Games, whether educational or recreational, are meant to be fun. How do we ensure that the game delivers its intent? The answer to this question is playtesting. However, a haphazard playtest process cannot discover play experience from various dimensions. Players' perceptions, affordances, age, gender, culture, and many more human factors influence play experience. A playtest requires an intensive experimental process and scientific protocols to ensure that the outcomes seen are reliable for the designer. Playtesting and players' affordances are the focus of this book. This book is not just about the playtest procedures but also demonstrates how they lead to the conclusions obtained when considering data sets. The playtest process or playtest stories differ according to the hypothesis under investigation. We cover examples of playtesting to identify the impact of human factors, such as age and gender, to examine a player's preferences for game objects' design and colors. The book details topics to reflect on possible emotional outcomes of the player at the early stages of game design as well as the methodology for presenting questions to players in such a way as to elicit authentic feedback. This book is intended mainly for game designers, researchers, and developers. However, it provides a general understanding of affordances and human factors that can be informative for readers working in any domain.

Games, whether educational or recreational, are meant to be fun. How do we ensure that the game delivers its intent? The answer to this question is playtesting. However, a haphazard playtest process cannot discover play experience from various dimensions. Players' perceptions, affordances, age, gender, culture, and many more human factors influence play experience. A playtest requires an intensive experimental process and scientific protocols to ensure that the outcomes seen are reliable for the designer. Playtesting and players' affordances are the focus of this book. This book is not just about the playtest procedures but also demonstrates how they lead to the conclusions obtained when considering data sets. The playtest process or playtest stories differ according to the hypothesis under investigation. We cover examples of playtesting to identify the impact of human factors, such as age and gender, to examine a player's preferences for game objects' design and colors. The book details topics to reflect on possible emotional outcomes of the player at the early stages of game design as well as the methodology for presenting questions to players in such a way as to elicit authentic feedback. This book is intended mainly for game designers, researchers, and developers. However, it provides a general understanding of affordances and human factors that can be informative for readers working in any domain.

Making a successful video game is hard. Even games that are successful at launch may fail to engage and retain players in the long term due to issues with the user experience (UX) that they are delivering. The game user experience accounts for the whole experience players have with a video game, from first hearing about it to navigating menus and progressing in the game. UX as a discipline offers guidelines to assist developers in creating the experience they want to deliver, shipping higher quality games (whether it is an indie game, AAA game, or "serious game"), and meeting their business goals while staying true to their design and artistic intent. In a nutshell, UX is about understanding the gamer’s brain: understanding human capabilities and limitations to anticipate how a game will be perceived, the emotions it will elicit, how players will interact with it, and how engaging the experience will be. This book is designed to equip readers of all levels, from student to professional, with neuroscience knowledge and user experience guidelines and methodologies. These insights will help readers identify the ingredients for successful and engaging video games, empowering them to develop their own unique game recipe more efficiently, while providing a better experience for their audience. Key Features Provides an overview of how the brain learns and processes information by distilling research findings from cognitive science and psychology research in a very accessible way. Topics covered include: "neuromyths", perception, memory, attention, motivation, emotion, and learning. Includes numerous examples from released games of how scientific knowledge translates into game design, and how to use a UX framework in game development. Describes how UX can guide developers to improve the usability and the level of engagement a game provides to its target audience by using cognitive psychology knowledge, implementing human-computer interaction principles, and applying the scientific method (user research). Provides a practical definition of UX specifically applied to games, with a unique framework. Defines the most relevant pillars for good usability (ease of use) and good "engage-ability" (the ability of the game to be fun and engaging), translated into a practical checklist. Covers design thinking, game user research, game analytics, and UX strategy at both a project and studio level. Offers unique insights from a UX expert and PhD in psychology who has been working in the entertainment industry for over 10 years. This book is a practical tool that any professional game developer or student can use right away and includes the most complete overview of UX in games existing today.

A gaming academic offers a “fascinating” exploration of why we play video games—despite the unhappiness we feel when we fail at them (Boston Globe) We may think of video games as being “fun,” but in The Art of Failure, Jesper Juul claims that this is almost entirely mistaken. When we play video games, our facial expressions are rarely those of happiness or bliss. Instead, we frown, grimace, and shout in frustration as we lose, or die, or fail to advance to the next level. Humans may have a fundamental desire to succeed and feel competent, but game players choose to engage in an activity in which they are nearly certain to fail and feel incompetent. So why do we play video games even though they make us unhappy? Juul examines this paradox. In video games, as in tragic works of art, literature, theater, and cinema, it seems that we want to experience unpleasantness even if we also dislike it. Reader or audience reaction to tragedy is often explained as catharsis, as a purging of negative emotions. But, Juul points out, this doesn't seem to be the case for video game players. Games do not purge us of unpleasant emotions; they produce them in the first place. What, then, does failure in video game playing do? Juul argues that failure in a game is unique in that when you fail in a game, you (not a character) are in some way inadequate. Yet games also motivate us to play more, in order to escape that inadequacy, and the feeling of escaping failure (often by improving skills) is a central enjoyment of games. Games, writes Juul, are the art of failure: the singular art form that sets us up for failure and allows us to experience it and experiment with it. The Art of Failure is essential reading for anyone interested in video games, whether as entertainment, art, or education.

A foundational text offering a unified design vocabulary and a common methodology for maximizing the expressive power of digital artifacts. Digital artifacts from iPads to databases pervade our lives, and the design decisions that shape them affect how we think, act, communicate, and understand the world. But the pace of change has been so rapid that technical innovation is outstripping design. Interactors are often mystified and frustrated by their enticing but confusing new devices; meanwhile, product design teams struggle to articulate shared and enduring design goals. With Inventing the Medium, Janet Murray provides a unified vocabulary and a common methodology for the design of digital objects and environments. It will be an essential guide for both students and practitioners in this evolving field. Murray explains that innovative interaction designers should think of all objects made with bits—whether games or Web pages, robots or the latest killer apps—as belonging to a single new medium: the digital medium. Designers can speed the process of useful and lasting innovation by focusing on the collective cultural task of inventing this new medium. Exploring strategies for maximizing the expressive power of digital artifacts, Murray identifies and examines four representational affordances of digital environments that provide the core palette for designers across applications: computational procedures, user participation, navigable space, and encyclopedic capacity. Each chapter includes a set of Design Explorations—creative exercises for students and thought experiments for practitioners—that allow readers to apply the ideas in the chapter to particular design problems. Inventing the Medium also provides more than 200 illustrations of specific design strategies drawn from multiple genres and platforms and a glossary of design concepts.

Esta enciclopedia presenta numerosas experiencias y discernimientos de profesionales de todo el mundo sobre discusiones y perspectivas de la la interacción hombre-computadoras

This edited collection brings together leading academics in the field to explore the ways in which digital and non-digital artifacts shape how groups and collectives organize. It focuses on the idea of materiality and the interactions between the social and the technical in organizations, at work, and in technologies