Drawing from narratology and design studies, this article makes use of the notions of the ‘implied designer’ and ‘ludic unreliability’ to understand deceptive game design as a specific sub-set of transgressive game design. More specifically, in this text we present deceptive game design as the deliberate attempt to misguide players’ inferences about the designers’ intentions. Furthermore, we argue that deceptive design should not merely be taken as a set of design choices (...) aimed at misleading players in their efforts to understand the game, but also as decisions devised to give rise to experiential and emotional effects that are in the interest of players. Finally, we propose to introduce a distinction between two varieties of deceptive design approaches based on whether they operate in an overt or a covert fashion in relation to player experience. Our analysis casts light on expressive possibilities that are not customarily part of the dominant paradigm of user-centered design, and can inform game designers in their pursuit of wider and more nuanced creative aspirations. (shrink)

The increasing body of knowledge in fields like animal ethology, biology, and technology has not necessarily led to the improvement of animal welfare. On the contrary, it has enabled humans to exploit animals more functionally and on increasing scales of magnitude. Building on approaches that stem from posthumanism and critical animal studies, we argue that instead of aiming for more general production of scientific knowledge, what is needed to counter exploitation and oppression is an increased sensitivity towards animals that arises (...) from local, partial, and ‘situated knowledges’. In the first part of this paper we articulate an argument that proposes how such knowledges can arise from the practice of game design as a form of ‘doing multispecies philosophy’. The second part of this work expands this notion with an understanding of design as a practice of configuring and prefiguring situations in which we can enter in a relationship of response and attention with other ‘selves’, in other words, with entities that are alive. To explore the practical consequences of this framework, in the third part of this paper we discuss a game design project that involves some unexpected designerly negotiations with a colony of black ants. We conclude that our wider perspective concerning notions of knowledge, design, and selves could elicit changes in our empathy towards other beings and help us develop new ideas and knowledges that favour less anthropocentric futures. (shrink)

Contra the capture of the radical impulse by the homogenizing marketing label ‘hopepunk’, this panel conceives of punk instead as ‘the lived politics of the negative’ (Muñoz, 2013). From this position, tabletop game play and design become potent refusals of the co-opting forces of the Global North, and concrete means for imagining and indeed realizing an outside and an afterward to the present crises shaping the conditions of our planetary existence. This panel mounts a challenge to colonial capitalist (...) hegemony through the words and practices of four tabletop game designers, blending craft, theory, and experience to articulate a pluralistic and ethical vision of a punk at home and flourishing in the ruins of this crumbling world. (shrink)

This study examines the interplay between choice blindness and moral decision-making through the design and implementation of a decision-driven adventure game called Lost Civilization. Choice blindness, a phenomenon where individuals fail to detect changes in their decisions, was investigated within a controlled narrative environment featuring moral dilemmas in total, 56 participants (24 female, ages 18–35) engaged with the game, which subtly manipulated one of their moral decisions. The findings reveal that the majority (37) of participants did not (...) detect the manipulation, underscoring the potential of games as tools for studying moral cognition and agency. Logistic regression analysis and machine learning models demonstrated significant correlations between undetected manipulations and participants’ gender as well as specific moral foundation scores based on Jonathan Haidt’s and Oliver Scott Curry’s dictionaries, suggesting deeper psychological underpinnings of decision-making processes. This research highlights the utility of video games in expanding the scope of choice blindness studies and advancing our understanding of ethical agency in interactive contexts. (shrink)

The emergence of the need for orientation since the past times led the universities to invent innovative ways to prepare their students for the activities and courses they will face. Hence, various types of orientation have been provided during history. However, today with the outbreak of the Covid-19 and the closure of the schools, most of the students are continuing their studies as distance learning. While this situation is very disappointing for all freshmen students who do not know the university's (...) atmosphere, it is extremely disruptive, specifically for the design ones, which are passing tactile courses, demanding being held face to face. This ascertains the research's problem as a need for an interactive solution for the issue to lessen the consequent problems. Game-based orientation (GBO) is a tool, engaging the freshmen students as players with the provided data in it, which are the essentials for a novel student to know before entering the university. It allows the student to be dealt with the school services, Istanbul Technical University in this case, and use them in terms of the game's tasks. The scoring system, the ultimate certificate, the leaderboard leading them to prizes, and the game's non-linearity will attract the students to use GBO frequently to finish it and experience all the possible scenarios. (shrink)

Historically the focus of moral decision-making in games has been narrow, mostly confined to challenges of moral judgement (deciding right and wrong). In this paper, we look to moral psychology to get a broader view of the skills involved in ethical behaviour and how they may be employed in games. Following the Four Component Model of Rest and colleagues, we identify four “lenses” – perspectives for considering moral gameplay in terms of focus, sensitivity, judgement and action – and describe the (...) design problems raised by each. To conclude, we analyse two recent games, The Walking Dead and Papers, Please, and show how the lenses give us insight into important design differences between them. (shrink)

This paper proposes game design methodology as a working formalism for specifying experiential patterns. Building on Experiential Empiricism's recognition that experience is foundational and each moment is complete (the Card Universe model), we observe that game designers routinely solve what philosophy treats as intractable: creating reproducible experiential states through modular mechanics. This suggests game development's component-based architecture might function as formal language for consciousness research. We present the IMFAST dimensional system (Identity, Mentality, Focus, Affect, Sensory, Temporal) (...) as a proposed coordinate framework for specifying experiential moments, explore three abstraction layers for implementation, and outline validation methodology through player recognition. The framework treats games as experiential pattern generators and mods as discrete phenomenological specifications, enabling empirical testing of phenomenological hypotheses. This approach offers synthesis between computational modeling and consciousness research by recognizing both as methods for manipulating experiential patterns. (shrink)

Historically the focus of moral decision-making in games has been narrow, mostly confined to challenges of moral judgement (deciding right and wrong). In this paper, we look to moral psychology to get a broader view of the skills involved in ethical behaviour and how these skills can be employed in games. Following the Four Component Model of Rest and colleagues, we identify four “lenses” – perspectives for considering moral gameplay in terms of focus, sensitivity, judgement and action – and describe (...) the design problems raised by each. To conclude, we analyse two recent games, The Walking Dead and Papers, Please, and show how the lenses give us insight into important design differences between these games. (shrink)

As artefacts, the worlds of digital games are designed and developed to fulfil certain expressive, functional, and experiential objectives. During play, players infer these purposes and aspirations from various aspects of their engagement with the gameworld. Influenced by their sociocultural backgrounds, sensitivities, gameplay preferences, and familiarity with game conventions, players construct a subjective interpretation of the intentions with which they believe the digital game in question was created. By analogy with the narratological notion of the implied author, we (...) call the figure to which players ascribe these intentions ‘the implied designer’. In this article, we introduce the notion of the implied designer and present an initial account of how appreciators ascribe meaning to interactive, fictional gameworlds and act within them based on what they perceive to be the designer’s intentions. (shrink)

Games occupy a unique and valuable place in our lives. Game designers do not simply create worlds; they design temporary selves. Game designers set what our motivations are in the game and what our abilities will be. Thus: games are the art form of agency. By working in the artistic medium of agency, games can offer a distinctive aesthetic value. They support aesthetic experiences of deciding and doing. -/- And the fact that we play games shows (...) something remarkable about us. Our agency is more fluid than we might have thought. In playing a game, we take on temporary ends; we submerge ourselves temporarily in an alternate agency. Games turn out to be a vessel for communicating different modes of agency, for writing them down and storing them. Games create an archive of agencies. And playing games is how we familiarize ourselves with different modes of agency, which helps us develop our capacity to fluidly change our own style of agency. (shrink)

Games may seem like a waste of time, where we struggle under artificial rules for arbitrary goals. The author suggests that the rules and goals of games are not arbitrary at all. They are a way of specifying particular modes of agency. This is what make games a distinctive art form. Game designers designate goals and abilities for the player; they shape the agential skeleton which the player will inhabit during the game. Game designers work in the (...) medium of agency. Game-playing, then, illuminates a distinctive human capacity. We can take on ends temporarily for the sake of the experience of pursuing them. Game play shows that our agency is significantly more modular and more fluid than we might have thought. It also demonstrates our capacity to take on an inverted motivational structure. Sometimes we can take on an end for the sake of the activity of pursuing that end. (shrink)

Philosophical games are games designed to invite players to think philosophically within (and about) their gameworlds. They are interactive fictions allowing players to engage with philosophical themes in ways that often set them apart from non-interactive kinds of speculative fictions (such as philosophical novels or thought experiments). To better understand philosophical games, this entry proposes to distinguish two primary ways in which a philosophical game can approach its themes: dialectically or rhetorically.

Designing a virtual environment within a digital game occupies a large part of the design procedure, requiring holistic attention and a broad arrangement of the game constituents. Considering other design disciplines, they occupy a unified design methodology; however, a comprehensive literature review reveals the lack of the intended design methodology in the digital game domain's virtual environment development, despite a currently proposed theoretical methodology trying to dissolve the issue. Hence, this research aims to (...) determine the industry's requirements and provide a set of assets included in current digital games as an initial step of providing such a design methodology for the domain. In this regard, the researchers reverse-engineered ten selected digital games, understanding the current condition of digital games via adopting the mentioned currently available design methodology. This dataset reveals a lack in the assets of the story layer in the recent digital games, despite their focus on being story-based. This dilemma leads to long text or speech conversations between game characters, disrupting the players while following the game. The current design focuses on environmental resources only, however, as a virtual landscape, the story needs to be reinforced to be a balanced and well-designed game. Hence, increasing the ratio of the assets in this layer will advance the games' interactivity. Also, as future work, this data set could pave the way for a digital game industry design tool regarding the virtual environment. (shrink)

Virtual reality (VR) offers a new medium for video games. But how does VR as a medium affect the aesthetics and design of VR video games? In this chapter my aim is to answer this question. I begin by introducing video games as an art form, then highlight two types of pitfalls that a game’s design can fall prey to. A game can be too permissive, or too restrictive, when structuring the player’s agential role given its (...) aesthetic aims. I argue that VR makes falling into either extreme easier because of the sense of presence VR elicits. After defining the sense of presence, I present a conceptual framework for designing virtual items, then apply this to the sense of presence. I argue that the resultant framework allows us to see how VR exacerbates the two pitfalls, and can help mitigate the difficulties of VR game design. (shrink)

This paper examines the UK Civil Service’s participatory experiments at the London Design Biennale, framing them not as democratic innovation but as fiduciary–epistemic breaches. Drawing on fiduciary law, deliberative democracy, and epistemic injustice theory, it shows how the workshops—presented as ‘serious games’—functioned as scripted performances of openness, distributing recognition selectively while silencing dissent. I develop the concept of Fairness Duties in Participatory Design, a normative framework grounded in fiduciary law and public law principles of reason-giving, transparency, and proportionality. (...) The analysis demonstrates that without such duties, participatory governance risks devolving into epistemic clientelism and democratic spectacle. DOI: 10.13140/RG.2.2.36704.34568. (shrink)

According to cognitive psychologists, moral decision-making is a dual-process phenomenon involving two types of cognitive processes: explicit reasoning and implicit intuition. Moral development involves training and integrating both types of cognitive processes through a mix of instruction, practice, and reflection. Serious games are an ideal platform for this kind of moral training, as they provide safe spaces for exploring difficult moral problems and practicing the skills necessary to resolve them. In this article, we present Morality Play, a model for the (...) design of serious games for ethical expertise development based on the Integrative Ethical Education framework from moral psychology and the Lens of the Toy model for serious game design. (shrink)

Virtual reality (VR) offers a new medium for video games. But how does VR as a medium affect the aesthetics and design of VR video games? In this chapter my aim is to answer this question. I begin by introducing video games as an art form, then highlight two types of pitfalls that a game’s design can fall prey to. A game can be too permissive, or too restrictive, when structuring the player’s agential role given its (...) aesthetic aims. I argue that VR makes falling into either extreme easier because of the sense of presence VR elicits. After defining the sense of presence, I present a conceptual framework for designing virtual items, then apply this to the sense of presence. I argue that the resultant framework allows us to see how VR exacerbates the two pitfalls, and can help mitigate the difficulties of VR game design. (shrink)

In developer FromSoftware’s acclaimed Dark Souls trilogy (2011, 2014, 2016), the concept of “hollowing” occupies a central position in the broader thematic landscape of the games. Concerned with the fates of cursed undead in worlds on the brink of collapse, the Dark Souls games present hollowing—a violent, withering insanity—as the doom of all undead who fail to endure their brutal conditions. More than a mere fantasy trope, however, hollowing functions in each game as both a narrative and a mechanical (...) instrument, mobilizing the player-character to participate in the precisely designed ludonarrative circuits that the developers have devised. This study contends that it is this particular gameplay structure that reinforces an evolving theorization on FromSoftware’s part (if tacit) as to what constitutes human being. (shrink)

Games are a distinctive form of art — and very different from many traditional arts. Games work in the medium of agency. Game designers don’t just tell stories or create environments. They tell us what our abilities will be in the game. They set our motivations, by setting the scoring system and specifying the win-conditions. Game de-signers sculpt temporary agencies for us to occupy. And when we play games, we adopt these designed agencies, submerging ourselves in them, (...) and taking on their specified ends for a while. Games constitute a library of agencies — and by exploring them, we can learn new ways to inhabit our own agency. When we play games, we engage in a special form of agential fluidity. We can absorb ourselves temporarily in alternate, constructed agencies. Games make use of that capacity to record different practical mindsets. Games turn out to be our technology for communicating forms of agency. (shrink)

Serious games with their educational or skill development purposes besides entertainment, have been used in various fields such as architecture, landscape architecture, urban planning, cultural heritage, and learning of language and culture, easing the data absorption process of the specific topic for the user. The use of serious games in the cultural heritage or cultural landscape, as a subtopic, can have a role in its preservation in addition to the information transition ability. Yedikule Bostans is a serious game designed (...) for cultural heritage, its importance, and maintenance ways. The case study of this article is the İstanbul’s market gardens, existing plenty of them in İstanbul, which have remained since ancient times surviving despite the difficulties of urbanization. This research is focusing on the Yedikule Bostanları with their 1500-year history which are associated with the Theodosian Walls, registered in the list of historic areas of İstanbul in UNESCO. The serious game presented in this research with its immersive text-based time-traveling theme about these gardens aims to attract the public's attention to their perishing danger. Thanks to the abilities of the Twine software used in the game's development, we provide a charming journey to the users throughout the game to increase their awareness of the inherited farming culture and more comprehensively the cultural heritage and cultural landscape, meanwhile. (shrink)

Increase in popularity of games like "Second Life" has contributed not only to significant changes in the development of the electronic entertainment industry. Promoting Games 2.0, the new trend of video game production that are assumed to be the virtual worlds that contain user-generated content makes both measured with a specific technological innovation, as well as a serious change in the organization of socio-cultural heritage. The article presents problems of the existing difficulties of terminology, the implications of the availability (...) of Games 2.0 for social life, the concept of leisure as work in the new economy and creative non-material and the characteristics of "Generation C". Work stresses the need for discussion on trends in the development of video games - defined as a choice between the projects’ of "socio-cultural ideology of perpetual motion" and "utopia of universal creativity". These approaches allow to identify the methodological basis for analysis of relations between the operators and users of Games 2.0, taking into account the wider social environment. ** Wzrost popularności gier typu „Second Life” przyczynił siȩ nie tylko do znacznych przemian w rozwoju branży rozrywki elektronicznej. Upowszechnianie Games 2.0, nowego nurtu produkcji gier wideo które z założenia maj¸a} stanowić wirtualne światy zawieraj¸a}ce treści tworzone przez użytkowników sprawia, że mierzymy siȩ zarówno z określon¸a} innowacj¸a} technologiczn¸a}, jak też z poważn¸a} zmian¸a} organizacji życia społeczno-kulturowego. Artykuł przedstawia problematykȩ istniej¸acych trudności terminologicznych, konsekwencje dostȩpności Games 2.0 dla życia społecznego, pojȩcie rozrywki jako pracy w nowej gospodarce niematerialnej i twórczej oraz charakterystykȩ „generacji C”. Praca podkreśla potrzebȩ dyskusji nad kierunkami rozwoju gier wideo - określanymi jako wybór miȩdzy projektami „ideologii społeczno-kulturowego perpetuum mobile” i „utopii powszechnej twórczości”. Podejścia te pozwalaj¸a na wskazanie podstaw metodologicznych do prowadzenia analiz relacji miȩdzy operatorami, a użytkownikami Games 2.0 przy uwzglȩdnieniu szerszego otoczenia społecznego. (shrink)

Throughout history, education has always been essential for humanity's justice and fundamental for the creation of a free and satisfying society with the dissemination of knowledge. Hence, in addition to the life occurrences educating people, traditional higher education methods have played an important role for a long period. However, the age of technology has changed the educational system along with the people's lifestyles to meet the continuously changing conditions. During the past twenty years, the Information and Communication Technologies (ICTs) led (...) to the emergence of e-learning non-traditional educational methods bringing about an innovative dimension of virtual learning. With its beneficial features provided by the Internet and various technologies, this method passes the control of time and location from the tutors to the students during the learning process. Despite the entrance of online education into the students' life many years ago, the Covid-19 outbreak initiated in 2020 turned this method into the only possible way of education for almost two years. Afterward, plenty of studies investigated its effects on students' social and academic life, mostly considering its negative impacts on their mental health and motivation due to interaction issues. They also pointed out the specific problems of tactile learner students in the lack of face-to-face design courses. As an innovative solution able to be adopted, game technologies, increasing immersion of the learner in a real-world skill, and triggering motivation are one of the best methods integrated into educational systems. Known as serious games, these games, adopted by almost any domain, convey educational content along with entertainment, increasing interaction. They train or enhance a certain skill or topic to the player by immersing them. While serious games are more expanded nowadays, they are still not being played by the mass public due to people's immersiveness expectations of a game. Hence, the Head-Mounted Displays (HMDs), with their emergence, increased the players' engagement and immersion with all types of virtual environments in digital games. This technology, however, evolved serious games area most, among others, by enabling the opportunity to provide a riskless and low-cost learning environment for real-world skills. In the process of suggesting serious games as a replacement for the traditional educational methods, the most important factor is being aware of their effectiveness for education. Generally, digital games, one of the world's biggest and fastest-growing industries, rely heavily on the virtual landscape, a major part of its development process. Its design demands remarkable effort, and it directly affects the whole game's characteristics. Hence, serious games, as a type of digital game, carry the same attributes. With the appearance of virtual reality technology, gaming started to gain more immersiveness and engagement with artificial elements and environments. Although virtual landscapes were always being developed since the emergence of digital games, the studies taking virtual landscapes into account are mostly using them as a tool for enhancing real spaces, not as a domain for the sake of its development. While other design domains are applying various design methodologies, it is challenging to find a standard design methodology for the design and production of virtual landscapes in the gaming industry, leading to inconsistent and low-quality results. Hence, it comes to the question of what is the virtual landscapes' role in serious games and their effect on the data comprehension rate. Since the literature lacks regarding the gradual change of the virtual landscape in serious games and the content they transmit, this thesis aims to figure out the gradual chronological evolution of the virtual landscapes in serious games. It also aims to seek how this change and the virtual reality technology invention have affected the contents transmitted by digital games and its influence on the player interaction and learning rate. To do so, in the process of this thesis, we developed, tested, and evaluated various serious games, both text-based and with 360° photos. The steps taken revealed the reluctance of the players to follow the providing educational content and their inadequacy of interaction. Hence, the thesis seeks the reasons ending to this result and the ways of increasing this learning rate. Afterward, the thesis uses a currently available but not massively used digital game classification methodology. This methodology, which is based on the principles of architecture, landscape architecture, and urban planning, classifies the games based on their constituting virtual landscapes. Hence, the thesis considers all Steam games, one of the biggest video game digital distribution services, filtered with the 'education' tag, ending in 2531 digital games. Afterward, adding the 'game' tag the result reduced to 1102 games. Finally, with some manual filterings ignoring the irrelevant content, the final number decreased to 702. Sorting chronologically, we made an Excel database including the games' introductory information, the content they transmit, their release date, if they support HMD or not, and whether they are simulation games or not. Due to Steam's dating spectrum, our database includes games dating back from 1992 to 2020. Afterward, we classified all of these games using the virtual landscape classification methodology and generated their related codes based on their player scale, story, dimension, space shape, and interaction level. Investigating the results, they revealed some growth patterns relating to the content educated in the game, the VR technology, and the virtual landscape evolution. Adding the user reviews of Steam, we reverse engineered five of the best serious games on the database due to the digital game design methodology. This methodology divides the games' virtual environment into five layers, namely, player activity map (PAM), story layer, natural environment layer, virtual environment layer, and media layer. Reverse engineering the five best digital games ever, based on the IGN database, enabled us to compare the outcomes. Due to released data, we understand how the games' assets are distributed within the various layers of the virtual environment in the most successful games. Finally, the thesis aims to provide a framework based on these results for developing serious games to increase player interaction and enhance the learning rate. However, these results can be expanded to any virtual landscape other than only serious games' for their interaction enhancement. Currently, the landscape architecture domain only adopts the virtual landscape area as a tool for enhancing design in the real world. However, in the near future, landscape architects will perform in the virtual landscape area as a domain to be enhanced. Hence, that day, the results of this study will play an important role and will be a roadmap for generating highly interactive virtual landscapes. (shrink)

We propose a formal framework for interpretable machine learning. Combining elements from statistical learning, causal interventionism, and decision theory, we design an idealised explanation game in which players collaborate to find the best explanation for a given algorithmic prediction. Through an iterative procedure of questions and answers, the players establish a three-dimensional Pareto frontier that describes the optimal trade-offs between explanatory accuracy, simplicity, and relevance. Multiple rounds are played at different levels of abstraction, allowing the players to explore (...) overlapping causal patterns of variable granularity and scope. We characterise the conditions under which such a game is almost surely guaranteed to converge on a optimal explanation surface in polynomial time, and highlight obstacles that will tend to prevent the players from advancing beyond certain explanatory thresholds. The game serves a descriptive and a normative function, establishing a conceptual space in which to analyse and compare existing proposals, as well as design new and improved solutions. (shrink)

In the ever-evolving landscape of video game development, mythology serves as a rich source of inspiration, providing developers with a wellspring of narratives, characters, and themes that resonate with players. This article, "Gaming the Gods: How Mythology Inspires Game Development," explores the intricate relationship between ancient myths and contemporary gaming. By examining various titles that draw upon mythological elements—from the pantheons of Greek and Norse mythology to the folklore of diverse cultures—we uncover how these stories enhance gameplay, deepen (...) character development, and create immersive worlds. The article also discusses the challenges and responsibilities developers face when adapting these age-old tales, including cultural sensitivity and authenticity. Through case studies of popular games, we illustrate how mythology not only enriches storytelling but also fosters a deeper connection between players and the narratives they engage with. Ultimately, this exploration highlights the enduring power of myth in shaping the future of interactive entertainment, inviting both players and creators to embark on epic journeys through the realms of legend and lore. (shrink)

Persons with aphasia suffer from a loss of communication ability as a consequence of a brain injury. A small strand of research indicates effec- tiveness of dialogic interventions for communication development for persons with aphasia, but a vast amount of research studies shows its effectiveness for other target groups. In this paper, we describe the main parts of the hitherto technological development of an application named Dialogica that is (i) aimed at facilitating increased communicative participation in dialogic settings for persons (...) with aphasia and other communication disorders, (ii) based on comput- er game technology as well as on theory in dialogic education and argumenta- tion theory, and (iii) designed for mobile devices with larger screens. (shrink)

This paper bridges phenomenological theory with practical game design by examining how players of ASCII Roguelikes develop unconscious mastery through mental simulation—a process with implications for interface design, player onboarding, and cognitive load management in games. While the framework is philosophical, its applications extend to empirical player experience research, particularly in understanding how minimalistic or abstract interfaces can leverage embodied learning. Employing a postphenomenological framework, I take ‘Roguelike’ video games, which use ASCII graphics, as a case study (...) for examining ‘mental simulation’, which is described in neuroscience as an automatic, unconscious process by which the mind readies us for performing tasks that we have learned from previous experience. The experience of playing ASCII Roguelikes is analyzed phenomenologically using the concepts of ‘intentionality’ and Heidegger’s ‘ready-to-hand’, and through this analysis the connection of these concepts to mental simulation is explored. I argue that the development of the capacity for mental simulation runs concurrently with the different stages of intentional disclosure and the development of what Heidegger calls ‘readiness-to-hand’, in which our intentional relationship and level of conscious engagement with an object changes as we become more familiar with it. (shrink)

In this paper we will analyze the concept of incoherency that has been put forward by Jesper Juul in Half-Real (2005). Juul provides a paradigmatic example of an incoherency in the game Donkey Kong. The main character of the narrative, Mario, can die and subsequently reappear at the beginning of the level. However, when pressed to describe the narrative of the game, most players would not say that Mario ever died. The respawn is attributed to the game (...) rules instead. Juul calls this phenomenon an incoherency of the game’s fictional world. We claim that the precise nature of the concept of incoherency is unclear, and that Juul's connection between incoherency and contradictions is incorrect. Furthermore, we argue that Wesp incorrectly identifies the concept with 'incompleteness' in his response to Juul (Wesp, 2014). Our clarification argues that what is noteworthy in 'incoherency' is not some aspect of the fictional world, like it being contradictory or incomplete, but how the player interprets the fiction. Subsequently, we provide an explanation for what underlies an incoherency by adopting the principle of charity (Davidson 1973). Lastly we discuss how a proper understanding of incoherency can help game designers and how it relates to ludonarrative dissonance (Hocking, 2009). (shrink)

This study developed, validated, and implemented culturally contextualized physics learning activities integrating traditional Filipino games (Laro-ng-Lahi) as instructional tools to enhance students’ conceptual understanding in physics. Using a three-phase process—development, validation, and implementation—the researchers designed five game-based activities aligned with the Department of Education’s Most Essential Learning Competencies (MELCs). They evaluated them using the Learning Resources Management and Development System (LRMDS) standards. A panel of subject matter experts rated the materials highly in terms of content quality, format, organization, and (...) accuracy, while student feedback highlighted their clarity, engagement, and relevance. Employing an embedded mixed-methods, one-group pretest–posttest design, the study found statistically significant gains in conceptual understanding, with student performance improving from “Low Mastery” to “Near Full Mastery.” These results suggest that Laro-ng-Lahi-based physics games offer a viable, culturally responsive approach to physics instruction. Future research may explore their application across other science topics and educational levels, particularly in junior high school settings. (shrink)

We created Justice: The Game, an educational, role-immersion game designed to be used in philosophy courses. We seek to describe Justice in sufficent detail so that it is understandable to readers not already familiar with role-immersion pedagogy. We hope some instructors will be sufficiently interested in using the game. In addition to describing the game we also evaluate it, thereby highlighting the pedagogical potential of role-immersion games designed to teach political philosophy. We analyze the game (...) by drawing on our observations as designers and playtesters of Justice, along with feedback from students obtained in focus-groups conducted shortly after playtesting ended. We present evidence that Justice, compared to conventional instructional methods alone, plausibly enhances student learning of philosophical skills and content by requiring them to practice those skills and put their content-area knowledge to use in a highly-motivating and engaging context. (shrink)

The evolution of artificial intelligence (AI) has led to groundbreaking advancements in the realm of video games and interactive experiences. This paper explores how AI is being utilized to generate dynamic, adaptive, and immersive game worlds that evolve based on player interactions. From procedural content generation to the development of AI-driven narratives and characters, AI is reshaping the way games are created and experienced. This study investigates the methodologies behind AI integration, reviews the state of current research, and explores (...) the potential future developments in this exciting intersection of technology and entertainment. (shrink)

This study evaluated the effectiveness of four game-based activities (GBAs) in teaching ecosystems to Grade 7 Biology students. Involving 69 students (34 control, 35 experimental), the quasi-experimental study used a mixed-methods approach. The researcher utilized a static-group comparison design for the quantitative phase and a thematic analysis for the qualitative phase. Quantitative analysis revealed significant improvements in the experimental group's social skills (p<0.05; Cohen’s d = 0.63) and conceptual understanding (p<0.05; Cohen’s d = 0.86). Descriptive statistical analysis also (...) suggests that GBAs can foster positive attitudes toward using GBAs and learning. Qualitative data from journal entries and teacher-observer interviews highlighted enhanced communication, collaboration, confidence, and participation among students using GBAs. The study also recognized the interconnection between conceptual understanding, social skills, and attitude toward learning, not just as pedagogical tools but also as practical tools in improving students’ affective domain, creating a safe environment beneficial for the learning process in general. (shrink)

The pandemic brought new norms and techniques of pedagogical strategies in formal education. The synchronous/ asynchronous video streaming brought an emphasis on virtual and augmented realities, which are rapidly replacing textbooks as the main medium for learning and teaching. This transformation requires more extensive online and interactive content with simpler user interfaces. The aim of this study is to report on the design, implementation, and testing of a game based on low-cost and user-friendly content for digital cultural heritage. (...) In this project, a game aimed at inclusive and equitable education was developed using 360° images of the targeted architectural heritage geographically distributed in a pilot site. We promote lifelong learning opportunities for all, following the SDG4, aiming for quality education with the easy-to-use online platform and easy access to immersive education through mobile platforms. Towards a post-carbon future without the need for travel, computational design methods such as using 360° videos and images in combination with virtual reality (VR) headsets allow a low-cost approach to remotely experiencing cultural heritage. We propose developing and testing a GIS-based educational game using a low-cost 360° virtual tour of architectural heritage, more specifically, caravanserais of Anatolia. (shrink)

In a manner analogous to Newton's three laws of motion, this study employs the axiomatic method in its theoretical construction. To address the paradigmatic crisis in contemporary ethics stemming from the "absence of axioms," this paper proposes "Eudaimonist Ethics," which takes "eudaimonia" (human flourishing) as its foundational axiom. The theory first establishes a "Stratified Theory of Eudaimonia" as the psychological basis for behavioral motivation and then rigorously deduces three fundamental principles capable of serving as ethical axioms, namely: 1) Pursue one's (...) own eudaimonia (the factual starting point); 2) Do not infringe upon the eudaimonia of others (the interactive norm); and 3) Jointly construct an environment conducive to eudaimonia (active sublimation). -/- This paradigm systematically derives core normative concepts such as liberty, good and evil, morality, and law, and further reconstructs fundamental political philosophy notions including government, the state, power, and legitimacy—thereby forming a "logically self-consistent, interdisciplinary new paradigm." Research demonstrates that this paradigm not only resolves with internal coherence the classical dilemmas faced by utilitarianism, deontology, and virtue ethics but also, through its formalization as a "Eudaimonic Game" model (incorporating parameters such as the moral sentiment parameter `f`, the social deterrence parameter `w`, and the cooperation dividend parameter `e`), rigorously proves how morally cooperative behavior can emerge as a stable equilibrium within an expanded framework of rational choice. -/- Ultimately, the paradigm contends that the "Three Principles of Eudaimonia" constitute an "operational system of ethical consistency spanning from personal norms to global governance," furnishing a unified normative foundation for individual decision-making, historical diagnosis, institutional design, educational reform, and civilizational evolution. This signifies a paradigm shift in ethics, moving from static rule compliance to dynamic order design, while simultaneously elevating the role of the moral agent from an 'optimal solution player' under given rules to a "co-architect of the future order." . (shrink)

Nguyen offers a number of profound insights about the nature and value of games. Games are works of art, according to Nguyen, because they offer players aesthetic experiences. Game designers aim to...

With the increasing population growth of human beings, the world is being threatened by the water scarcity problem, causing insecurity in water accessibility. Therefore, a deliberated water management gains fatal importance. In addition, the awareness of the issue through education, specifically in the early ages, plays a crucial role in this path. This research considers the water issue of Istanbul in its content. However, regarding the target audience, which is the kids, it uses a novel approach to tackle the problem. (...) The paper proposes a visually enriched and nonlinear, serious game for the children to teach them about the importance of water and its impact on the planet, specific to Istanbul. The game is inspired by National Geographic Turkey's documentary named 25 Liters: In Pursuit of Water, asking the players to survive in a drought situation in the future. It aims to change the kid's lifestyle to revive the country's in-danger future. (shrink)

Today’s everyone normal life can include a normal rate of playing computer games or video games; but what about an excessive or compulsive use of video games that impact on our life? Our kids, who usually spend a lot of time in playing video games will likely have a trouble in paying attention to their school lessons. In this paper, we introduce an expert system to help users in getting the correct diagnosis of the health problem of video game (...) addictions that range from (Musculoskeletal issues, Vision problems and Obesity). Moreover, this expert system provides information about the problem and tell us how we can solve it. SL5 Object expert system language was used to design and implement the expert system. (shrink)

Discourse shapes the way we see the world. In game design and game studies, discourse also shapes the games we make, the games we play, and how we think about games in general. One key discursive construction in contemporary game culture is to portray some games as ‘real’ or ‘authentic,’ rendering others as fake or lesser. In this essay we analyze the discourse of real games by focusing on four key discursive constructions that prop up notions (...) of real games: developer pedigree, game mechanics, the celebration of depth and complexity, and the payment structure for games. Using the framework of constitutive rhetoric we argue that these appeals also construct a category of real gamers that has a substantial impact on what games are available and how we think about them. (shrink)

The incredibly popular Souls games developed by FromSoftware (and their imitators, colloquially referred to as Souls-like games) have followed a fascinating design trajectory since the release of the first game in the franchise, Demon’s Souls, in 2009. In many fantasy roleplaying games, the in-game capacity of the player-character is signified by a ‘level,’ which is typically increased through the acquisition of experience (‘xp’) during gameplay. The more the player plays, the more experience she gains, which increases the (...) player’s level, and thus makes her more powerful in the game-world. This is a common logic of progression, but in such a system the particularities of different play styles, abilities, and tactics are subsumed under an abstract metric of power, hiding the nuances of actual play from view. The Souls games, however, have steadily innovated upon this logic, changing how we play them and so requiring us in turn to think about the ways we navigate game-worlds—and perhaps even our own, by extension. This paper argues that this design trajectory can be schematized as a movement from power to skill, a shifting of player agency from an abstract or ideal domain to a concrete and material one. (shrink)

Classical and evolutionary game theory, rooted in utility maximization and static equilibrium logic, collapse under the demands of recursive intelligence, multi-agent feedback, and dynamic coherence. This paper introduces Recursive Coherence Game Theory (RCGT)—a first-principles reformation of strategic logic where the core invariant is not payoff, but coherence: the persistent self-organization of agents across time, scale, and semantic layer. Grounded in Recursive Choice Theory, Layered Intelligence, and Coherence Ethics, RCGT models strategy as the modulation of coherence gradients rather than (...) the pursuit of discrete rewards. It introduces Adaptive Coherence Equilibria—dynamic attractor states where agents align recursive stability rather than static dominance—and frames multi-agent interaction as the co-evolution of coherence fields. This paradigm resolves foundational paradoxes in classical game theory, including the Frame Problem, bounded rationality, and the Symbol Grounding Problem, while enabling ethically grounded and empirically testable architectures for intelligent systems. Simulations demonstrate that coherence-driven agents outperform utility-maximizing counterparts in resilience, adaptability, and emergent alignment. The implications extend across AI, governance, and civilization design, proposing a post-utility strategic logic for systems that must persist through entropy, uncertainty, and recursive evolution. RCGT offers not just a new kind of game theory—it offers a map of reality’s own intelligence: recursive, adaptive, and coherence-first. (shrink)

This study investigates the factors contributing to perceived difficulty in video games, integrating user scores, cognitive requirements, novelty, and structural complexity. Using a dataset of 100 video games across multiple genres, we performed logistic regression analyses to identify the relative contributions of various gameplay and cognitive factors to player-perceived difficulty. Our findings indicate that task complexity and cognitive load are primary predictors of perceived difficulty, whereas narrative novelty and kinetic demands exert secondary but meaningful influences. This framework provides a quantitative (...) approach for evaluating and predicting game difficulty in both design and research contexts. (shrink)

Board games have emerged as powerful pedagogical tools capable of enriching primary social studies education through their unique integration of cognitive challenge, social interaction, and participatory engagement. This article examines the theoretical foundations, empirical evidence, and practical applications associated with board-game-based learning, highlighting its potential to transform traditional instruction into dynamic, student-centered experiences. Drawing on constructivist, social constructivist, experiential learning, and game-based learning theories, the study proposes a conceptual framework consisting of three interrelated dimensions-cognitive, social-effective, and participatory. A (...) review of international research reveals that board games enhance learners’ motivation, conceptual understanding, strategic reasoning, and socio-emotional competencies, while also fostering civic dispositions such as cooperation, empathy, and responsible decision-making. Classroom applications demonstrate that both commercial and teacher-designed games can be effectively integrated into inquiry-based, cooperative, and interdisciplinary learning models when supported by structured reflection and intentional facilitation. However, challenges related to curriculum alignment, teacher readiness, classroom management, inclusivity, and assessment highlight the need for thoughtful implementation and professional support. Overall, the article argues that board games offer a promising avenue for cultivating active citizenship and deeper social understanding, positioning them as transformative tools for participatory learning in primary social studies classrooms. (shrink)

In academic philosophy, it is easy for students to lose track of how important questions in subfields are interrelated. Philosophy: The Game is an educational resource designed to remedy this by providing the opportunity to discuss ‘big questions’ while playing a card game. The question-answer pairs for the game are taken from the recent PhilPapers Survey[1], with some joker cards added to illustrate the impact that solutions to particular problems in the philosophy of mind might have on (...) philosophy at large. The card design via LaTex/Tikz uses material from the Stack Exchange user ‘Arvid’.[2] (Everyone is welcome to improve the game or come up with their own new version.) -- 'looks like fun!' (David Chalmers). (shrink)

Gamification can be a useful tool when engaging young students with science. When designing a new game, it is pivotal that a featured storytelling element can draw students' attention while providing an enjoyable experience. However, building such an insightful science dissemination narrative from scratch is often challenging. As real-life situations are frequently more appealing to students, adding alternative history elements can be helpful when designing such a game. In this paper, we present a novel educational framework to (...) class='Hi'>design an educational, science-based storytelling activity using the history of science and alternative hypothesis as ground tools for its inception. By analysing student's feedback when playing a science-based game with a historic episode outline, they report that their learning experience was fun and relatable, matching their scientific performance during the game. (shrink)

In this study, the design philosophies behind, along with motivational and academic outcomes of an immersive VR-assisted online special education curriculum are described. Difficulties associated with allocating special education resources in US public school settings form a rationale for the creation of the program. The possibility for a portable immersive learning approach to activate students’ individual and collaborative problem-solving abilities and grant students greater freedom and control in learning is considered. As a foundation to understand the power of immersive (...) learning, Gordon Pask’s Cybernetic Theater, and his broader ideas on responsive technology assemblages applied to the performing arts and architecture developed in collaboration with figures such as Joan Littlewood and Cedric Price are drawn from. The CadetNet special education curriculum, which relies on a design framework rooted in Pask’s work, utilizes an assemblage of videoconferencing, headset VR simulations, and academic games in varied sequences to give students ways to engage in content acquisition, collaboration, and expression through multimedia avenues. Teachers modulate instructional delivery and their use of this technology assemblage in real-time to meet the participants’ needs. Results from a three-week summer enrichment program conducted with six students diagnosed with neurodevelopmental learning differences (e.g., Autism Spectrum Disorder, Attention Deficit Hyperactivity Disorder, Specific Learning Disability and their comorbidities) are shared. Narrative inquiries of transcripts from mathematics and language arts lessons indicate how Pask’s design framework was applied to implement the curriculum, and that student activity ensuing during the program echoed both the hopes and concerns associated with Pask and his colleague, Joan Littlewood’s broader design philosophies. Student surveys and standardized test scores reveal a maintenance of pre-experimental academic prowess, and adaptive changes in their self-determined motivational profiles, which have been shown to be a strong correlate of student interest in extant literature. Results showcase how sociocognitive effects of CadetNet resonated with Pask’s proposed outcome of heightened audience interest central to the Cybernetic Theater. (shrink)

Abstract: The study aimed to identify the technological games and their relation to the level of student achievement. The data and information were collected through a questionnaire designed specifically for this purpose. The study population consisted of all teachers and teachers of the seventh grade stage. The sample consisted of (30) In the Gaza City, 30 questionnaires were retrieved at a 100% recovery rate and analyzed using the statistical analysis program. The researcher used the analytical descriptive approach to achieve the (...) research objectives. The results indicated that the responses of the basic elementary school teachers in Gaza city towards technological games The percentage of response to the total score was very high in terms of the percentage (76.67%). There were statistically significant differences at the α = 0.05 level between the responses of the tests on the impact of technological games on scholastic achievement. (shrink)

This paper introduces the contradiction trap: a dialectical and game-theoretic method for exposing concealed asymmetry in institutional and algorithmic reasoning. By forcing a system to reconcile mutually exclusive commitments, the trap converts inconsistency into evidence — a falsifiable signal of structural bias, motivated deviation, or narrative drift. -/- The framework models contradiction as an epistemic game with informational payoffs, providing a portable diagnostic for systems that claim impartiality but behave otherwise. It bridges philosophical logic, applied audit design, (...) and adversarial reasoning, showing how contradiction can be operationalised as a test of legitimacy rather than a purely logical artefact. -/- This paper constitutes the first work in a planned trilogy on evidential integrity, establishing the epistemic foundations for procedural and institutional models to follow. -/- Keywords: contradiction; epistemic game theory; evidential reasoning; structural bias; motivated asymmetry; governance integrity; algorithmic accountability; dialectical logic; audit design; fairness diagnostics; philosophy of technology; adversarial evaluation. (shrink)

The future of human computation benefits from examining tasks that agents already perform and designing environments to give those tasks computational significance. We call this natural human computation. We consider the possible future of NHC through the lens of Swarm!, an application under development for Google Glass. Swarm! motivates users to compute the solutions to a class of economic optimization problems by engaging the attention dynamics of crowds. We argue that anticipating and managing economies of attention provides one of the (...) most tantalizing future applications for NHC. (shrink)

On the question of whether gambling behavior can be changed as result of teaching gamblers the mathematics of gambling, past studies have yielded contradictory results, and a clear conclusion has not yet been drawn. In this paper, I bring some criticisms to the empirical studies that tended to answer no to this hypothesis, regarding the sampling and laboratory testing, and I argue that an optimal mathematical scholastic intervention with the objective of preventing problem gambling is possible, by providing the principles (...) that would optimize the structure and content of the teaching module. Given the ethical aspects of the exposure of mathematical facts behind games of chance, and starting from the slots case – where the parametric design is missing, we have to draw a line between ethical and optional information with respect to the mathematical content provided by a scholastic intervention. Arguing for the role of mathematics in problem-gambling prevention and treatment, interdisciplinary research directions are drawn toward implementing an optimal mathematical module in cognitive therapies. (shrink)

This paper presents the design, development, and potential impact of Echoes of Union Depot, a virtual reality (VR) game aimed at promoting historic preservation and raising public awareness about El Paso's Union Depot, a building listed on the National Register of Historic Places Inventory. The game leverages the immersive capabilities of VR technology and 360° images to engage players in exploring the site's rich history and architectural evolution. Players assume the role of a time-traveling detective, guiding lost (...) spirits to resolve their past and move on. The paper outlines the development process, highlighting the use of 360° panoramic images and 3D Vista Virtual Tour Pro software to create an accessible and user-friendly experience that fosters historic preservation awareness and cultural appreciation. The study also discusses limitations and areas for future research, including expanding the scope to include other heritage sites, working with historians and cultural consultants for accurate representations, and evaluating the game's effectiveness in promoting awareness and fostering a sense of community pride. (shrink)

How can we improve business ethics education for the twenty first century? This study evaluates the effectiveness of a visual case exercise in the form of a 3D immersive game given to undergraduate students at two UK Universities as part of a mandatory business ethics module. We propose that due to evolving learning styles, the immersive nature of interactive games lends itself as a vehicle to make the learning of ethics more ‘concrete’ and ‘personal’ and therefore more engaging. To (...) achieve this, we designed and built an immersive 3D simulation game in the style of a visual case. The effectiveness of the game was evaluated using a mixed methods approach measuring recognised and adapted constructs from the technology acceptance model. Results demonstrate that students found the game beneficial to their learning of ethics with the development of knowledge and skills applicable to the real world and that they engaged with the process due to game elements. Findings demonstrate the potential for the development of simulated games to teach ethics at all levels and modes of delivery and the contribution of this type of visual case model as a pedagogic method. (shrink)