An awesome class about gaming graphics. A great timeline to understand the history of videogames.
#GoGamers
#GoGamers
Mostrando postagens com marcador graphics. Mostrar todas as postagens
Mostrando postagens com marcador graphics. Mostrar todas as postagens
domingo, 30 de outubro de 2016
quinta-feira, 23 de outubro de 2014
Social engagement loops
The use of games in non-gaming activities is rising each and every year. The idea of “gamification” (or game thinking, or ludic interface) became popular in our business culture and one feature to highlight in this context is engagement.
A game, in a business context, for example, needs a perfect balance between serious content and entertainment. From there, it’s possible to create strategies to engage audiences more accurately.
One fundamental idea in this discussion is the idea of “social engagement loops”.
As Cunningham and Zichermann say (2011, p.67) “social engagement loops, while not exclusive to games, borrow heavily from a viral loop design. A designer must not only see the way a player engages with the system, but also how he leaves it and – perhaps even more importantly – what brings him back again. In a social engagement loop, a motivating emotion leads to player re-engagement, which leads to a social call to action, which flows to visible progress and/or rewards, which loops back around to a motivating emotion”.
The figure below illustrates this idea:
A social engagement loop, designed to maximize player engagement and reengagement using core product design (CUNNINGHAM; ZICHERMANN, 2011, p.68)
Certain ludic contexts need deeper strategic building. Especially when we talk about serious games, business games, and gamification. The book in the end of this post is a great source of reference for this subject.
Reference:
CUNNINGHAM, Christopher; ZICHERMANN, Gabe. Gamification by design: Implementing game mechanics in web and mobile apps. Canada: O’Reilly, 2011.
A game, in a business context, for example, needs a perfect balance between serious content and entertainment. From there, it’s possible to create strategies to engage audiences more accurately.
One fundamental idea in this discussion is the idea of “social engagement loops”.
As Cunningham and Zichermann say (2011, p.67) “social engagement loops, while not exclusive to games, borrow heavily from a viral loop design. A designer must not only see the way a player engages with the system, but also how he leaves it and – perhaps even more importantly – what brings him back again. In a social engagement loop, a motivating emotion leads to player re-engagement, which leads to a social call to action, which flows to visible progress and/or rewards, which loops back around to a motivating emotion”.
The figure below illustrates this idea:
A social engagement loop, designed to maximize player engagement and reengagement using core product design (CUNNINGHAM; ZICHERMANN, 2011, p.68)
Certain ludic contexts need deeper strategic building. Especially when we talk about serious games, business games, and gamification. The book in the end of this post is a great source of reference for this subject.
Reference:
CUNNINGHAM, Christopher; ZICHERMANN, Gabe. Gamification by design: Implementing game mechanics in web and mobile apps. Canada: O’Reilly, 2011.
quarta-feira, 12 de junho de 2013
Immersion, image & games
Last week we had the announcement of the new Microsoft's console, Xbox One. Few weeks ago we saw the presentation of the Playstation 4 and Nintendo launched the Wii U in the beginning of the year. The new generation of video games is here and gamers are curious about the enormous possibilities of this new communicational ecosystem. Undoubtedly, the graphics are one important piece to analyze in this process.
What I want to highlight in this discussion is the evolution of graphics on video games, since the first electronic games until today. We had a great leap from the first textual games (like Zork) to the modern first person shooters (like Call of Dutty).
Graphics on video games are important pieces to a player’s immersion. And I’m not talking about realistic graphics only, because all we know that an abstract game like Tetris could create a strong immersion in the players. A textual game could be immersive too, but it seems that images can be more determinant in this complex act.
As Aarseth remembers (1997, p.102) “images, specially moving images, are more powerful representations of spatial relations than texts, and therefore this migration from text to graphics is natural and inevitable”.
I think it’s possible to say that the main object of the graphics on a game is to be a kind of “bridge” or “portal” to the immersion. A kind of facilitator/translator to the player to get totally inside the game interface.
As Nitsche says (2008, p.44) “evocative narrative elements encourage players to project meaning onto events, objects, and spaces in game worlds. They help to infuse significance. Their value is not realized on the level of the element itself but in the way players read and connect them. Creating these connections, players can form narratives that refer to the game world. If this meaning assignment becomes very strong, the virtual items themselves can leave the rule-based space, fictional space, social space, and even the play space”.
In a world full of possibilities of connections and full of screens all around it’s important to study ways to create better immersion process to our players.
Now on to your opinion.
References:
AARSETH, Espen. Cibertext: Perspectives on Ergodic Literature. The Johns Hopkins University Press: Maryland, 1997.
NITSCHE, Michael. VIDEO GAME SPACES: image, play and structure in 3Dnworlds. Massachusetts: MIT Press, 2008
What I want to highlight in this discussion is the evolution of graphics on video games, since the first electronic games until today. We had a great leap from the first textual games (like Zork) to the modern first person shooters (like Call of Dutty).
Graphics on video games are important pieces to a player’s immersion. And I’m not talking about realistic graphics only, because all we know that an abstract game like Tetris could create a strong immersion in the players. A textual game could be immersive too, but it seems that images can be more determinant in this complex act.
As Aarseth remembers (1997, p.102) “images, specially moving images, are more powerful representations of spatial relations than texts, and therefore this migration from text to graphics is natural and inevitable”.
I think it’s possible to say that the main object of the graphics on a game is to be a kind of “bridge” or “portal” to the immersion. A kind of facilitator/translator to the player to get totally inside the game interface.
As Nitsche says (2008, p.44) “evocative narrative elements encourage players to project meaning onto events, objects, and spaces in game worlds. They help to infuse significance. Their value is not realized on the level of the element itself but in the way players read and connect them. Creating these connections, players can form narratives that refer to the game world. If this meaning assignment becomes very strong, the virtual items themselves can leave the rule-based space, fictional space, social space, and even the play space”.
In a world full of possibilities of connections and full of screens all around it’s important to study ways to create better immersion process to our players.
Now on to your opinion.
References:
AARSETH, Espen. Cibertext: Perspectives on Ergodic Literature. The Johns Hopkins University Press: Maryland, 1997.
NITSCHE, Michael. VIDEO GAME SPACES: image, play and structure in 3Dnworlds. Massachusetts: MIT Press, 2008
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