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1
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Gamedec. UKW in IGDA Curriculum Framework

100%
Mochocki M.
Replay. The Polish Journal of Game Studies
|
2016
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vol. 3
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issue 1
121-139
EN
Launched in October 2013, GAMEDEC: game studies & Design is a specialisation track within the 2nd Gen Humanities (aka Humanities 2.0) 3-year BA programme at Kazimierz Wielki University (UKW) in Bydgoszcz, Poland. The curriculum was created by UKW academic staff with game design experience, guided by the IGDA 2008 Framework and consulted with game dev professionals. It underwent slight modifications in 2014 and a significant transformation in 2015. This paper aims at a thorough analysis of the structure of the curriculum as seen through the lens of the IGDA Framework (2008), including the coverage of both Core Topics and Institutional Considerations. The analysis is conducted in the context of foreign (mostly U.S.- based) game degrees and supported with comments on its design, implementation and modifications.
2
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Punctuated Play: Revealing the Roots of Gamification

88%
Foxman M.
Acta Ludologica
|
2020
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vol. 3
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issue 2
54-71
EN
Even at the apex of its hype cycle in the 2010s, game studies scholars and designers derided gamification. This article first explores why gamification inspired such vitriol. It finds the incursion of non-game corporations and entities into the field was a threat to those who fought so ardently to legitimize the profession and promote a more playful or ludic 21st century. The article then delves deeper into the literature of play to redefine what occurs when a player engages with a gamified app, such as the social media application Foursquare. It rescripts their activity as ‘punctuated play’, or when the competition, conflict, glory, and other aspects of traditional play pierce a moment but do not necessarily define it.
3
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A Cultural History of the Greek Digital Games Origins: From Clones to Originality

88%
Theodoropoulos M. S.
Acta Ludologica
|
2024
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vol. 7
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issue 1
86-106
EN
Literature on the digital games industry and gaming history has for the most part focused on the global production centres of North America, Western Europe, Japan, and, lately, China. However, in recent years, a call to research the diverse and less dominant national contexts within which digital games are produced has been addressed. In this article, we shed light on early digital game development in Greece, covering the years between 1982 and 2002. This particular region has been highly neglected by both domestic and international researchers. We approach Greek digital game development from both historical and cultural perspectives, through an investigation of how local game developers interact with a wide range of contextual facets in a complex interrelation between global and national conditions. This article argues that, in order to highlight the characteristics of early national game production cultures and digital games design, one must examine them as well under the broader cultural production ecosystem, along with the economic and institutional contexts and transformations within which digital game production takes shape.
4
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More-than-Human Game Design: Playing in the Internet of Things

75%
Akmal H. A., Coulton P.
|
2021
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vol. 4
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issue 1
72-92
EN
The design of objects requiring human interaction often revolves around methods such as Human Centred Design (HCD). Whilst this is beneficial in many cases, contemporary developments of technology such as the Internet of Things (IoT), which produce assemblages of interactions, lead to the view that human centred approaches can prove problematic leading to the proposal of adopting more-than-human perspectives. This study discusses the creation of a novel board game designed to explore a more-than-human design view for IoT products and services by addressing problematic issues in relation to user data privacy and security within the IoT which arguably arise from the application of traditional HCD approaches. By embracing Object-Oriented Philosophy, The Internet of Things Board Game creates an ontographic mapping of IoT assemblages and illuminates the tiny ontologies of unique interactions occurring within these digital and physical networked spaces. Here the gameplay acts as metaphorism illustrating independent and interdependent relationships between the various ‘things’ in the network. The study illustrates how critical game design can help develop potential new design approaches as well as enabling users to better understand the complex digital/physical assemblages they create when utilising IoT products and services in their everyday lives.
5
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Granie ergatyczne, czyli konsekwencje upodobnienia rozgrywki do pracy. Diablo III jako przypadek „gry zgamifikowanej”

63%
Kominiarczuk M.
Homo Ludens
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2015
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issue 2(8)
46-62
PL
O gamifikacji zwykło się mówić jako o zastosowaniu zaczerpniętych z gier rozwiązań poza grami. W tym kontekście pomysł gamifikowania gier może wydawać się absurdalny, jednak ułatwia zrozumienie współczesnych strategii projektowania gier. Przykładu zgamifikowanej rozgrywki dostarczyć może Diablo III, popularna gra Action RPG opracowana przez firmę Blizzard Entertainment. Artykuł obejmuje krótkie studium przypadku, a także próbę wskazania przyczyn tego procesu z zastosowaniem koncepcji grania ergatycznego (wyprowadzonej z playbour Juliana Kücklicha).
EN
Gamification is most often thought of as an application of game mechanics and design in non-game contexts. Because of that, the notion of gamification of games seems absurd. However, it is useful in understanding modern game design strategies. To find a possible example, we need look no further than Diablo III, a popular Action RPG by Blizzard Entertainment. This paper discusses a short case study of gamified gameplay in Blizzard’s bestseller, and identifies a possible cause of this process utilizing the concept of ergatic play (based on playbour proposed by Julian Kücklich).
6
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Building players’ engagement – a case study of games with a purpose in science

63%
Łupkowski P., Dziedzic D.
Homo Ludens
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2016
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issue 1(9)
127-145
EN
The aim of this paper is to present and discuss interesting and inspiring game-design techniques employed in selected games with a purpose. We are interested here in a particular domain of these games’ application – namely science. We consider how particular techniques (like implementing Free2Play mechanics) might influence players’ engagement.
PL
Celem niniejszej pracy jest przedstawienie oraz omówienie interesujących technik projektowania gier, które wykorzystane zostały w grach skierowanych na cel. Omawiane przez nas produkcje zostaną ograniczone do tych używanych w badaniach naukowych. Szczególnie ciekawą kwestię stanowi dla nas wpływ poszczególnych technik (np. implementacji mechanik modelu Free2Play) na zaangażowanie graczy.
7
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Niechcący zrobiłam "Dark Souls" – gry wideo w instytucjach kultury z perspektywy twórcy i groznawcy

51%
Bakun M.
Replay. The Polish Journal of Game Studies
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2017
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vol. 4
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issue 1
7-18
EN
Innovative technological solutions are becoming more and more popular in cultural institutions. Among such novelties as interactive exhibitions, specially designed applications, virtual tours, and augmented reality there is also a place for video games. This results in the emergence of new groups of game users, which leads to questions about the methods of designing this type of games. Based on her own experience and an analysis of the video game market, the author presents a strategy for designing video games that might be used in promoting cultural institutions. The important point in the analysis is designing engaging games for players usually uninterested in this medium. Elements taken into account include the use of commonly available design rules in the context of the discussed type of games, platform selection, choice of aesthetics, designing of mechanics, and testing.
PL
Innowacyjne rozwiązania technologiczne cieszą się coraz większą popularnością w instytucjach kultury. Oprócz interaktywnych wystaw, specjalnie zaprojektowanych aplikacji, wirtualnych spacerów i rozszerzonej rzeczywistości wykorzystywane są także gry wideo. Skutkuje to wytworzeniem się nowych grup odbiorców gier, co skłania do zadawania pytań na temat metod projektowania produkcji tego typu. Autorka na podstawie własnych doświadczeń oraz analizy badań rynku gier wideo przedstawia propozycję strategii projektowania gier wideo na potrzeby promocji instytucji kultury. Analizie zostają poddane kwestie projektowania angażujących gier dla odbiorców zazwyczaj niezainteresowanych tym medium. Uwzględniane są takie elementy jak zastosowanie powszechnie dostępnych reguł projektowania w kontekście omawianego rodzaju gier, wybór platformy, dobór estetyki, projektowanie mechaniki i przeprowadzanie testów.
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