Games as Speculative Design: Allowing Players to Rehearse Alternative Presents and Plausible Futures
•
4 likes•1,166 views
Games can be used as speculative design to allow players to consider alternate presents and plausible futures. Speculative design uses fiction without commercial constraints to prototype possible futures through design fictions. Critical games have primarily critiqued current events or games themselves. Persuasive games can influence players through procedural rhetoric and by appealing to logic, credibility, and emotions, but should avoid reductionism and promote minor behavioral changes. Games as speculative design should enable consideration of multiple plausible futures through both narrative and simulation, be developed iteratively in an interdisciplinary way, and remain free of commercial influence.
Recommended
Recommended
More Related Content
Similar to Games as Speculative Design: Allowing Players to Rehearse Alternative Presents and Plausible Futures
Similar to Games as Speculative Design: Allowing Players to Rehearse Alternative Presents and Plausible Futures (20)
More from Paul Coulton
More from Paul Coulton (20)
Recently uploaded
Recently uploaded (20)
Games as Speculative Design: Allowing Players to Rehearse Alternative Presents and Plausible Futures
- 1. Games as Speculative Design: Allowing Players to Consider Alternate Presents and Plausible Futures Paul Coulton, Dan Burnett, Adrian Gradinar @ProfTriviality
- 2. Critical Design Present Future Time Preferable Probable - likely to happen Plausible - could happen Possible - might happen
- 4. PREFERABLE SHOULD BE A QUESTION WE ASK OURSELVES NOT SIMPLY THE AIM
- 5. Past “We look at the present through a rear-view mirror. We march backwards into the future” Marshall Mcluhan
- 6. Multiple Realities Present History, Reality, and Fiction Past Future Gonzatto, R. F., van Amstel, F. M., Merkle, L. E., & Hartmann, T. (2013). The ideology of the future in design fictions. Digital creativity, 24(1), 36-45.
- 7. Speculative Design use fiction no commercial constraints prototype driven irreverant Auger Coulton
- 8. Design Fiction “deliberate use of diegetic prototypes to suspend disbelief about change... It means you’re thinking very seriously about potential objects and services and try to get people to concentrate on those – rather than entire worlds or geopolitical strategies. It’s not a kind of fiction. It’s a kind of design. It tells worlds rather than stories” Bruce Sterling
- 9. The Magic Circle ‘the place dedicated to the performance of an act apart’ Huizinga
- 10. are games diegetic? mimesis and diegesis describe ways of presenting a story. In mimesis, the story is acted out. In diegesis, the story is narrated. Mimesis is show. Diegesis is tell.
- 11. The Present is the Future Mundane Present Future Domestication Emerging Technology Far Speculative Futures Design Fictions Vapour Worlds Past Near Speculative Futures Design Fictions Vapourware Alternate Presents or Lost Futures
- 12. Critical Games thus far the focus of the critical games created has primarily been either: critiques of current events or practices; or critiques of games themselves
- 13. Critical Games Phone Story - Mollie Industria giant joystick - Mary Flanagan
- 14. Persuading through Games Persuasive Technology Procedural Rhetoric(Gamification) VS Persuasive Games liminal liminoid
- 15. Persuasive Technology B.J Fogg Captology - reduce a problem so that it can be addressed through the promotion of minor behavioural change for easily understood and uncontroversial goals.
- 16. Rhetoric Pathos (empathy) Ethos (credibility) Logos (logic) CONTEXT Aristottle Logos - would utilise facts, statistics, analogies, and logical reasoning. Ethos - would draw upon credibility, reliability, trustworthiness and fairness. Pathos - would appeal to our emotions and draw upon feelings of fairness, love, pity, or even greed, lust, or revenge.
- 17. Rhetoric of Design Rhetor Audience Speech Intent Expectations Rhetoric
- 18. Graphic Designer Audience Image Intent Expectations Visual Rhetoric Rhetoric of Design
- 19. Designer Users Product Intent Expectations Design as Rhetoric Rhetoric of Design Richard Buchanan
- 20. Game Game Designer Player Rules Interaction Game Design as Rhetoric Rhetoric of Design the basic representational mode of videogames is “procedurality”, enacted through rule- based representations and interactions and, when used to reveal processes or concepts of another system, present the player with a procedural rhetoric Ian Bogost
- 21. Interactive System Interaction Designer User System Logic Interaction Interactive Systems as Rhetoric Rhetoric of Design Coulton “code is the only language that is executable” - Alexander Galloway
- 24. Storage and Flow
- 25. Game Play
- 26. Games as Speculative Design Should: Enable a Plurality of Futures Be Plausible Embrace both Mimesis and Diegesis Be developed iteratively and interdisciplinary Not Resort to Reductionism Be free from commercial constraints