My approved proposal to "The Videogame Cultures Project: 7th Global Meeting" (Oxford, UK)

Observing iterative design on the mobile indie game Dominaedro

Author:
M.A. Vicente M. Mastrocola (Postgraduate Research student and graduation level teacher at ESPM/São Paulo, Brazil; vincevader@gmail.com)

Smartphones and tablets are leading sales of electronic devices around the world, and became a rich field to explore gaming initiatives. Mobile media created a ludic ecosystem in which large publishers and small studios coexist; the new ways of digital content distribution allowed a gaming market with big productions and indie experiments to live in the same platforms. In this scenario, we seek to analyze a development process involving an independent Brazilian mobile game named Dominaedro, launched by Ludofy Studio in 2014.

Our focus in this work will be to discuss iterative design – a design methodology based on a cyclic process of prototyping, testing, analyzing, and refining a work in progress. In this context, we understand iterative design as a methodological tool to create a game. We intend to observe this kind of developing process, giving emphasis to the analogical prototyping phase that gives us some feedbacks from the beta-testing players, like in a qualitative research. Finally, we present the importance of the iterative design to quality assurance in the digital version of the game.

Data collected through 20 beta testing sessions showed the importance of iterative process to improve a gaming experience and to facilitate the production of the digital product. Based on this content we will demonstrate the whole process of creating a mobile game – from the idea, passing through the prototypes, until the final version.

We conclude highlighting the current tendency to create indie games using accurate design methodologies to gain audience in a very competitive scenario, and how indie games could be a learning point for aspirational game designers and small publishers; we will also emphasize the importance of using digital social networks and specialized media to publish and support an independent game.

Keywords: entertainment, mobile, iterative process, Dominaedro, indie game, Brazil

F.R.O.G (Future and Reality of Gaming) Congress - Vienna, September 2013

Last week I was at Vienna (Austria) presenting a poster at the F.R.O.G (Future and Reality of Gaming) congress. Awesome keynotes and fantastic content in three days full of games in this beautiful city.



Vienna’s annual Games Conference offers an open and international platform for leading game studies researchers and scholars, game designers, researchers and scholars from various other fields, education professionals, and gamers from around the world. The main objective of FROG13 was to explore the “Context Matters” in regard to questions of player communities, challenging or problematic play settings, game theory and development, impact of games and cultural facets of play.

And now I would like to share the content that I presented at the congress. I hope you enjoy.


ECOLOGICAL CONCEPTS IN A BOARD GAME: How to discuss serious causes using ludic interfaces

Author: MsC. Vicente Martin Mastrocola (ESPM/Brazil)
E-mail: vincevader@gmail.com


MINI-ABSTRACT

In this presentation we seek to analyze the use of game mechanics for serious causes. We discuss, using a brazilian board game named Climate Game, how we can use a playful and ludic interface to cast a message for a serious cause and how a game could work with ideas about global warming in a fun/educational way. In this context, we use the idea of magic circle proposed by Johan Huizinga, author of the book Homo Ludens, in which the author explains how a physical space could be a place for playing, meaning and experience.

In this presentation we also discuss the impact of a ludic interface in the mediatic scenario, the gaming culture and how important it can be for the contemporary world.


SLIDES




TEXT

Homo Ludens, entertainment and games

First of all, the notion of homo ludens, introduced by the dutch historian Johan Huizinga, is the conceptual backbone for this work, where we seek to analyze the use of game mechanics, ludic concepts, and game thinking applied to a brazilian board game with ecological theme named Climate Game. This game uses a playful and ludic interface to cast a message for a serious cause, and works with ideas about global warming in a fun/educational way.

In his book "Homo Ludens" (1955) Huizinga discusses the possibility that playing is the primary formative element in human culture. The author also presents the idea of the magic circle, one important subject for our discussion.

As described by Adams and Rollings (2009, p.8), Huizinga did not use the term as a generic name for the concept: his text refers to the actual playground, or a physical space for playing, meaning and experience. As the authors says, inside the magic circle, real-world events have special meanings. In the real world you kick a ball into a net but in the magic circle you score a goal.

Huizinga (1955, page 10) wrote that the arena, the card-table, the stage, the screen, etc, are all function playgrounds. They are all temporary worlds within the ordinary world, dedicated to the performance of an act apart.

As Ehrmann says (1968, p.55) in an antropology of play, the latest cannot be defined by isolating it on the basis of its relationship to an a priori reality and culture. To define play is, at the same time and in the same movement, to define reality and culture.

The Climate Game

The Climate Game is a production from a brazilian company named Games For Business that works in the area of serious games, that, following the thoughts of Nick Iuppa and Terry Borst (2007), may be explained as games with a professional, educational or pedagogical use. Climate Game is a game that challenges its players to save the world from global warming. This game is both of competition and cooperation. It promotes competition because the player who emits no carbonic gas at all wins. But the integrated work of all the other participants is essential in order not to exceed the gas limits of the greenhouse effect.

Therefore, participants have lots of puzzles to solve together and, as Juul says (2005, p.8) games are usually well-structured problems, and this has led them to be used in several other fields.

This kind of game will not transform a player into a specialist in ecology or in global warming, but it can reinforce important concepts about the planet’s health. This game can teach basic ideas and stimulate the players to search for more information about the theme.

By this brief overview we can conclude that game mechanics can be a meaningful space for significative experiences. It seems that these ideas are essential to study and understand the gaming universe and the impacts of the game culture in the contemporary world.

Poster

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REFERENCES

ADAMS, Ernest; ROLLINGS, Andrew. Fundamentals of Game Design. New Jersey: Pearson Prentice Hall, 2009

EHRMANN, Jacques. Homo Ludens Revisited. Yale French Studies, No 41. Game, Play, Literature (1968). pp. 31-57. (click here for download)

HUIZINGA, Johan. Homo Ludens: A Study of the Play-Element in Culture. Boston: The Beacon Press, 1955.

IUPPA, Nick & BORST, Terry. Story and simulations for serious games: tales from the trenches. Burlington: Focal Press, 2007.

JUUL, Jesper. Half-Real: Video Games between Real Rules and Fictional Worlds. USA: MIT Press, 2005.

Climate Game english site >> click here.

Off-topic: Misinformation and trust on the social networking site Instagram

Well, this is not about games but it is about digital/social media. Here it goes: my paper to the ICA (International Communication Association) 2013 congress that happened in Málaga (Spain) last week.



I wrote this stuff alongside with my doctorate ‘mastermind’. =)

Check the content below:

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Misinformation and trust on the social networking site Instagram
Related area 5: Trust in the media

Dr. Gisela G. S. Castro (Professor of Postgraduate Studies on Communication and Consumption Practices at ESPM/Sao Paulo, Brazil; castro.gisela@gmail.com)
M.A. Vicente M. Mastrocola (Postgraduate Research student and graduation level teacher at ESPM/Sao Paulo, Brazil; vincevader@gmail.com)

Taking communication and consumption as leading and intertwining landmarks of contemporary culture, this presentation discusses a relevant issue regarding misinformation and trust within the context of social media. Acknowledging the prominence of digital networks in today’s mediapolis (SILVERSTONE 2006), where mass self communication (CASTELLS 2009) poses new challenges to understanding current modes of sociability and consumption, our focus will be directed to Instagram, a mobile photo based application for Android and iOS systems, in the light of a recent hoax episode involving Brazilian Internet users of this social networking site.

Some figures may help illustrate Brazil’s role in the global consumption market. The country is the fifth largest in the world, it has the sixth largest population and it ranks seventh in terms of Internet usage. Brazilians are heavy Internet users, spending the largest average number of hours in the Internet (23 hours a week). The country currently has 240 million active mobile devices (30% smartphones and 70% mobile phones), for a population slightly over 190 million (link here).

The circumstances that trigger our discussion began to take place in 2012. On one occasion, rumor was spread on the web alerting users that Instagram Host Company actually owned and was willing to sell content posted on the digital social network. As information quickly spread, thousands of Brazilian web users reacted angrily against the site.

The misunderstanding occurred because company officials had recently published new rules and part of the textual information had been misunderstood. Moments after the negative buzz had spread virally through major digital social networks, company co-founder Kevin Systrom issued a statement explaining that the pictures would not be sold under any circumstances (link here).

Even after the official clarification had been delivered, a significant number of Brazilian users remained skeptical about the application causing Instagram to suffer a heavy impact on its levels of trust.

Due to its huge popularity, Instagram quickly formed an active community of Brazilian users, many of whom are keen fans of the application. Therefore, small changes in its interface or protocols will generate immediate response from its fan based community. As Sandvoss and Harrington (2007) remark, for better or for worse fans tend to engage with their passions not in a rationally detached but in an emotionally involved and invested way. Even the slightest conflict of trust may trigger the display of anger and revolt involving fan communities in social media networks.

With this work we aim to highlight how tarnished corporate image may be as a result of distrust generated by misinformation spread among social media users. As Castro (2012: 188) notes, as more and more people spend hours online, digital technology plays a key role on levels of affection, trust or mistrust, it is important for companies to engage their consumers as partners and fans. In this attempt, social media networks can pose as an opportunity as well as a potential risk.

Informed by academic studies on communication and consumer culture, with special emphasis on digital social networks, our empirical research is based on the virtual ethnographic approach (HINE 2000; KOZINETS 2009). The challenge here is to explore the process of making connections while crisscrossing boundaries related to online and offline corporate as well as interpersonal routines and sensibilities.

We welcome the opportunity to present this relevant discussion as a means of contributing to the ongoing efforts in exploring the role played by the media – especially social media – in constructing and deconstructing ever shifting levels of trust and distrust in today’s culture of consumption.

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References:

CASTRO, Gisela G. S. Entretenimento, sociabilidade e consumo nas redes sociais: ativando o consumidor-fã. IN: CASAQUI, V. e ROCHA, R. M. Estéticas midiáticas e narrativas do consumo. Porto Alegre: Sulina, 2012, p. 187 - 206.

CASTELLS, Manuel. Communication Power. Oxford, N. York: Oxford Press, 2009.

FEATHERSTONE, Mike. Consumer culture and postmodernism. London: Sage, 2007.

GRAY, J.; SANDVOSS, C.; HARRINGTON, L. (eds.). Fandom: identities and communities in a mediated world. NYU Press, 2007.

HINE, Christine. Virtual ethnography. London: Sage Publications, 2000.

KOZINETS, Robert V. Netnography: doing ethnographic research online. London: Sage, 2009.

SCHOLZ, Trebor (Ed.). Digital Labor: the internet as playground and factory. Routledge, 2013.

SILVERSTONE, Roger. Media and Morality: on the rise of the mediapolis. Cambridge, UK: Polity Press, 2006.