Creating Meaningful Games through Values-Driven Design Principles

The interactivity present in games makes them useful vehicles for the exploration of various concepts outside of “finding the fun”. Empathy games – games that are developed to educate and encourage empathetic responses from players about a scenario – are one such example. However, the notion of empathy game design overlaps with other tangential design theories like emotional game design, radical game design, and critical game design. These theories often overlap but are difficult to discover because of their different naming conventions. To assist designers, this paper discusses design principles from these and other similar game design frameworks. Using these, it presents a consolidated set of design principles and considerations that can be applied to game projects. These principles are presented to inspire future design work to explore lesser-known experiences, in the hopes of being more inclusive of, and more meaningful to, a diverse player base.

Fostering ethics and morality in adult learning through gameplay

Different Frames of Players and the Motivation of Prosocial Behaviors in Digital Games

In digital games, players may behave as they do in the real world. In-game behaviors may have multiple complex motivations, like in the real world, or they may be inspired by the rules of the game. How in-game behaviors are motivated may differ between different players. The current study focuses on the difference between players who interpret the game as a mere rule-based play and players who perceive the game as a world with its own rules and norms. Among different in-game behaviors, this study specifically focuses on players’ prosocial behaviors. A survey was conducted to look at the relationship between the attitude toward prosocial behaviors, its motivation, and how each player frames the gameplay. The findings of this study revealed that the different frames of players were significantly related to the motivation of the players’ prosocial behavior toward other characters.

The Effects of Player-Avatar Identification and Empathy: The Impact of Honor of Kings on Players’ Attitude and Knowledge of Historical Figures

History, biography and empathy in Inkle’s ‘80 Days’

Inkle’s ‘80 Days’ offers players the chance of an unusual experience of history. The game combines a layer of historical events and characters with a layer of steampunk science-fiction, using the later as a magnifying glass to highlight minority perspectives and experiences. At the same time, 80 Days merges two views on the relation between biography and history: the player remains a witness, while non-player characters are deeply immersed in making and remaking histories. These dual structures make ‘80 Days’ into a strong resource for discussing the interplay between history and biography, and appealing to history as a resource for empathy.

Four Lenses for Designing Morally Engaging Games

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.

Understanding Empathy in Children through 3D Character Design

Health, particularly diet and everyday nutrition, as the ultimate causal factor in life is an important aspect of every child’s education. Meanwhile, computer generated (CG) 3- dimensional (3-D) graphics is a medium often used by entertainment and advertising. Educational intervention to help children make appropriate dietary choices can be designed by employing similar methods used by entertainment and advertising, such as 3-D characters aimed at children. The question that this research asked is: can creating an empathic bond between 3-D characters and children communicate a healthy nutrition message effectively? This thesis is based on qualitative research founded on the constructionist theory that focuses on exploring the perspective of children via focus groups. Educational designs based on familiar computer-generated graphics will help equip children to deal with nutritional and dietary choices, ultimately initiating behavioural change as their relationship with food matures earlier. Empathy on the children’s and adult’s sides of the healthy nutrition conversation is important to establish this relationship in children’s nutritional decisions. The main challenge for nutrition education is not in shortterm diversions, but long-term changes in behavioural responses in media literacy. A constructionist approach of helping children work through advertising by improving their media vocabulary would be a more sustainable approach to enhancing their ability to decode advertising rhetoric and in turn forming their own informed opinion and responses. Industry referenced educational content intent on healthy lifestyles can balance the prevalent advertising messages leading to a more balanced overall media that children are exposed to.

“This isn’t a computer game you know!”: revisiting the computer games/televised war analogy

During the Gulf War of 1991, the television coverage was frequently observed to be ‘just like a video game’. This analogy primarily derived from the specific, ‘bombs-eye’ perspective of camera-equipped weapons, approaching their targets. The troubling nature of this coverage was said to derive from the viewer’s sense of direct involvement: the argument was that viewers were able to marvel at the ‘high tech’ nature of the weapons, at a remove from the bloody reality on the ground. These criticisms of a vicarious aesthetic (dis)engagement were taken to also characterise the playing of computer games. At a time when we have once again been confronted by TV coverage of war in the Gulf, this paper revisits the TV war/computer games nexus, informed by research on players’ engagements with games. It argues that comparisons between televised war and games have little to offer to those concerned with theorising games, at least in their current form. Research with players of games is, however, able to provide insights useful for theorising the fraughtness of watching televised war. Considered in this way, the analogy can be revealing. Drawing on previous research on players’ aesthetic engagements with games, as well as a range of other sources, this paper re-considers televisual war spectatorship, in terms of the figures of proximity/distance; here and there; negotiations between different materialities and realities; and virtuality. It proposes these figures as bases around which a more productive dialogue on computer games and televisual war might be conducted.