The Way Ahead for Serious Games

Author(s):  
Jan Cannon-Bowers

Despite the fact that people have been playing games since before recorded history, the field of Serious Games—as a scientifically valid and viable area of investigation and application—is really in its infancy. In fact, the rise in availability and popularity of video games is a relatively recent phenomenon and actual applications of video game technology to serious pursuits are relatively rare. That said, I believe that Serious Games are coming into their own, and predict that the next few years will witness an explosion of new games, design features and guidelines, success stories, and scientific findings regarding their effectiveness. How quickly and fruitfully this happens depends, in part, on how well the community of researchers, designers, developers, evaluators, and end users can come together to systematically conceive of, and deploy games for serious purposes. Haphazard attempts—i.e., those that do not build on the findings of others’ experiences—will retard the speed at which viable games are consistently produced. Likewise, rigorous evaluation of those games that are developed cannot be neglected or future developers will likely fall prey to the same problems and pitfalls as their predecessors.

Author(s):  
Jonathan Sykes

Video-games, like movies, music and storybooks are emotional artifacts. We buy media to alter our affective state. Through consumption they impact our physiology and thus alter our affective world. In this chapter the authors review the ways in which playing games can elicit emotion. This chapter will discuss the increased power of video-game technology to elicit affect, and show how the mash-up of traditional and interactive techniques have delivered a richness of emotion that competes with film and television. They then conclude by looking forward to a time when video-games become the dominant medium, and the preferred choice when seeking that emotional fix.


Author(s):  
Kenneth B. McAlpine

This chapter explores the Atari VCS, the machine that took video games out of the arcades and into the living room and established Atari as the dominant player in the home video games industry, at least for a time. It examines the context that surrounded the birth of the Atari VCS and how that influenced its hardware design, in turn shaping both the sound and people’s expectations of video game music. The Atari’s sound chip, the Television Interface Adaptor, gave the Atari VCS what might charitably be described as a ‘characterful’ voice. By reviewing the hardware, this chapter explores how and why the Atari VCS sounded just the way it did, and by exploring some of the games that were released for the platform the chapter shows how, while sound games did indeed sound dreadful, with a little musical ingenuity they could work wonderfully as game soundtracks.


2021 ◽  
Vol 20 (38) ◽  
pp. 159-169
Author(s):  
Manuel Esteban Jaramillo Reinel ◽  
Andrés Felipe Mera Tróchez ◽  
Katerine Márceles Villalba ◽  
Gabriel Elías Chanchí

In recent years, serious games have been applied in different contexts of application, highlighting their contribution in the educational context. This original type article presents the design, construction and evaluation of the Coffee Fun video game. Coffee Fun is a video serious game aimed at children aged 8 to 12 years old; the game has as a theme the growing of coffee beans in a simulation environment in which each player helps the growth of this plant by a few tools provided at each level of the game; in the game, different scenarios related to coffee growing environments are presented for each of its stages in a series of levels that the player must overcome to complete the game through a process of learning and entertainment.


2016 ◽  
Vol 22 ◽  
Author(s):  
Josef Nguyen

This article examines the fan practice of Let's Plays—video recordings that video game players create of themselves playing that include live commentary or riffing. I argue that the riffing accompanying game play footage in Let's Plays highlights how players play idiosyncratically by constructing and performing game-playing personalities. These videos emphasize the performative nature of video game players as fans who actively negotiate with the video games that they play through presentations of individual playing styles and experiences. I show that in accounting for how and why they play the way that they do, Let's Players demonstrate what I suggest are various modes of playing in which players can engage with video games generally. Consequently, creating, sharing, and discussing Let's Plays can render visible a wider diversity of game-playing identities, experiences, and styles.


Author(s):  
AbdelGhani Karkar ◽  
Somaya AlMaadeed ◽  
Rehab Salem ◽  
Mariam AbdelHady ◽  
Sara Abou-Aggour ◽  
...  

Overweight and obesity is a situation where a person has stacked too much fat that might affect negatively his/her health. Many people skip doing exercises due to several facts related to the encouragement, health-awareness, and time ar-rangement. Diverse aerobic video games have been proposed to help users in do-ing exercises. However, we observe some limitations in existing games. For in-stance, they don’t give correct scores while wearing Arabic traditional suits, they don’t consider showing immersive realistic scenes, and they don’t stimulate users to do exercises and keeping them encouraged to play more. We propose in this paper an aerobic video game that displays real scenes of aerobic coaches and keeps the user notified about doing exercises. It is a kind of serious games that allows users to learn aerobic movements and practice with aerobic coaches. It contains several exercises in which each can be played on normal screen or in fully immersive virtual reality (VR). While the user is playing, he/she can see the playing score with the estimated amount of burned calories. It stores the time when the user plays to remind him/her about doing exercises again. The profound user studies demonstrated the usability and effectiveness of the proposed game.


Author(s):  
Katherine Joan Evelyn Hewett

According to the Entertainment Software Association (ESA) report, 70% of families have a child who is actively playing video games at home. This pop culture phenomenon has challenged the way teachers think about learning and engagement. This chapter explores how the nature, culture, design, mechanics, and logistics of video games shape the way classroom gamers think. It examines how video games provide a space for strategic practice, the 21st-century skills acquired, and the tools gamers use as experts. Presenting background and context to help better understand why and how video game environments develop strategic thinking, the purpose of this chapter is to encourage educators to embrace video games to harness pop culture experiences as a means to motivate students to develop 21st-century literacy practices and skills. Through the reflections and framework of a teacher's experience who is an active researcher, it also discusses how a popular mainstream video game in the classroom changed her teaching and opened her eyes to a new type of learner.


2009 ◽  
Vol 2009 ◽  
pp. 1-12 ◽  
Author(s):  
Mathieu Muratet ◽  
Patrice Torguet ◽  
Jean-Pierre Jessel ◽  
Fabienne Viallet

Video games are part of our culture like TV, movies, and books. We believe that this kind of software can be used to increase students' interest in computer science. Video games with other goals than entertainment, serious games, are present, today, in several fields such as education, government, health, defence, industry, civil security, and science. This paper presents a study around a serious game dedicated to strengthening programming skills. Real-Time Strategy, which is a popular game genre, seems to be the most suitable kind of game to support such a serious game. From programming teaching features to video game characteristics, we define a teaching organisation to experiment if a serious game can be adapted to learn programming.


2018 ◽  
Vol 7 (1) ◽  
pp. 40-52
Author(s):  
Rifaldi Zulkarnaen ◽  
Sri Hendarsih ◽  
Eko Suryani

By the development of the time, video games technology increasingly popular in the society starting from children to adults. The video games effect can disturb the growth and development of the children. Parents must give more concern and attitude for video games users. This concern and attitude must in the way how parent’s communication pattern. The effective communication can controled video games users. Children with the good communication pattern can give good or bad estimation if the childrens addiction from video games. This is too give the children bad attitude like estimation from parents.Purpose. The purpose of the research is to discribe the parents communication patterns and behavior of children user video games in SMP N 3 Gamping, Sleman. Methods. The method used is discriptive research. The study conducted in marc 2015. The research locatioan in SMP N 3 Gamping Sleman Yogyakarta. the subjects were child early teens video games users as many 49 users. The research used questionnaire about parents comunication pattern and behavior of child video game users. Last the analysis used distribution frequency.Results. The research shows 44,9% of parents using authoritaive communication pattern, 18,4 % parents used permissive communication pattern and 36,7 % parents used authotarian communication pattern. While the behavior of the children’s video game users are good is 81,6 % and 18,4 % are bad.Conclusion. Majority, parents used authoritative communication patterns to chlid of video games users and users have good behavior.


2019 ◽  
pp. 131-155
Author(s):  
Hassen Ben Rebah ◽  
Rachid Ben slama

A serious game is a computer application that combines a serious intention of a pedagogical, informative and a communicational type with playful springs of the video game (want to win, collaboration, competition, strategy). This two-dimensional approach has transformed the game from a simple means of entertainment to a robust-integrated tool growing in the world of training and learning. Serious games include the engagement of video games with the worlds of educational and computer simulation to integrate the user in a safe and entertaining learning environment. Many techniques have been used to ameliorate computer graphics and technology in the last few years to make this type of game more adaptive to the learning context. In this study, we are interested in presenting the pedagogical contributions of serious games as well as the different possible approaches of their integration in a learning situation and this is based on a variety of case studies and examples of experimentation. We will start with definitions of other video games that have some valuable characteristics of learning in order to contrast and relate them with serious games. Subsequently, we discuss the definition of serious game and the benefits of its use in education. We will, then, examine approaches to integrate serious games into classrooms with an emphasis on the assets and liabilities of each approach. To finish, we conclude on the trends that will follow the serious games technology in the educational field as well as some recommendations to be taken into consideration in order to better exploit these tools in a pedagogical context.


2019 ◽  
Vol 17 (1) ◽  
pp. 5-23
Author(s):  
André Sier

Abstract Within the context of exploring new electronic arts' aesthetic regions and unexampled connections between generative art, games and mythology, my practical artistic research was led to focus on labyrinthine structures as exquisite legendary spatial gaming devices and as possible pathways to gain deeper humane insights, resulting into discoveries of original methods of labyrinth formation by means other than human. Labyrinths and mazes are inextricable paths, human made millennial structures that provide spatial challenges often connected with feedback, compression, entanglement and hyper complexification of goal oriented displacement. They are perhaps the most ancient example of structure for spatial and serious games. Novel methods for labyrinth creation ‐ non-human methods ‐ are introduced and exemplified through artistic constructs. These new methods utilize non-human bioelectronic techniques and are initially grouped into three distinct sub-categories: the 'open' method, the 'mathematical flower' method, the 'animal' method. Four case examples of artistic non-human labyrinths resorting to the introduced novel methods are explored: k. video games (2007, 2010), Wolfanddotcom video game (2017), 8-bit Maze Gardens vegetable paintings (2018‐present), Ant Ennae Labyrinths bio-electronic apparatus (2019‐present).


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