  • Capitalism vs. Tribal subsistence economy
  • 'Individual vs. Social Strategies
  • Familiar Culure vs unfamiliar
  • "Serious Play" vs. "Fun Social Play"
The presenter continues on to talk about the various aspects of the economy of tribal living. The game is being developed in the context of anthropological study.

Lessons Learned From Building Board Games
By: Francisco Ortega-Grimaldo


The Ethnography of Collectible Miniature Game Storyworlds
By: Ethan Watrall and Patrick Shaw

Some concepts to lay out:

  • An era of entertainment media convergence-narrative unfold across multiple media channels and rpoducts
  • Audiences have become information hurnters and gatherers, tracking down cahracter information and plot-points
  • Making connections across mutlipel texts within the same storyworld.
Shat is a story world
  • Multiple media channels are an opportunity to chreate holistic storytelling realities in which many different stories can be told.
  • Stories are bound together in a fictional reality that is designed (and evolved) with continuity and canon in mind.
  • The reality connects the stories together, and is not only fed by the stories, but in turn feeds the stories.
Star Wars is a great example. The universe has rules and everyone agrees to participate in that context.

Question: Do story products that exist within a rich and compelling storyworld provide greater enjoyment for the audience than story products that do not?

Research Focus: Tabletop RPG's, with Miniatures.
  • RPG materials - significant space is dedicated to in-depth information that defines the games world.
  • Researchers focused study on HeroClix
  • Tabletop miature RPG produced by Wizkids Inc.
Study Method
Ethnographic portion
  • Phase 1 Interviews with gatekeepers (store owners and WizKids judges)
  • Phase 2: Participant observation at two local game/comic stores (GS1 and GS2)
  • Phase 3: limited open ended interview with players
Field notes coding
  • game store
  • competition
  • figures
  • game play
  • other
  • personal
  • rule clarifications
  • strategy
  • Storyworld
  • teams
At GS1 the discussion took place around the comic book sotries and associate

GS2 had much lower storyworld discussion

Very little cross pollination between the two venues.

Games in Libraries: Past, Present, and Future
By: Scott Nicholson

The Anti-Immersive Theatre of Role-Playing Games
By: Michael Ryan Skolnik

Those presentations without notes are papers I missed due to going to a different session.

The Play of Persuasion: Why "Serious" isn't the Opposite of Fun

Keynote Presentation by
Nick Fortugno, Co-founder and President of Rebel Monkey
This talk is going to be about games, and games that persuade--games that are designed to deliver a message.

A lesson about games, Warcraft, Poker, Tag, Midnight Club, Halo, Legend of Zelda, Pac-Man Football...

What do these have in common
  • All have rules
  • all have goals
  • All has players/agency
  • and one more obvious one...Fun...or maybe not.
Do games need to be fun? Fun is a deep principle of tradition in game design. Fun is the barometer of success in development. There is a problem though, fun is entertainment, and entertainment is considered frivolous. Games about seriious issues shouldn't be frivolous, they are compelling, engaging and serious.

Is there a sense of mutual exclusivity between fun and serious issues? Many other media to to convice people of things. Works that influenced society:
  • Uncle Tom's Cabin
  • Telenovela
  • The Jungle
  • Erin Brokavihc
  • Will & Grace
  • Cartoons about global warming
  • Eminem's song about getting out the vote
What does this mean for games? The lesson here is that people will watch a message delivered using the genres of the medium.

Point: If your main goal is to distribute a message, and the form is a game, then we need to recognize that games are a part of culture. If you want to send a message through a game...MAKE IT A GAME...and why not make it fun? Include sentimentalism, and action, and intrigue...

At this point there is no Uncle Tom's Cabin for games. No Citizen Caine. No Hamlet for games. There are games as awesome as these, but there are none that have shaped culture/society the way these others have.

Some examples of games that persuade:
  • First an Art Game: Shadow of the colossus. It's a tragic story. Your tasked with killing colossi, because a woman you love died, and you are trying to bring her back to life. Ride out through vast wastelands of nothing until you come to a field where a colossus is. Killing the colossus is a typical boss mechanic: figure the puzzle, kill the boss. After killing the colossus, there is a melodramatic slow motion, orchestrated death. Killing the colossus is fun, however it all leads to a tragic ending. However, the fun of killing the colossus is balanced against the tragedy of the death.
  • Peacemaker: The goal of the game is to make peace. The narrative is the Israeli/Palestinian conflict. Turn based. Program your turn, then see what happens. Gaming the approval meters of Israeli's and Palestinians. When you do something Israeli's like, the Palestinians HATE it. How do you balance these things. What you leave with is realizing how complex the issue is. The goals of the game motivate play, which demonstrates the point.
  • Propaganda game: The McDonald's Game . You run McDonald's grow the cows, process the cows, sell the burgers...there are like 4 mini games, click to resolve, and the play continues. Not compelling. The game makes a statement about practices, goal is to maximize profit, while doing incredibly disgusting things (like feeding cows, other cow parts.)
Conclusions
  • There's a long tradition of political art following popular media
  • Not all games should be pop culture-games can pursue all types of effects.
  • But to persuade regular players, entertainment is a good way to go.
  • So serious games can and should be fun as well.
Questions

When making Ayiti, they wanted to make an educational game about conditions in Haiti, but they couldn't make it happen. However, what they could do is make a statement about poverty and how it is bad.

What motivates people in games is play.

In order get you message out, then, you need to create various games for different audiences: Gay marriage first person shooter, gay marriage MMO, gay marriage sims. Lots of laughter on the idea of first person shooter propaganda about gay marriage.

To say that fun and engagement are mutually exclusive. Think about Tag, Halo, Mario...is the fun the "same" in each game? No. Are you engaged and having fun? yes.

Little kids really really really like to learn. Then we put them in school, and they stop.

Play every game you can. Play everyone: card, board, casual...play every single one, the farther away from what you like the better. It will help you better understand how each genre works.

He was incredibly engaging.

Friday, October 10, 2008

Serious Gaming: Assumptions and Realities

Keynote by
Ute Ritterfeld
Professor for Media Psychology at VU University Amsterdam and co-founded the Center for Advanced Media Research Amsterdam (CAMeRA@VU)

URGH! First I couldn't save my draft of the previous post, then my battery started to go dead. Here is what I got of Dr. Ritterfeld's talk before my thirst for that warm flowing liquid of life overcame me. I'm charging now and things seem to be back to normal.

Serious Gaming: Assumptions and Realities

Hopefully the awkward term of “Serious Games” can be replace.

Serious Games is an oxymoron, but there assumptions:
  • SG are the new pathway in education developed, chosen, and deliberately played by the gamer generation
  • SG are effective in areas of education, health, social change, military, marketing…
  • SG are superior to other learning strategies
  • SG can reach out to otherwise hard to teach learners
  • Games are fun→ implies Serious games are fun
What does empirical evidence say? Games can be effective. The last 3 are areas needing more research. (Covered in many of the papers presented at the conferences.

Created a database n=612. Most Serious games were focused on education. Reviewed various findings related to breakdowns of target audience, and level of play.

5 clusters of information that relate game enjoyment
  1. Technical Capacity (interface, user control)
  2. Game Design
  3. Aesthetics, visuals, acoustics
  4. Social Experience
  5. Narrativity and character development.
And the rest is lost to me... hopefully I'll find some other notes and be able to link to them.

See you in the morning.

Playing with Public Policy: Games to Involve and Inform the Public

Panel Discussion
Alex Quinn
, Executive Director, Games for Change (http://www.gamesforchange.org)
Ian Bogost, Assistant Professor, Georgia Tech University and CEO, Persuasive Games (http://www.bogost.com)
Nick Fortugno, Co-founder and President, Rebel Monkey (http://www.rebelmonkey.com/)
Tracy Fullerton, Associate Professor in the Interactive Media Division of the USC School of Cinematics Arts and Director of the Electronic Arts Game Innovation Lab (http://tracyfullerton.com)
Scott Traylor, CEO, 360Kid (http://www.360kid.com)

This will be more of an informal conversation, instead of a presentation.

Question: How can games inform the public, engage the public, and influence those in power to affect public policy?

Nick Fortugno's comments: The cost of life, a collaboration between HS leadership group, Microsoft was looking for metrics about the relationship between games and learning.

Trying to get a Haitian family to succeed. Replay when family dies. Bringing about an understanding of the economic realities of Haiti at that time. I wonder the relationship between that and the improvement of lives in Haiti, or US policy toward Haiti.

Ian Bogost: present the raw materials to help the player better understand a given policy issue. We have claims from candidates (policy positions) and if we enact them, the world will be different.

There needs to be a way to synthesize these incredibly complicated issue into a useful tool to facilitate understanding.

The games are almost like a journalistic effort.

Persuasive games has made games
Tracy Fullerton Comments:

We identified that participative democracy is the key. But I won't get into that now.

The effectiveness of understanding a policy, is directly related to the emotion reaction to the player.

Darfur is Dying
Hush

Scott Traylor: a Lot of what our business does is develop Pre-K - 16 educational games. They do Serious Games but it is not "what they do".

One game they created, Budget Hero, was created to inform listeners of NPR and players of Budget Hero, to better understand policies during the current election cycle related to economics, specifically related to various issues. 3% of people leave feedback like "I'm a military contractor, and I kept playing all my military cards, but I found you can't win that way. In real life, if I was elected, I would not play those cards.

What biases are we bringing to the game as developers?

Is it fair to create a game that you can't win?

Moderator: A lot of the responses seem to come from the idea of informing.

Ian: I don't know if it would be possible to create a game that would get feedback to the policy makers. How a person votes is not that simple. It's a very complicated process. There are some games that are trying to get people to change some aspect of their lives.

One place we see this is in the alternate reality games. World without Oil is an example of this. Alternate reality games give a peak at what might happen if... and having it play out in the real world. (This is a neat concept: where does the game end and the real world begin?)

Example from game: What would you do if oil was $100 a barrel...LOL

Scott and Ian: Little discussion about playing the game, and the ability to explore other opportunities. What people played doesn't necessarily reflect what their actual valuse are. Gaming the game.

Moderator: Are there any issues that lend themselves to this game exploration?

Nick: I don't like calling World without oil a game. For policy and how they interact with games is propaganda for a given perspective. We can imagine that someone creates a game that you are in the current budget situation. Do we bail out or don't we? What aspects. The playing out is done in a biased way.

Tax Invaders (Can't find a link) is a good example. yes I get the message, taxes are bad and they are invading. BUT it could probably be implemented in a more clever way.

Question: From a design stand point, how do you make the decisions as to how much you share your biases/information with the player?

Tracy: There are somethings in life that are systematized very easily, but others may not be so clear. How much weight do we give peoples influence?

Ian: If you think of a system as some sense of truth. You can create multiple systems in a game where at some point they intersect. It's not that one person is right, although it devolves to that sometimes.

We tried to make a game about abortion. One concrete design strategy, it was going to be about the issue space, NOT the issue. Create interactions that as you work your way through the space, you end up coming out of the space in a different place than where you started. I struggle with this. And I've failed miserably while trying to do this.

Question: Maybe we need policies about policy games. In order to have good policy games, you can't have an "endorsement' of EVERYTHING that the game says, otherwise you end up in the realm of propaganda.

Scott: We have to find out from people when they want a game if they are constructivist or behavioralist. This can really affect how things get put together

Nick: There is a game called NSDM. Its a role playing game where priorities are assigned to the roles. The game master then seeds the space with issues and events and lets people throw down the gauntlet. This is a good model to get around the propaganda issues.

Question: How would games address the undecided player?

Tracy: You need to differentiate from the undecided and the uninformed. The relationship of games to policy and representative democracy is no different than any other advocacy.

Games are not attractive to and do not speak to a large and broad population.

Scott: You can have the misinformed and active, but you can also have the informed and apathetic. There needs to be something empowering about the interactions.

Question: If you want someone to be angry, there needs to be something in their backyard that is making them angry. Otherwise they can not affect change. How do you create games a local public shere, where people can come and address things locally.

Nick: But then you have to ask, is there market there?

Closing comment:

Tracy: One of the things we keep coming back to, is the issue of representational democracy, but maybe even that needs to be evaluated.

Scott: Games are media, like books, movies, television, and we are trying to affect change in the same way that those media do.

Problems connecting

For some reason, I can not save and update my post in Firefox, and Safari has some sort of bug in the word processing app.

I will update the final two presentations for today later when I get back to the hotel.

Game Face(book): The Intersection of Games and social Network Sites

A panel discussion with:
Cliff Lampe, Michigan State University
Kurt DeMaagd, Michigan State University
Nicole Ellison, Michigan State University
Jon Monberg, Michigan State University

The session began with an overview of how real-world social networks are set-up, and how they are exhibited in various places:
  • U of Chicago school/play/playground/kitchen
  • Chucky Cheese
AND it all leads to digital as well:
  • Webkinz
Club Penguin is targeting 6 - 10 year-olds

Mob Wars...a lot of people are obsessed with Mob Wars. You participate in various crime activities.

Little Green Patch is easy, fun, social, and a game.

Does Facebook actually offer anything through these games.



Games gain from social networks, cuz that's where games occur.

Play facilitates trust and facilitates games.

Social Network Sites (SNS)

What do SNS's do well?
  • Provide a structured space for sself-expression (the profile)
  • Provides support for relationship-building
  • But: little ability to segment groups (& thus control identify information)
Sites provide incentives to fill in the forms: (think LinkedIn: %complete)

Providing game users with more sophisticated tools for communicating identity and relationshiop information would make the experience more compelling, engaging, and rewarding.

Gaming the game

Nuke Attack: You use the recommendation system to manipulate the rating system to force item, person, product to lower rating. Reverse bandwagon. Pick a series of books as good, then recommend as bad. Love/Hate is love this book, hate this one, hurts the second.

Push Attack: Make item, person, product more highly rated. Atacks can be random, or average, bandwagon to push your product higher on the list.

These attacks require very little knowledge to manipulate that system. Just some basic public information.

We believe that:
  • Games will succeed when they draw on social roles more deply, and more refectively.
  • Providing game users with more sophisticated tools for communicating identity and realtionship information would maek the experience more compelling, engaging, and rewarding.
  • play is an important aspect of human interactions, and occurs in social networks.
  • people will game tools and mechanisms of interaction.
My thought: What is the social interaction between players outside of the game? Is it game related or other?

The discussion on focused on various topics. What is the nature of people's networks on social network sites? What is the relationship between the player and the avatar/pseudonym/username.

A very good comment about the "social networking" as a part of the game. You need to utilize the realtionships. There is an under utilization of the network as the mechanic. It has to do with who you place where, and when.

Thought: I wonder how the effect of "class" as a social network affects game play and/or player interactions in the game.

This is a HUGE topic that needs to be explored.

Games for Learning

3 papers were presented

Understanding of science concepts through gameplay in a prototype game
By: Kermin Joel Martinez-Hernandez, Dustin S. Hillman, Gabriela C. Weaver and Carlos Rafael Morales

The only difference between control group and the game group is that the game was played.

Prototype Game Description

  • 1st person game with includes action-adventure and puzzle components
  • chemistry content is embedded into the game challenges
  • Tools affect the game...
Assertions for Learning
  • students recognized that aterial seen in the game was something the had previously seen
  • Stuent referred to the concept review as they were playing the game
  • Student acknowledge the existence of some incidental learning as a reault from their interaction with the game.
  • Feedback and debriefing must be present in the game for learning to occur.
On some questions, there was significant differences in responses. Looked at one question. Paper will be online soon.

The Ludenic MBA? Games and Simulations in Management Education: Lessons learned from a comparative, school-wide computerized online multi-game perspective
By: Sheizaf Rafaeli

Graduate School of Managment. Average age of student is 40+.

Problem and Promise

Repeating Sage on the stage model, but should we.

Opportunities

To Change persuade, teach, and learn through the use of games. Especially in the context of online courses.

  • Historicity
  • Excitement
  • Purpose
  • Impact
  • Partner (Second Player)
The promise (shows picture of "Game as anesthesia") References engagement. Looking through games to express, and explore communication collaborations information and community.

To the speaker, a game is only useful if it drives exploration (context: exploration).

Games used in Universities, colleges, corporate training, high schools, etc. (games.yeda.info)

Our Games

buildon where most serious games end. Supply chain simulations (Beer Game & Beer Game Plus)

Ethics games

  • Ecology: water conservation
  • Hiden Profile Games
  • Predication markets

Theory

What are the theories that drive development

  • coordination, trust, community
  • Social Presence and Social Facilitation
  • Value and Subjective Value of Information
  • Interactivity
  • Motivation to Contribute, Lurk
  • Wisdom of Crowds

Issues

What are the considerations in the development and deployment of games used in training managers?

  • Fun is almost a given, Can we document and/or prove actual learning?
  • Should games be developed in-house or can "off-the-shelf" solutions fit the bill?
  • Should players be co-located?
  • Should games in this context be computerized, or can paper-and-pencil, (cardbard) and token games suffice?
  • Logistical advantages or costs of computerizing and networking
  • Pedagogically: How much emphasis on briefing and debriefing?
  • Should games be placed online and networked, or can stand-alone versions suffice?
  • What are the pdagogical advantages or costs of cmoputerizing and networking games?
  • Are international, non-English speaking environments.

Literature

Review the literature. It's all on the speakers website.

Invitation

"In my experience, the most conservative business in dealing with the incorporation of games in education is the education establishment."

Video Game Representations as Cues for Collaboration and Learning (Top Paper Award)
By: Matthew Sharritt and Daniel Suthers

The topic was to examine how learning occurs while students play games.

Literature suggests that games:

  • Provide authentic learning environments
  • Teach differently than traditional instruction
  • Can be a good preparation for tomorrow's kinds of jobs
What cues in the game cause learning to occur?

Used and inductive, qualitative method
Influences to the Study: Ethnomethodology, Grounded Theory (a way of extracting hypothesis out of the data).

We put two students to a computer to force students to interact.

Games used:
  • Sid Meir's Civ IV
  • Making History: the calm and the storm
  • Rollercoaster Tycoon
Used Transana to review and analyze the data. (Remember qualitative and inductive).

Example Game Cues
  • Detectivng an unused icon (game feature) in Civilization IV
  • Consistency in Behavior
  • Social Affordances (potentials for action)
Discussion
Research focuses on HOW the learning occurs and the cues that set it off.

http://www.situatedgaming.com

All Play is Meaningful

Keynote presentation by:
by Leigh Anne Cappello
Vice President and Play Futurist with the Future Now division of Hasbro

Worked in toy industry for a long time (20 years). Her favorite question: "Is it like the movie 'Big'.?"

Myth 1: It must be so much fun to work at a toy company.

Yes it is fun to work in the toy business, but not necessarily a lot of fun. Very competitive industry.

Myth 2: I bet there are toys everywhere.

Yes, there are toys everywhere. You have to be careful to not get attacked by a giant transformer when you walk down the hallway.

Myth 3. do you play with kids all the time?

Yes, we invite children into the fun lab all the time for observation and research.

Myth 4: Your nieces must have the best toys.

Myth 5: Your daughter must think you are a goddess.

Yes

What is a Play Futurist?

Future Now Initiative
Mission: Primary cultivators of global future initiatives.
  • Strategy First
  • Cultural Catalysts
Future Now Team:
Cross functional group with diverse backgrounds.
Georgina: Design Creation Expert
Lamont: Invention Mechanisms
Adam: Design Fringe Exploration
Jim: Graphics Marketplace
Erin: Engineering, Global Lifestyles
Phil: Design & Technology
Yesim: Inter-architecture, infant development
Nathan: Future Futurist, Toy Design Student
Leigh Anne: Business Strategy, Consumer Insights

Hasbro: Inspiring the Human Need to Play

Core Design and Development Team focused on Play for Tomorrow's consumers

Future Now: Futre of Play > 3 years.

Future Now Charter
  • Content
  • Process
  • --brainstorm tools
  • --foresight tools
  • --inspiration tools
  • Culture
  • --Bring out your dead (the right toy at the right time)
  • --Idea Fair
  • --Inspiration Expo
Job Description of a Play Futurist
  • Be a detective (Go into every brainstorm session with an empty bucket.)
  • Make connections
Skill Set
  • Understand People
  • Comfortable with the Unknown
  • Communicate and Inspire
  • Passionate Battles
  • Take Chances
  • Think differently
  • Be a vigilante
  • fight with style
  • make ideas stick
Age
Role
Culture
Personality
Species

What is fun?
Anticipation
Pretending
making friend
connecting
messy
cute (recommends cuteoverload.com)
scary
cute and scary
silly
serious
remembring

So what is meaningful play in the toy industry

Play is a right!
Play is a responsibility of adults to provide opportunity to play to children AND themselves
Play is NOT a privilege. Every person (and species) has the ability to play. It is just what we do.

All play is Appealing
Play is fun, which you want to do again and again, and then you learn

All Play is Healing
Creates self-confidence, strong bodies, stress relief, active minds

Because play is freeing, it releases you from yourself. In losing ourselves, we discover things about ourselves, and continue to grow.

All play is Chosen. And its all yours. Play is wholesome Play is freeing

All Play is revealing.

"You can discover more about a person in an hour of play than in a year of conversation" --Plato

"You can discover more about a kid's imagination in 20 minutes of squishing than in a year of asking...what are youthinking" -- Play-Doh

Final Myth. You must love your job. This is not a myth. Have fun.

Thursday, October 9, 2008

Unknown Possiblilities of Existence

Keynote Address by Ian Bogost
Author of Persuasive Games
A good summary of Persuasive game in the Ecology of Games.

This was a very interesting speech. If I can find a copy of the text, I will link to it. This will need significant editing. I'll update it and repost.

"Like any self respecting geek, I'm going to start with Star Trek".

He begins the presentation by synopsizing the last episode of Star Trek: The Next Generation.

What is it that makes play or the games that facilitate it, "meaningful".

Bogost worries that "Serious Games" tries to separate entertainment and seriousness into two different categories, and then by extension the seriousness to which these topics can be perused. There is in Serious Games a drive to external recognition and validations.

ART

This is a word that insights terror in me. It's so convoluted and big, and that talking about it just drives one to madness. What could be worse:

ARTGAME

This talk will be about ARTGAMES.

The talk will sit somewhere between analysis and manifesto...

A theory of Artgames

I want to look at things through some sort of matrix...a lens through which I see things as Artgames:
  • Introspection
  • Authorship
    The willing attribution of authorship is somehow a necessity with "artgames". Or auteur figure.
  • Procedural Rhetoric
    An argument made through a computer model, as opposed by words or thoughts/depiction/description
  • Historicity
    (Art games seem to have a stronger sense of historicity that other games...both game & culture contexts)
The Usual Suspects
Who could be other candidates to see how they fare as a "Serious Games" or Artgame
What do artgames not have? (Or not have to necessarily have)
  • Beauty
  • Fine Art (The games are not meant to be shown, they are meant to be played)
  • Independence (no relationship between Artgames and Indie games, even though they came about parallel.)
  • Visual Aesthetics
  • Mechanical Innovation

Player Centered Design for Instructional Games

This session was hard to decide where to go. I picked the speaker over the papers, as I can read the papers at a later time. (tonight while I'm watching TV?)

The paper presentations are:

Games to Change Brains

Alternative platforms for learning games

So, now, on to the speaker:

Player Centered Design for Instructional Games

Presented by:
Robert Appelman, Indiana University
Sonny Kirkley, Information in Place, Inc.

Paths to Player-Centered Design
There are two tracks:
  • ISD Path (Instructional Systems Design)
  • the Game Design Path.
Considerations for the ISD Path
  • The world starts with the content, then leads to the objectives for that content, and finally the delivery of that content.
  • Drivers: Entry level of player, and the changes of the player witin and after game play (cognition (learning) & Affective (Attitude toward the Content[Engagement]))
Cosiderations for the Game Design Path
  • The world starts with the story or context of the game, develops through the environment of the game play, and the functionality within the game.
  • Drivers: Efficiency of development, experience of the player (Affective (Attitude toward the Game[Fun])) (Was it enough to drive me back and by the new release?)
How do you bring these two cultures together?

Process Mangment is the key.
  • Scope (Conent Density, Objectives & Didelity/?functionality)
  • communication/Collaboration (Mutual respect building among multiple disciplines)
  • Stakeholders (Participants in the collaboration - the "need definers")
Traditional Methods do not work: Single track mentality for each, but we need a broader collaborative design approach.

Games that involve learning require a much broader approach than ever before - both in integraiton of mulitle craetie ideas & coupling these ideas to impact on learning. In the buisiness world, we must associate and bring in multiple players & corporations that have never worked together.

Cases:
  • Virtual Astronaut Learning Platform (STEM; health)
  • Virtual Congress/Oceana (civics)
  • Hazmat Games (safety)
  • Others not addressed
  • --unmanned vehicles (Army)
  • --Kauffmann Prototypes (STEM)
  • --Casual games
  • --Realms of Logos-Khyalia (Foreign language MMO)
  • --and other more simulation-like environments
During development of Virtual Astronaut Learning Platform, they asked kids if they should take out the educational components. The kids actually said no, because that was the challenging part and is what made the game fun.

Tieing back to school: reading graphs, velocity, among other things.

Project is a National Science Foundation project, and used Unreal 2.5 and Adobe Flash.

Results:
  • Learning gains in limited testing
  • Student compare to Halo, Oblivion and other games
Much of the lessons discussed focused more on production aspects and pulling together of stakeholders to complete project, and affect on project.

Lessons learned from Oceana
  • listen to your audience
  • Listen to your game designers, differentiate roles and value those perpsective
  • Avoid design by Committee, manage stakeholders
  • Don't be afraid to scratch and go back to the beginning if need be.
Hazman games: Lesson Learned:
  • non-game audiences are hard to gage in terms of interface complexity
  • "level" player with different games (simple to complex)
  • Design job is much easier with focused content (instructional designers...)
General Lessons
  • Need well defined game world, mechanics, narrative to drive later decisions (consistent & shared vision)
  • Issues with students own perceptions of what a game is (THIS is what's fun)
  • Letting stakeholders drive the design may be problem (take the fun out?)
  • Some content may been to be separated from core game play (areas in game, separate games, Web 2.0)
  • Don't make the learning hard to get to or you may take away from instruction.
  • Need to define learning objectives early and align with game play (iterative)
  • In principle, there need not be conflict between learning (what?) and game play (why?)
  • Your learning "theory" and "game design" theory always drives your decisions so make it explicit
  • Funding, especially iterative funding, can force problematic processes
  • good dsigns availabe eith any budget
  • map game design to audience expecations and needs (available time (classrooms?)
Lessons learned on Process:
  • Defined process and roles is critical (everyone undersatnd thir roles, tasks, and outcomes of work of all team members)
  • Seat of the pants work intitially ok, but have to become disciiplined as project matures
  • End users mast be part of review process throughout
Collaborative Design
  • A way of Thinking
  • A context based strategy (taht supports the content)
  • A decisions-based strategy (focuses on Player decisions)
  • Tools for facilitating decisions that inform more thn just those making or using that tool
  • Impact of one decision affects the linkages within others using other tools--SYNERGY.
Adopt a Design focus
  • Design of Conent & Objectives
  • Design of Player's Path through Content
  • Design of Problem Scope and Sequence
  • Design of Pipeline flow
  • Design of Collaborative Interactions
  • How does the Academy promote Collaborative Design?
The speakers then entered into a discussion of similarities and differences between film school, game studies, and design school approaches to learning and development and how they apply to game design and production.

Mapping ID Processes to Game Desing

Need defined processes to map good instruction to good game design
Debastes on what ID processes map to game design (Its generally more like software project than a PPT)

Example: cognitive Task analysis. This is the kind of problems an expert deals with, here is the process he/she uses to deal with the process, and map that back to the game. It's a lot of work, and very iterative.

Not pushing for sale, but they started working on a Pipeline Life cycle Managment tool. Wisdom tools Interactive Learning Community & marketplace. I looked up "WisdomTools" as listed in the presentation, but can't tell if the tool is the same as they were saying. NOTE: I checked with the speakers, "WisdomTools" is the same company as Information in Place...sort of. Information in Place is in the process of acquiring WisdomTools. Both got their starts as outgrowth from Indiana University projects.

Player centered design
  • Focus on learniner in context of being a gamer
  • Engagement, menaing and fun
  • Align processes to ocus on the player (learner)
  • Help stakeholders maintain focus on the playr
  • Requires colaboration and multiple perspectives.
Consistent throughout the presentation was the emphasis on stake holders (designers, SME's, producers, managers, coders, EVERYONE) is in the same place. All the perspectives are needed, and connection/collaboration between all these stakeholders is paramount.

Analyzing and Understanding Games

3 Paper Presentations:
Note: I will revisit this page and fix some of the issues related later.

Sat next to Ian Bogost during presentation, but didn't get a chance to talk. His presentation is coming up.

Beyond Choices: Design of Ethical Game Play (Top Paper Award)
By: Miguel Sicart

the perspect of the presentation: he's a phenomenologist.

Playing

  • Playing is more than interacting with a system to reach a goal
  • Playing is understanding values, creating values, and living by those values
  • Play is (also) an ethical action: as players,we interact with the gameworld usingethical thinking.

Ethical game play

  • Beyond choices, ethical game play is determined by how we relate to the game world
  • It is not only our strategic/mathematical/spatial self who interacts with the game
  • Ethical game play is the ludic experience in which regulation, mediation, and/or goals require moral reflection beyond system calculations

Speaker: Players are not monkeys. We know who we are and we don't forget who we are while we are playing the game. We are reflective beings in play.

Ethical Gamepay Design Typology

  • Open ethical design
    • open system design
      • Players' choices affect rules, systems, mechanics,...

(WOW, he is flying through these slides. Funny aside: his avatar for "player" is Marty Feldman.)

This is a very interesting topic. Too much information in too little time. This seems to be a must read paper.

Tools for subtractive design is to take ethical thinking, and juxtapose it against the gameplay. Need to look at this more.

He uses Grand Theft Auto, Manhunt, Fables, bioshock, Call of Duty 4 as examples.

A Framework for the Analysis and Design of Meaningful Games
By: Russell Williams

PDF of full paper after link

http://www.coms.hkbu.edu.hk/williams/concepts/meaningfulpresentation.swf

9 points

  1. We need to use some sort of schematic to create the game. Describe the PSE (Process - System - Environment) to be played.
  2. Audience (The Players-demographics, psychographics, cognitive and motor skills, persona and scenario). HE talks about a book called "About Face" which helps identify who the person is.
  3. Intention (information, connection, attention, research, persuasion, entertainment, expression.
  4. Media
    1. Discrete
      1. individual media objects which aare image based
    2. textual
      1. written language in all of its various types and forms
    3. convergent
      1. combination of image and text
    4. sequential
      1. moving images and sound that add the dimension of time
    5. digitized
      1. computer-based media that add the dimension of intelligence
    6. Networked
    7. interconnected media that add the dimension of distance
    8. Human
      1. face 2 face com that adds the dimension of interpersonality
  5. Mechanic
    1. movement
    2. options
    3. opportunities
    4. limitations,
    5. scoring
    6. emergence
  6. Aesthetics
    1. Look
      1. representation
      2. lighting
      3. rendering
    2. Feel
      1. transcendent / immersive quality
      2. interactive controls
      3. sound environment
    3. Interface
      1. simple
      2. usable
      3. consistent
      4. responsive
      5. transparent
  7. Poetic
    1. Creator Controlled - designed experience
    2. Synthesis - established beginning for emergent development
    3. Player Controlled - experience generated
    4. Socially Negotiated - emergent community & Collective experience
  8. Subjective Experience
    (8 kinds of fun-LebBlanc)
    1. Sensation: sense pleasure
    2. Fantasy: make-believe
    3. Narrative: drama
    4. Challenge: obstacle course
    5. Fellowship: social framework
    6. Discovery: new territory
    7. Expression: Self-discovery
    8. Submission: killing time
  9. The Dynamic
    1. Platform
    2. Online
    3. Board Game
    4. Card Game

The Rhetoric of Serious Game Genres: Issues for Analysis and Design
By: Lee Sherlock

How do we talk about Serious Game genres?

Brian Bergeron: "games with an agenda; news games; political games; realistic games; and core competency games" All of these are a variation of educational games (2006, p 26)

What is the problem?
  • These genresdefinitions obscure the co-construction of meaning through play and the "procedural rhetorc".
  • Intionality of the game designers; purpose; essentializing of a particular domain or activity
  • "most labels define a specific output ignoring the larger possibility space for serious games.
Genres are not static states, but a dynamic system that carries out as social action.

Three levels of scope:
  • Macroscopic: Genre fucnitons as activity
  • Mesoscopic: genre functions as action
  • Microscopic: genre functions as operation.
For example: The McDonald's Video Game

Example: Darfur is Dying

The game mechanic is Darfur is dying explicity connects the various levels of scope.

Emergent Game Play

Note: I will review this later to flesh out disjointed thoughts and notes)

This program is the presentation of 3 papers.

The Significance of Jeep Tag: On Player-Imposed Rules in Video Games
By: Felan Parker

(PDF of file available after link)

The game takes place in Halo. The rules of Jeep Tag exist in the players, and are not included in the Halo engine. The engine of Halo provides the physics, the game comes from player imposed rule sets: an agrement between the players as to what the rules are.

Rules are by definition expansive. Add more rules to a game, then entirely new player opportunities emerge.

Expansive game design, is not modding. Expansive game play changes the game, modding does not. The game play changes and exists entirely outside of the game.

(unfortunately, Felon is reading his paper.)

In an analog game, one must read the rules in order to find out how to play. digital games can be figured out as you play, no requirement to read rules. This experimental learning/playing allows not only the game to emerge, but new ways of game play to emerge.

Visualizing Game Mechanics and Emergent Gameplay
By: Joris Dormans

(PDF of full paper after link)

Emergent game play to Joris is about the complexity of games. What I"m really interested in, is game gestalt.

Related research

  • Pattern in Game Design (S. Bjork)
  • Game Design diagrams (R Koster, 2005)
  • UML use case diagram to represent game flow (MJ Taylor et. al., 2006
  • UML for Chess & Tic Tac Toe (Stevens & Pooley, 1999)

His research focuses on board games with emergent gameplay. I try to visualize those structural qualities of games that directly contribute to the emergent gaqme play. What can be learnd from this type of games is relevant (to some extend) for all types of games.

Emergence: In emergent systems the whole is more than the sum of their parts: it is hard (if possible at all) to predeict the behavior of the whole by just looking at the behanvior of the parts. The best way to find out is to simulate the system, or (in the case of games) to play the game.

Some aspects to emergence:

  • System of many independent active elements
  • Sufficient level of activity
  • Local communication indirectly enables long-range communciation (Wolfram, 2002)
  • Feedback structures within the system
  • different scalse of organization (Fromm, 2005
Aside: Interesting. An academic presenter wearing a lego block t-shirt. Very Cool!

Multiple feedback systems are better than a single feedback system. The relations between the two can create interesting emergent systems.

Game Diagrams can show model of:
  • Resources
  • Economy
  • Feedback
Note to self: I really need to figure out how to diagram the systems in a game, and compare with how the system of learning overlays the game.
  • Example of diagrams of the differences between Tic Tac Toe and connect 4.
  • Next example: Power Grid. Shows the complicated diagram of Power Grid.
  • Next example: Risk.
  • Next Example: Settlers of Catan.
  • Next Example: Boulder Dash
Does it work: Open and expressive (extendbale) notation Game design UML is still a work in progress, helps identify weaknesses and opportunities in the design. Further Work
  • Extend with emergent computer games
  • Identify patterns
  • Visualize how patterns can be combined
  • Brainstorming technique
Question: Have you identified a weaknesses in designs? Joris looked at the diagrams of Risk and Settlers and showed where some weaknesses were shown. His analysis on Risk was right on, but on Settlers, I would disagree. The point of the strategy identified as a weakness ("Doesn't add much to the game") was the development card. However, earlier he said the game is fun because of interaction. The strategy keeps people in the game, and can lead to a win, however it's about staying in the game to have the fun.

User Experiences of Game Idea Generation Games

By: Annakaisa Kultima, Johannes Niemel, Janne Paavilainen and Hannamari Saarenp

(PDF of full paper available after link)

In this presentation:

  • Idea generation (Purposeful creation of new ideas).
  • Developing idea generation tools for creative work (Creativity techniques, brainstorming techniques, idea generation techniques, complimentary for natural ideation processes.
  • Domain specific idea generation
  • Game-based idea generation
Reviewed some of their game ideas...ok, sort of flashed them on screen due to time constraints. Interesting presentation, but difficult following along. Need to read the paper. The focus is on games that are played to create new ideas.

Opening Keynote: Game Designer as Change Agent

Note: I will revisit this entry to flesh out the notes, and make it more easily read. My apologies

Richard Hilleman, Chief Creative Officer for Electronic Arts

Keynote Synopsis and Speaker BIO

I expected the program to cover much more at how the Art changes the user. Unfortunately, the program focused on how EA transitioned and changed to meet new demands of the market, and how professional development opportunities have helped EA. Now that EA is so established, and makes as much as they do, and how many resources they have at their disposal, they are beginning to explore ways to use those resources to focus on more meaningful content, but not at the expense of fun.

Notes:

Creative Director, spends time be responsible for things he has no control over.


Begins presentation with an overview of people that work at EA, their experience, and what they like...they are all gamers: very competitive. He is reviewed EA's expansion into the International market. Moved from Amiga Commodore to other platforms, and then grew with consoles. Then transitioned from 2d to 3d. then they needed to become profit responsible--difficult when teams get so big. (Godfather at one point had 300 people on the development team.)

When you need to change, you have to change the rules that you work by, and the scoreboard message (goal, purpose).

Overview of "The creative Learders Program: 5 Sessions
  • The gong Show (2 days to compose the game design and a model for development, and then do a sales pitch on that game).
  • rapid devleopment of confidence
  • launching of new IP initiaitves,
  • Seeing is believeing: Managing Art Directors
  • The raring Silence: A program arond audio and audio design: 5 scenes from the drunken master, and stripped out all sound. They had to write script and sound for the scenes.
  • Listening Out Loud: Listening to audiences. A program involved listening to people about their products: video to show what customers thought. then had to
  • It's all nuts and bolts: used lego mindstorms, day 1 navigate the robot around a box, then day 2, look at three lights and determine their status. People sometimes weren't successful as you needed to think ahead, you couldn't just solve the 2nd day in day 2.
This was followed by a review of the professional development program at EA, 18 - 24 months with very specific goals.

The professional devleopment programs has been key in creating change in the company.

All that's nice, but what about "changing the world."

Hilleman really likes the idea of Toymake as Hero from Chitty Chitty Bang Bang.

Emergence of Interactive Models to facilitate understanding of change:
  • Climate change models
  • political models
  • Organizational modes
Reviewed a quick synopsis of Mandela and the game that changed a country .

Your responsibleilty as a game designer:
  • Have a message
  • Undersatnd what you want to leave behind
  • listening to the results and iterating
  • Engage inthe Big Problems, and bring Ice Cream
Wouldn't it Be nice: from the move Amazing Grace and Chuck

You need to make games that are fun, if you want to educate, make money, and succeed.

EA is going to change the way the utilize their resources, to begin focusing a bit more on meaningful games. These will probably (but not certainly) be on Flash as a platform.

Ultimately, understand that you are trying to make something that will sell.

Wednesday, October 8, 2008

Set-Up

Hello, World.

This blog is set-up to allow me to take notes and reflections during conference presentations that I attend. I encourage questions and discussion, however, the post will not be made until after the session is over.