Workshop at the Serious Play Conference in Montreal July 10-12 2019 seriousplay-montreal.com UNIVERSITÉ DU QUÉBEC À MONTRÉAL /UNIVERSITY OF QUEBEC IN MONTREAL
Joys of Absence: Emotion, Emotion Display, and Interaction Tension in Video G...Sebastian Deterding
Paper presented at Foundations of Digital Games 2015: While Erving Goffman’s work on frames has found broad adoption in game research, his sociological theory of gameplay enjoyment as “euphoric ease” has not been probed, although it is one of the few theories of gameplay enjoyment focusing what is absent in gameplay. Because spontaneous and socially demanded emotional involvement often align in gameplay, Goffman holds, it lacks the effortful self-regulation of conduct and emotion typical for everyday life. This paper presents an empirical grounding of Goffman’s theory, drawing on a qualitative interview study on social norms of emotion regulation in video game play. Data suggests that the absence of active emotional self-control may indeed be a hygiene factor of game enjoyment most strongly found in solitary gameplay, afforded by a socio-material setting licensing the display of gaming-typical emotions, and shielding form potentially disapproving onlookers.
Joys of Absence: Emotion, Emotion Display, and Interaction Tension in Video G...Sebastian Deterding
Paper presented at Foundations of Digital Games 2015: While Erving Goffman’s work on frames has found broad adoption in game research, his sociological theory of gameplay enjoyment as “euphoric ease” has not been probed, although it is one of the few theories of gameplay enjoyment focusing what is absent in gameplay. Because spontaneous and socially demanded emotional involvement often align in gameplay, Goffman holds, it lacks the effortful self-regulation of conduct and emotion typical for everyday life. This paper presents an empirical grounding of Goffman’s theory, drawing on a qualitative interview study on social norms of emotion regulation in video game play. Data suggests that the absence of active emotional self-control may indeed be a hygiene factor of game enjoyment most strongly found in solitary gameplay, afforded by a socio-material setting licensing the display of gaming-typical emotions, and shielding form potentially disapproving onlookers.
Designing for Creativity and Kindness in GamesMirjam Eladhari
Invited talk given at Vaasa Game Days on the 9th of December 2015.
Content:
- Overview, slide 2
- Case Study 1, Pataphysic Institute Prototype. Background for coming research avenues. slide 8
- Games for Co-creation, Games made in C2Learn project, slide 32,
- Case Study 2, 4Scribes. A Story making game making use of computational creativity techniques for aiding narrative coherence. Slide 39
- Case Study 3, Mind Shadows. A game of kindness. Slide 76
- Make Game Design Part of your Life. Tips, tricks & tools for indie devs. Slide 88
Tutorial and workshop from the Games for Health 2014 conference. Covers common problems, failings of gamification, elements of player experience, paper prototyping, and essential concepts in game design.
We think in stories. Narratives are tools we use to make sense of the world, both in life and in games. Seeing how all stories work in a similiar way, and how all gameplay loops share their structure with stories, we will explore the similarities and look for tools that will help us design better games. This talk, inspired by John Yorke's book "Into the Woods. How stories work and why we tell them", and based on over ten years of experience in the industry, aims to present a consistent narrative-driven approach to game design.
A talk from Games Industry Conference 2017
Players Imbuing Meaning: Co-creation of Challenges in a prototype MMOMirjam Eladhari
This talk discusses how components in a game world, from both a systemic design perspective, and from an actual content perspective, can carry meaning relevant to individual players.
The discussion is grounded in work with a massively multi player online (MMO) prototype where players in guided play-tests created their own opponents that they battled in groups of three. The opponents are called Manifestations, and can be compared to the “boss monsters” that in adventureand role-plying games pose the greatest challenges in terms of tactical game play, or battle. When creating Manifestations players define how these shall behave in play, and what they say under different circumstances. The game play mechanics in the world is centered on emotions and social relations. One of the design goals in the creation of the prototype was to cater for a system wheretactical game play can be closely tied to the potential narrative contents.
The Manifestations players created in the play tests were of four main categories; reflections of persons they had complicated relationships to in real life, difficult situations, abstract concepts, or purely fictional entities. In several cases players brought material into the game that had personal meaning to them. These meanings were developed further when players saw how their Manifestation behaved within the rule system of the world. For example, one player created a Manifestation of an anticipated exam, while another made a Manifestation called “Mother”. The Mother cast spells called “Focused Aggression” and “Cold Ripple of Fear”. It was able to perform acts called “Blame”, ”Threaten”, and “Disagree”. The group experimented with tactical choices, while reasoning about the Mother’s potential motivations. They managed to overcome the Mother by alternating between giving each other resistance and casting spells, the winning stroke being a rapid series of spells called “Forgive”.
The talk was given at ITU in Copenhagen April 24, 2012 in the Game Lecture series.
http://game.itu.dk/index.php/Game_Lectures
We think in stories. Narratives are tools we use to make sense of the world, both in life and in games. Seeing how all stories work in a similiar way, and how all gameplay loops share their structure with stories, we will explore the similarities and look for tools that will help us design better games. This talk, inspired by John Yorke's book "Into the Woods. How stories work and why we tell them", and based on over ten years of experience in the industry, aims to present a consistent narrative-driven approach to game design.
A talk from Digital Dragons 2018
Progress Wars: Idle Games and the Demarcation of "Real Games"Sebastian Deterding
My talk from DiGRA FDG 2016: Analyzing idle games through the theoretical lenses of “game aesthetics” and “boundary work”, I explore how game makers intentionally or unintentionally partake in working the boundaries of “real” games.
Game is a constant part of human nature and can be seen in almost every facet of civilisation: war, religion, politics, sports and arts.
It is an intrinsically motivated and transformational experience.
How can we add elements of play in order to make our users feel empathy, be motivated and easily understand our products?
Designing for Creativity and Kindness in GamesMirjam Eladhari
Invited talk given at Vaasa Game Days on the 9th of December 2015.
Content:
- Overview, slide 2
- Case Study 1, Pataphysic Institute Prototype. Background for coming research avenues. slide 8
- Games for Co-creation, Games made in C2Learn project, slide 32,
- Case Study 2, 4Scribes. A Story making game making use of computational creativity techniques for aiding narrative coherence. Slide 39
- Case Study 3, Mind Shadows. A game of kindness. Slide 76
- Make Game Design Part of your Life. Tips, tricks & tools for indie devs. Slide 88
Tutorial and workshop from the Games for Health 2014 conference. Covers common problems, failings of gamification, elements of player experience, paper prototyping, and essential concepts in game design.
We think in stories. Narratives are tools we use to make sense of the world, both in life and in games. Seeing how all stories work in a similiar way, and how all gameplay loops share their structure with stories, we will explore the similarities and look for tools that will help us design better games. This talk, inspired by John Yorke's book "Into the Woods. How stories work and why we tell them", and based on over ten years of experience in the industry, aims to present a consistent narrative-driven approach to game design.
A talk from Games Industry Conference 2017
Players Imbuing Meaning: Co-creation of Challenges in a prototype MMOMirjam Eladhari
This talk discusses how components in a game world, from both a systemic design perspective, and from an actual content perspective, can carry meaning relevant to individual players.
The discussion is grounded in work with a massively multi player online (MMO) prototype where players in guided play-tests created their own opponents that they battled in groups of three. The opponents are called Manifestations, and can be compared to the “boss monsters” that in adventureand role-plying games pose the greatest challenges in terms of tactical game play, or battle. When creating Manifestations players define how these shall behave in play, and what they say under different circumstances. The game play mechanics in the world is centered on emotions and social relations. One of the design goals in the creation of the prototype was to cater for a system wheretactical game play can be closely tied to the potential narrative contents.
The Manifestations players created in the play tests were of four main categories; reflections of persons they had complicated relationships to in real life, difficult situations, abstract concepts, or purely fictional entities. In several cases players brought material into the game that had personal meaning to them. These meanings were developed further when players saw how their Manifestation behaved within the rule system of the world. For example, one player created a Manifestation of an anticipated exam, while another made a Manifestation called “Mother”. The Mother cast spells called “Focused Aggression” and “Cold Ripple of Fear”. It was able to perform acts called “Blame”, ”Threaten”, and “Disagree”. The group experimented with tactical choices, while reasoning about the Mother’s potential motivations. They managed to overcome the Mother by alternating between giving each other resistance and casting spells, the winning stroke being a rapid series of spells called “Forgive”.
The talk was given at ITU in Copenhagen April 24, 2012 in the Game Lecture series.
http://game.itu.dk/index.php/Game_Lectures
We think in stories. Narratives are tools we use to make sense of the world, both in life and in games. Seeing how all stories work in a similiar way, and how all gameplay loops share their structure with stories, we will explore the similarities and look for tools that will help us design better games. This talk, inspired by John Yorke's book "Into the Woods. How stories work and why we tell them", and based on over ten years of experience in the industry, aims to present a consistent narrative-driven approach to game design.
A talk from Digital Dragons 2018
Progress Wars: Idle Games and the Demarcation of "Real Games"Sebastian Deterding
My talk from DiGRA FDG 2016: Analyzing idle games through the theoretical lenses of “game aesthetics” and “boundary work”, I explore how game makers intentionally or unintentionally partake in working the boundaries of “real” games.
Game is a constant part of human nature and can be seen in almost every facet of civilisation: war, religion, politics, sports and arts.
It is an intrinsically motivated and transformational experience.
How can we add elements of play in order to make our users feel empathy, be motivated and easily understand our products?
Systems Based Gamification Volimen I: PlayEugene Sheely
In this essay I describe the basic philosophy of my consultancy and design practices in education: Play is not about fun, it's evolutionary purpose is to increase the tacit understanding of the complexities in the real world. It supercharges the understanding of relationships between different components in our world.
“The child amidst his baubles is learning the action of light, motion, gravity, muscular force; and in the game of human life, love, fear, justice, appetite and man... interact.” Ralph Waldo Emerson
It's a dry and probably boring work but I lay down some the scientific principles for game-based learning I've developed as a designer. I introduce why a lot of the currently popular gamification attempts for education are psydoscientific and give out principles backed up by scientific research on how to develop cognitive skills with games and their pedagogy.
A lot of the popular engagement techniques in gamification for education are based on techniques developed by casual game companies like Zynga. This is fundamentally a flawed approach filled with psudoscientific claims by the "gamification gurus."
This work bases it's design principles on scientific research on games with origins outside the virtual-world like chess and the process grandmasters have to go through to achieve world-class performance. It's disregards the popular techniques that claim they'll fix education by discovering how Farmville got people to water virtual crops.
Connecting Ethical Choices in Games to Moral FrameworksGabriel Recchia
Games have moral impact. They can make players more aware of their own values, and even change them... and not always in the ways you might expect. Using Jonathan Livingston Seagull (the board game!) and Glitch as case studies, this presentation covers three aspects of gaming that are critical for game researchers who hope to gain a more complete awareness of the effects a game is having on its players.
Play is essential for children in early childhood stage, it is crucial for their various developments:
-cognitive development
-satisfied exploratory need
-master anxiety and conflict
-development communication skills
Various types of play adopted by children:
-symbolic play
-practice play
-social play
-constructive play
-game
Our always-on culture places a premium on productivity; we spare less and less time for pursuits that don’t have specific goals attached. The paradox is that to compete successfully, we need to embrace play. So increasingly, adults will seek to balance out their busy lives with more unstructured time.
Let's Play a Game - Learn Philosophy and Rhetoric via Digital Game-Based Lear...Sherry Jones
This is my workshop presentation on how I employ digital game-based learning methods to teach philosophy and rhetoric courses.
A selection of assignments I have personally designed and implemented are included in this presentation.
Some principles and theories covered are Derridian binary oppositions, Sartrian existentialism, Wittgensteinian seeing-that vs. seeing-as, rhetorical triangle, rhetorical appeals (logos and pathos), Nietzschean eternal recurrence, and more.
Similar to How to design inner play in a study narrative? (20)
We all have good and bad thoughts from time to time and situation to situation. We are bombarded daily with spiraling thoughts(both negative and positive) creating all-consuming feel , making us difficult to manage with associated suffering. Good thoughts are like our Mob Signal (Positive thought) amidst noise(negative thought) in the atmosphere. Negative thoughts like noise outweigh positive thoughts. These thoughts often create unwanted confusion, trouble, stress and frustration in our mind as well as chaos in our physical world. Negative thoughts are also known as “distorted thinking”.
Read| The latest issue of The Challenger is here! We are thrilled to announce that our school paper has qualified for the NATIONAL SCHOOLS PRESS CONFERENCE (NSPC) 2024. Thank you for your unwavering support and trust. Dive into the stories that made us stand out!
Instructions for Submissions thorugh G- Classroom.pptxJheel Barad
This presentation provides a briefing on how to upload submissions and documents in Google Classroom. It was prepared as part of an orientation for new Sainik School in-service teacher trainees. As a training officer, my goal is to ensure that you are comfortable and proficient with this essential tool for managing assignments and fostering student engagement.
2024.06.01 Introducing a competency framework for languag learning materials ...Sandy Millin
http://sandymillin.wordpress.com/iateflwebinar2024
Published classroom materials form the basis of syllabuses, drive teacher professional development, and have a potentially huge influence on learners, teachers and education systems. All teachers also create their own materials, whether a few sentences on a blackboard, a highly-structured fully-realised online course, or anything in between. Despite this, the knowledge and skills needed to create effective language learning materials are rarely part of teacher training, and are mostly learnt by trial and error.
Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
This webinar will introduce you to my framework, highlighting the key competencies I identified from my research. It will also show how anybody involved in language teaching (any language, not just English!), teacher training, managing schools or developing language learning materials can benefit from using the framework.
The Art Pastor's Guide to Sabbath | Steve ThomasonSteve Thomason
What is the purpose of the Sabbath Law in the Torah. It is interesting to compare how the context of the law shifts from Exodus to Deuteronomy. Who gets to rest, and why?
The Indian economy is classified into different sectors to simplify the analysis and understanding of economic activities. For Class 10, it's essential to grasp the sectors of the Indian economy, understand their characteristics, and recognize their importance. This guide will provide detailed notes on the Sectors of the Indian Economy Class 10, using specific long-tail keywords to enhance comprehension.
For more information, visit-www.vavaclasses.com
Operation “Blue Star” is the only event in the history of Independent India where the state went into war with its own people. Even after about 40 years it is not clear if it was culmination of states anger over people of the region, a political game of power or start of dictatorial chapter in the democratic setup.
The people of Punjab felt alienated from main stream due to denial of their just demands during a long democratic struggle since independence. As it happen all over the word, it led to militant struggle with great loss of lives of military, police and civilian personnel. Killing of Indira Gandhi and massacre of innocent Sikhs in Delhi and other India cities was also associated with this movement.
Ethnobotany and Ethnopharmacology:
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Impact of Ethnobotany in traditional medicine,
New development in herbals,
Bio-prospecting tools for drug discovery,
Role of Ethnopharmacology in drug evaluation,
Reverse Pharmacology.
How to Make a Field invisible in Odoo 17Celine George
It is possible to hide or invisible some fields in odoo. Commonly using “invisible” attribute in the field definition to invisible the fields. This slide will show how to make a field invisible in odoo 17.
1. Eva den Heijer & Imara Felkers
How to design in inner play in a study narrative?
workshop
speakers
Academic Counseling & Tutoring using game principles
University of the Arts Utrecht
HKU University of the Arts Utrecht, the Netherlands
2. ‣HKU Academic counseling & tutoring
Writing a Personal Development Plan
Problem: students experience these models as flat, 1 dimensional, role confirming
Articulating learning goals
3. ‣HKU Philosophy
Substantial: a functional approach:
- Conceived as anatomical atlas;
- Man is body: limited, substance,
isolable, thing, instrumental,
mechanical, categories;
- Normative: good, fat, stupid;
- Materialistic and dualistic images of
man
Relational:
- Connected to the world;
- Etre au monde (Merleau-Ponty)
‘bundle of contradictions called “man”;
- DaSein (Heidegger);
- Commitment to the world;
- Expresses itself in verbs: talking,
walking, sleeping, being;
- realization of meaning relations;
Images of man: anthropological presumptions
because we are not 1 dimensional beings…
…and the reality is ambiguous.
4. ‣Homo Ludens
Johan Huizinga
“All Art derives from Play”
…so we depart from the perspective
that we are the playing human being.
And if all Art derives from Play,
then as an Art Academy we should
focus on Play and how we can Play
5. ‣HKU Academic counseling &tutoring
Writing a Personal Development Plan
Idea: describing goals and ‘smart’ rules sounds like game design to me
Articulating learning goals
6. ‣Assumption: Play comes closer to reality than reality itself
‣Helping students how to transform their plans
into a system they can play
‣Helping students to give insight in their pluriformity
In this method we focus on two aspects:
8. Draw your Hero Draw your sidekick
Drive
Rules of Play
design your Player Profile
Aesthetics
Name……
Attributes
Step 1: Collect attributes to build your hero
Step 2: Draw your hero and name it
Step 3: Draw your sidekick in a yin-yang-style of your
hero and name it
Interests, hobbies, games
Rituals
Things you do
Things you do but
shouldn’t do
Animal
features
Inner mantra in your mind
Gender
Strengths, capacities
& Weaknesses
Competition
Chance
Mimicry, roleplay
Vertigo, Ilynx
1.
2. 3.
5.
6.
1.
Collective Goal
Step 4: What is your collective goal?
Step 5: Think of aesthetics matching your hero and sidekick
Step 6: What is your drive? Ask yourself why you do what
you do, what are your values in life?
4.
hku
Name……
Four Categories of
Play by Roger
Callois mentioned
as aesthetics
daily rituals
habits
inner voices
(Marcus Aurelius)
11. Your inner voice is a guide
Active relation between
Cosmic determinism
and human freedom
Sumpatheia
12. through Marcus Aurelius Stoa
Cosmos
an immensely living creature in which all are interconnected
with sumpatheia.
Connected: All one alone
13. Book 2 Marcus Aurelius
Diary
“Begin the morning by saying to thyself,
I shall meet with the busy-body, the ungrateful,
arrogant, deceitful, envious, unsocial. All these things
happen to them by reason of their ignorance of what is
good and evil.”
17. Little game
Qualities
2-5 players
- Each player takes 5 cards from the deck
- Taking turns everybody passes the quality
that suits you least to your left player
- Grab another card of the deck
- Go on until you have found your 5 qualities
In 3 minutes!!!
Collecting attributes
Weaknesses
2-5 players
- Each player takes 5 cards from the deck
- Taking turns everybody passes the
weakness that suits you least to your left
player
- Grab another card of the deck
- Go on until you have found your 5
weaknesses
In 3 minutes!!!
23. What is your Challenge?
Personal Narrative
Game Design Canvas 2.0
ResourcesPlay Aim
Responsibility
Professional goal
Drive
Feedback
What is it you’ll have to learn?
Describe your
What is it you want to become?
Describe your
Describe the goal of your game
and the rules in your game in order
to achieve your learning goal and
professional goal
What are your responsibilities in the game?
In what way do you stay
motivated to play your game?
How do you know if you’re
playing it right? Who or what gives you
feedback in how you play?
What is your drive? Ask yourself why you do what you do, what are your values in life?
What kind of perks
can help you?
(check your player
profile)
Can you use a
helpdesk?
People who can
help? (e.g.
stakeholders)
Can you cheat?
Take shortcuts?
etc.
Context
Describe the context you’re in:
e.g. education, subjects, teachers, etc.
Boundary Conditions
Describe your known limitations.
For e.g. paying rent/mortgage,
need money to buy food etc.
Actions
Learning goal
Motivators
2.
hku
24. What is your Challenge?
Personal Narrative
Game Design Canvas 2.0
ResourcesPlay Aim
Responsibility
Professional goal
Drive
Feedback
What is it you’ll have to learn?
Describe your
What is it you want to become?
Describe your
Describe the goal of your game
and the rules in your game in order
to achieve your learning goal and
professional goal
What are your responsibilities in the game?
In what way do you stay
motivated to play your game?
How do you know if you’re
playing it right? Who or what gives you
feedback in how you play?
What is your drive? Ask yourself why you do what you do, what are your values in life?
What kind of perks
can help you?
(check your player
profile)
Can you use a
helpdesk?
People who can
help? (e.g.
stakeholders)
Can you cheat?
Take shortcuts?
etc.
Context
Describe the context you’re in:
e.g. education, subjects, teachers, etc.
Boundary Conditions
Describe your known limitations.
For e.g. paying rent/mortgage,
need money to buy food etc.
Actions
Learning goal
Motivators
2.
hku
“I would like to reconnect with
my childhood creativity”
EXAMPLE
“I’m not feeling creative
anymore”
“The purpose of the game is to be more in touch
with the child within us,
who is more wise than we
could ever know -
and in some circumstances
wiser than we are now. ”
“Responsible for playing”
“Whatever feelings arrive from play
are all correct ones,
as there is no wrong way to feel or think in this game.
When the player is mindful,
they will also be aware of when the feedback their
mind gives them feels good or not.
”
“When curiosity feels infinite,
then I’m playing it right”
25. player
profileThe player of this game is the child trapped inside the adult
body. Self-consciousness and the societal expectation to "be
an adult", to be "the adult", is recognized by the player (and
accepted as being okay) but not allowed to be the driver of
play. The player is an adult with bills to pay who in this
very moment's only obligation is pure play. Accepting we are
adults, with fears and worries that make us cynical, yet
playing in spite of this is what makes a true player of this
game.
‣Example
26. Player's Guide
1. purpose of the game
The purpose of the game is to be more in touch with the child within us, who is more wise than we could
ever know - and in some circumstances wiser than we are now. From when we are born we see the world
with "fresh eyes"; and this allows us to experience life, and not just to float through it on autopilot.
Through playing this game the player can experience something again once thought forgotten, and
engage in mindfulness to not only boost mood, but encourage acceptance of what we feel in our bodies
and minds.
2. The Rules of the Game
To not compete with children at the park. To not compare yourself to anyone else at the park. To
not go on your phone, except to take one photo of your experience at the park (to remember and
savor). To try to be mindful, in the "here and now". To play for as long as you want. To play in every
park you see. To play with whatever however you like. To forget that germs exist. To keep playing
even if you are self conscious.
3. Feedback System of the Game
Often when we try to be mindful, or meditate, with a certain expectation in mind, it often has the
opposite effect because it defeats the purpose of being mindful. Therefore, the feedback system of
this game is simply a photo of the play. This can be a photo of a leaf, of the player playing, of the
park. Whatever feelings arrive from play are all correct ones, as there is no wrong way to feel or
think in this game. When the player is mindful, they will also be aware of when the feedback their mind
gives them feels good or not.
4. The role of flow
The role of flow in the game is connected to the feedback system, as when the player is truly
mindful - no matter how they are feeling - they will experience flow, in the sense that their
curiosity in the moment will be infinite. Time will pass differently, just like how children can play
for hours and not realize. Colours may look different and the player might feel properly "alive" for
the first time in a while.
5. Cheating in the Game
The only way to cheat in this game is to sit on the bench and go on your phone. The game is
designed to be as less restrictive as possible, so that players avoid the feeling that they are
not playing "well", or that they are not "good" at play. In this sense, the play becomes theirs.
6. Safety in the Game
The safety in the game is a childlike sense of safety. Often children who are in flow build on their
flow, by trying something, and each time becoming more daring and more daring. This same approach can
be taken in the game so that while fear may be there (when jumping/climbing/running), it is not at the
foreground of the play. Often children who break their arm when playing were not scared, or even aware
of breaking an arm prior; therefore each minute becomes a new minute to dare to explore.