Six years of gaming content in 286 posts.
Thanks to the followers.
Long live to GAME ANALYTICZ!
Check the first post by clicking here.
#GoGamers
Thanks to the followers.
Long live to GAME ANALYTICZ!
Check the first post by clicking here.
#GoGamers
Showing posts with label vincevader. Show all posts
Showing posts with label vincevader. Show all posts
Teaser trailer: MIND ALONE
In a partnership with SIOUX Studios from São Paulo I'll launch my new mobile game soon (end of October probably)! MIND ALONE is a text-based ludic interface. It is an experimental puzzle game that uses different functions from smartphones to create an immersive suspense/terror narrative. It is a “scape the room” game, but the room is your own mind. Each memory is a puzzle. The aim is to solve the puzzles, recover your memory, reach the surface and wake up from this mysterious nightmare.
Check the teaser trailer:
Wait for news here!
#GoGamers
Check the teaser trailer:
Wait for news here!
#GoGamers
Article: Analyzing the creative process of mobile indie game RockFlickz
A complete article discussing in details the creative process of my last mobile game RockFlickz. Click here to download.
Send me your opinion!
#GoGamers
Send me your opinion!
#GoGamers
International Academic Conference on Management, Economics and Marketing in Budapest 2017, Hungary (IAC-MEM 2017 in Budapest)
Last week I was in Budapest to attend the International Academic Conference on Management, Economics and Marketing. The event was great! Full of good content and awesome people. This conference is very important to me because it's the first event that I attended as a PhD (Yeah! Finished my doctorate one month ago!).
I had the opportunity to present the article "Advergames: games as marketing tools". Below, I want to share the PDF file with some slides from the presentation.
You can download the full article by clicking here.
One more international achievement unlocked. =)
#GoGamers
I had the opportunity to present the article "Advergames: games as marketing tools". Below, I want to share the PDF file with some slides from the presentation.
You can download the full article by clicking here.
One more international achievement unlocked. =)
#GoGamers
Book: Levelling Up - The Cultural Impact of Contemporary Videogames
Wow! I want to share very good news in this last post of the year: in 2015, I presented the paper “Observing Iterative Design on the Game Dominaedro”, that I wrote for the Video Game Cultures & The Future of Entertainment conference (VG7).
Yesterday, I received awesome news from the organizers: all the papers from the conference were compiled in a fantastic book named "Levelling Up: The Cultural Impact of Contemporary Videogames". Edited by Brittany Kuhn and Alexia Bhéreur-Lagounaris, and published by Inter-Disciplinary Press (Oxford) the book is a wide discussion about gaming culture in the contemporary scenario. Check the cool cover below:
CLICK HERE to buy!
Below, you can read the book's synopsis:
"Videogames have come a long way from Super Mario Bros and Pong. After thirty years of technological advancements and academic criticisms, videogames have become a fertile ground for social change and virtual identity creation. Where big game companies like Bioware, Bethesda, and Rockstar Games have begun to include more inclusive narratives, independent game companies are beginning to delve into the field of ‘serious games,’ capitalising on the popularity and prevalence of social networking to inspire and assist non-game-related fields. While all of this is happening, a new subculture has become to dominate social media: that of the fanboy and the Let’s Play YouTube video phenomenon. It is a dynamic time in videogame studies, from the perspective of player, designer and theorist. However, with the advent of virtual reality, the question remains: where will videogames, and subsequently our society, ‘level up’ to next?"
#GoGamers
Yesterday, I received awesome news from the organizers: all the papers from the conference were compiled in a fantastic book named "Levelling Up: The Cultural Impact of Contemporary Videogames". Edited by Brittany Kuhn and Alexia Bhéreur-Lagounaris, and published by Inter-Disciplinary Press (Oxford) the book is a wide discussion about gaming culture in the contemporary scenario. Check the cool cover below:
CLICK HERE to buy!
Below, you can read the book's synopsis:
"Videogames have come a long way from Super Mario Bros and Pong. After thirty years of technological advancements and academic criticisms, videogames have become a fertile ground for social change and virtual identity creation. Where big game companies like Bioware, Bethesda, and Rockstar Games have begun to include more inclusive narratives, independent game companies are beginning to delve into the field of ‘serious games,’ capitalising on the popularity and prevalence of social networking to inspire and assist non-game-related fields. While all of this is happening, a new subculture has become to dominate social media: that of the fanboy and the Let’s Play YouTube video phenomenon. It is a dynamic time in videogame studies, from the perspective of player, designer and theorist. However, with the advent of virtual reality, the question remains: where will videogames, and subsequently our society, ‘level up’ to next?"
#GoGamers
A practical checklist for your gaming project
I’m a very methodical person. I like to organize everything in my everyday life and in my work. In this post, I want to share a small checklist I’ve created for my gaming projects. It’s a synthesis of the main points to remember in a game’s creative process and production. Check the fields and plan your work!
You can use it, copy it, add elements to it and share it. Just remember to give credits to @vincevader. Enjoy it!
#GoGamers
You can use it, copy it, add elements to it and share it. Just remember to give credits to @vincevader. Enjoy it!
| Essential elements in the game design/production process | Yes (√) | No (X) |
| The concept and main idea are defined | ||
| I can tell the game idea in 20 seconds | ||
| The game has a narrative | ||
| In case of a narrative, it has a well-defined beginning and ending | ||
| The game is focused in pure mechanics, there’s no need of a narrative | ||
| The mechanic(s) is (are) well defined | ||
| I already constructed a simple pre-prototype (digital or analogical) | ||
| I already tested the game with imaginary players simulating a real match | ||
| I already made one first complete prototype (analogical or digital) that can be played by beta-testers | ||
| I already coordinated at least ten beta-test sessions with different players, using the first complete prototype | ||
| I applied modifications in the game after the beta-test sessions | ||
| I already created a more complete prototype that has most parts of the game’s final version | ||
| I made contact with other professionals (artists, programmers etc.) to finalize the game | ||
| I have a strategy to launch my game and disclose it in social networks, sites and other channels | ||
| I have a partner to distribute/sell the game | ||
| I’m satisfied with the final product | ||
| The game is ready to be launched |
#GoGamers
Rock Flickz: download it now!
This month, my new mobile game, Rock Flickz, was released. I already talked a little bit about the game in this post and now you can download it in the App Store and Play Store for free.
I created this game in a partnership with the digital agency Sioux, from São Paulo and the site Shovel Music. Rock Flickz is a casual experience with a “match the color” mechanics. In the background, players can listen to music from Brazilian independent bands and share their impressions about them. The game has a business model structured in advertising and partnership with a music site named Shovel.
Download it now! Experience a true Brazilian indie game filled with Brazilian indie music! Click here to access the official site.
One more important information: today we celebrate FIVE YEARS of Gaming Conceptz*! Cheers, my friends!
#GoGamers
*Check the first post here.
I created this game in a partnership with the digital agency Sioux, from São Paulo and the site Shovel Music. Rock Flickz is a casual experience with a “match the color” mechanics. In the background, players can listen to music from Brazilian independent bands and share their impressions about them. The game has a business model structured in advertising and partnership with a music site named Shovel.
Download it now! Experience a true Brazilian indie game filled with Brazilian indie music! Click here to access the official site.
One more important information: today we celebrate FIVE YEARS of Gaming Conceptz*! Cheers, my friends!
#GoGamers
*Check the first post here.
The importance of wireframes in the creative process of gaming
Information architecture is the basis for many digital products in the contemporary scenario. Apps, games, sites, bank phones and many other platforms are designed following the principles of this discipline.
We have many definitions for information architecture, but one that fits better in this post’s subject comes from Rosenfeld and Morville (2002, p.4): I.A. is “an emerging discipline and community of practice focused on bringing principles of design and architecture to the digital landscape”. When we talk about I.A. we are talking about carefully planning a project. One architect will never build a house without a plan, a map or blueprints – so, we will never build a game without instructions, plans, rules, prototypes or models.
In this post, I want to emphasize the importance of wireframes in the creative process of a digital mobile game. After the definition of the concept, the development of rules and the first tests of the game, it’s fundamental to structure one grid with the basic gaming features and mechanics.
I will use my new game Rock Flickz as an example for this post: after the definition of a theme and a “match the color” mechanics, we started to work on the wireframes – simple structures that indicate the core movements and contents of the game. The function of a wireframe is not to “block” the structure, but to build the functionality of the game. Check below some wireframes with the basic mechanics, menu and main screens from the game (and in the end, the final interface).
So, before the complex codes and final layouts, it’s important to plan – in a simple way – how the game works. It may not be as cool, but it is a fundamental guide to bring the product to life.
It’s important to highlight that wireframes are one curious intersection between the prototype and the final version. It’s a tool to gain time and minimize errors. It’s one methodological process that can be used in analogical and digital game.
#GoGamers
Reference:
ROSENFELD, Louis; MORVILEE, Peter. Information architecture for the world wide web. Sebastopol: O’Reilly, 2002.
We have many definitions for information architecture, but one that fits better in this post’s subject comes from Rosenfeld and Morville (2002, p.4): I.A. is “an emerging discipline and community of practice focused on bringing principles of design and architecture to the digital landscape”. When we talk about I.A. we are talking about carefully planning a project. One architect will never build a house without a plan, a map or blueprints – so, we will never build a game without instructions, plans, rules, prototypes or models.
In this post, I want to emphasize the importance of wireframes in the creative process of a digital mobile game. After the definition of the concept, the development of rules and the first tests of the game, it’s fundamental to structure one grid with the basic gaming features and mechanics.
I will use my new game Rock Flickz as an example for this post: after the definition of a theme and a “match the color” mechanics, we started to work on the wireframes – simple structures that indicate the core movements and contents of the game. The function of a wireframe is not to “block” the structure, but to build the functionality of the game. Check below some wireframes with the basic mechanics, menu and main screens from the game (and in the end, the final interface).
So, before the complex codes and final layouts, it’s important to plan – in a simple way – how the game works. It may not be as cool, but it is a fundamental guide to bring the product to life.
It’s important to highlight that wireframes are one curious intersection between the prototype and the final version. It’s a tool to gain time and minimize errors. It’s one methodological process that can be used in analogical and digital game.
#GoGamers
Reference:
ROSENFELD, Louis; MORVILEE, Peter. Information architecture for the world wide web. Sebastopol: O’Reilly, 2002.
Level up + power up!
In 2013, I started my doctorate in ESPM (São Paulo) studying the intersections between communication, technology and consume. At that time, when I was planning the main activities for the four-year course, I had decided that 2016 would be the year to make an old dream come true: to spend some time studying and living abroad.
During the first two years of the doctorate (and the previous year), I made excellent contacts in many European universities in cities like Antwerp, Copenhagen, Prague, Oxford, Budapest, Bratislava and others. These contacts were fundamental to start my journey, which I like to call my "side quest adventure".
In the middle of 2015, I started to activate my contacts to establish the first steps of my trip. After some time, I received an invitation from the Paneurópska vysoká škola to go to Bratislava (Slovakia) and study during the first semester of 2016. A formal agreement was signed between ESPM and PEU, creating interesting bonds for further researches and partnerships.
So, in the beginning of this year, I travelled to Bratislava and, since then, I'm living in this awesome city where I already made great friends and discovered why Slovakia is called "big small country".
The whole semester was very rich and full of good experiences. Just to highlight some of them: 1) I gave some marketing/communication strategy classes for graduation students in Paneurópska vysoká škola (Bratislava); 2) I made a presentation about game design at the Alpen Adria Universität in Klagenfurt (Austria); 3) I presented one lecture about gaming interface at the Charles University in Prague (Czech Republic); 4) I attended an advergaming conference at Bucharest (Romania); 5) I wrote an article about wearable technologies for the Global Media Journal Slovak edition; 6) One text that I wrote with my friend Marcelo Vasconcellos about gaming concepts for the health area was published as a chapter in a book titled "Mapping the Digital", edited by Oxford University; 7) Finally, I progressed a lot on my doctorate thesis in this excellent time for thinking and reflecting.
I want to wish all the best for everybody that made this dream possible. =)
Tomorrow, I'm going back to Brazil.
Now it's time to finish the doctorate.
With many experience points.
On a higher level.
Ready for the next stage.
#GoGamers
During the first two years of the doctorate (and the previous year), I made excellent contacts in many European universities in cities like Antwerp, Copenhagen, Prague, Oxford, Budapest, Bratislava and others. These contacts were fundamental to start my journey, which I like to call my "side quest adventure".
In the middle of 2015, I started to activate my contacts to establish the first steps of my trip. After some time, I received an invitation from the Paneurópska vysoká škola to go to Bratislava (Slovakia) and study during the first semester of 2016. A formal agreement was signed between ESPM and PEU, creating interesting bonds for further researches and partnerships.
Me and the "man at work" statue (Bratislava)
So, in the beginning of this year, I travelled to Bratislava and, since then, I'm living in this awesome city where I already made great friends and discovered why Slovakia is called "big small country".
The whole semester was very rich and full of good experiences. Just to highlight some of them: 1) I gave some marketing/communication strategy classes for graduation students in Paneurópska vysoká škola (Bratislava); 2) I made a presentation about game design at the Alpen Adria Universität in Klagenfurt (Austria); 3) I presented one lecture about gaming interface at the Charles University in Prague (Czech Republic); 4) I attended an advergaming conference at Bucharest (Romania); 5) I wrote an article about wearable technologies for the Global Media Journal Slovak edition; 6) One text that I wrote with my friend Marcelo Vasconcellos about gaming concepts for the health area was published as a chapter in a book titled "Mapping the Digital", edited by Oxford University; 7) Finally, I progressed a lot on my doctorate thesis in this excellent time for thinking and reflecting.
I want to wish all the best for everybody that made this dream possible. =)
Tomorrow, I'm going back to Brazil.
Now it's time to finish the doctorate.
With many experience points.
On a higher level.
Ready for the next stage.
#GoGamers
Book: Mapping the Digital - Cultures and Territories of Play
I want to share good news in this post: in 2014, I presented the paper “Health, consumption and entertainment: the Nike brand embodied as a playful experience”, that I wrote along with my friend Marcelo Vasconcellos for the Video Game Cultures & The Future of Entertainment conference (VG6).
This week, I received awesome news: all the papers from the conference were compiled in a fantastic book named Mapping the Digital - Cultures and Territories of Play. Edited by Lindsey Joyce and Brian Quinn, and published by Inter-Disciplinary Press (Oxford) the book is a wide discussion about the state of play and the state of games in contemporary culture.
This is what I call a level upgrade!
CLICK HERE to buy!
Below, you can read the book's synopsis:
"Mappings the Digital: Cultures and Territories of Play is an interdisciplinary discussion about the state of play and the state of games in contemporary culture. This volume takes a critical look and how our cultures and territories are being renegotiated through our engagement with digital media, games, and tools. This volume argues broadly that our tangible world, and our understanding of it, are being renegotiated and remapped by the digital worlds with which we engaged. Specifically, the chapters in this volume analyse linguistic changes; unique in-game cultures and behaviours; and new methods for communicating across real and perceived boundaries, for understanding cultural experiences, and for learning through play. Drawing from the global expertise of scholars within the fields of Cultural Studies, Game Studies, Foreign Language, Science and more, this volume bridges academic boarders to assemble a cohesive and authoritative resource on digital culture and play".
#GoGamers
This week, I received awesome news: all the papers from the conference were compiled in a fantastic book named Mapping the Digital - Cultures and Territories of Play. Edited by Lindsey Joyce and Brian Quinn, and published by Inter-Disciplinary Press (Oxford) the book is a wide discussion about the state of play and the state of games in contemporary culture.
This is what I call a level upgrade!
CLICK HERE to buy!
Below, you can read the book's synopsis:
"Mappings the Digital: Cultures and Territories of Play is an interdisciplinary discussion about the state of play and the state of games in contemporary culture. This volume takes a critical look and how our cultures and territories are being renegotiated through our engagement with digital media, games, and tools. This volume argues broadly that our tangible world, and our understanding of it, are being renegotiated and remapped by the digital worlds with which we engaged. Specifically, the chapters in this volume analyse linguistic changes; unique in-game cultures and behaviours; and new methods for communicating across real and perceived boundaries, for understanding cultural experiences, and for learning through play. Drawing from the global expertise of scholars within the fields of Cultural Studies, Game Studies, Foreign Language, Science and more, this volume bridges academic boarders to assemble a cohesive and authoritative resource on digital culture and play".
#GoGamers
SHARING THE GOOD NEWS
Cengage Learning has just launched my new book in Brazil, today. GAME CULTURA: COMUNICAÇÃO, ENTRETENIMENTO E EDUCAÇÃO (GAMING CULTURE: COMMUNICATION, ENTERTAINMENT AND EDUCATION) is a study addressing educational aspects, narratives, questions and marketing strategies involving games. The final words were written by Uruguayan game designer and researcher Gonzalo Frasca (¡Gracias!, @frascafrasca!).
CLICK HERE TO BUY!
#GoGamers
CLICK HERE TO BUY!
#GoGamers
Presentations at Klagenfurt (Austria) and Prague (Czech Republic)
Last week was awesome! I did two presentations in two great European universities, and I will talk a little bit about the experience and share the content in this post.
1. Klagenfurt
In April 15th, I did a presentation at the 3rd Klagenfurt Game Jam. The event happened at Alpen-Adria-Universität and had many serious discussions about games, gaming concepts, games and accessibility, gamification and much more. I want to thank my friend René Schallegger for the invitation and support in this amazing experience.
My presentation was about my new game, Rock Flickz (which will be in app stores by the end of April) and how we can use a mobile game for music advertising, entertainment and business. You can see the presentation below:
2. Prague
I took a train in Klagenfurt and went straight to Prague for another presentation. This time, I was invited by my friend Daniel Riha to talk to some students from the Charles University (Faculty of Humanities) about "Game Interface Design". Another excellent experience that I want to share in the presentation below:
I think my curriculum has just risen some levels =)
#GoGamers
1. Klagenfurt
In April 15th, I did a presentation at the 3rd Klagenfurt Game Jam. The event happened at Alpen-Adria-Universität and had many serious discussions about games, gaming concepts, games and accessibility, gamification and much more. I want to thank my friend René Schallegger for the invitation and support in this amazing experience.
My presentation was about my new game, Rock Flickz (which will be in app stores by the end of April) and how we can use a mobile game for music advertising, entertainment and business. You can see the presentation below:
2. Prague
I took a train in Klagenfurt and went straight to Prague for another presentation. This time, I was invited by my friend Daniel Riha to talk to some students from the Charles University (Faculty of Humanities) about "Game Interface Design". Another excellent experience that I want to share in the presentation below:
I think my curriculum has just risen some levels =)
#GoGamers
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
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
Narrative and games
Some posts in the past, I’ve talked about the games I’ve created. I explained some approaches and creativity process to the games YN, Álmok, Dominaedro and others. All these games have something in common: they are abstract games, more focused on mechanics and less in narrative.
But, at this moment, I’m developing with some friends a new mobile game named: MIND ALONE. I’ll talk more about this game later, but it’s basically an interactive narrative for mobile platforms. So, what is it we actually mean by interactive narrative? Ince (2006, p.48) defines very well the term, saying, “In a broad sense it is simply that the experience of the unfolding story responds to the actions of the participant. In terms of games, those actions are the gameplay choices the player makes. At any one time, the way the narrative responds could be character-related, plot-related, story-related, or a combination of these”. I’m studying a lot of books to give the right tune to this ludic interface.
The game I’m creating is more based on plot/story-related. I intend to put some dark atmosphere with an intense narrative in it, and the gameplay will be created using some clever puzzles in the background. The idea here is to follow the concept that “story, dialogue, character profiles, etc., should all be created in a way that add to the design of the gameplay” (INCE, 2006, p.36).
So, wait for news about my new game. It’s a new creative experience for me and I hope for it to be a good journey for the players. The previous image is part of the game’s opening. Curious? Keep track here for more information.
Make games not war! =)
Go gamers!
Reference:
INCE, Steve. Writing for video games. London: A & C Black Publishers Limited, 2006.
But, at this moment, I’m developing with some friends a new mobile game named: MIND ALONE. I’ll talk more about this game later, but it’s basically an interactive narrative for mobile platforms. So, what is it we actually mean by interactive narrative? Ince (2006, p.48) defines very well the term, saying, “In a broad sense it is simply that the experience of the unfolding story responds to the actions of the participant. In terms of games, those actions are the gameplay choices the player makes. At any one time, the way the narrative responds could be character-related, plot-related, story-related, or a combination of these”. I’m studying a lot of books to give the right tune to this ludic interface.
The game I’m creating is more based on plot/story-related. I intend to put some dark atmosphere with an intense narrative in it, and the gameplay will be created using some clever puzzles in the background. The idea here is to follow the concept that “story, dialogue, character profiles, etc., should all be created in a way that add to the design of the gameplay” (INCE, 2006, p.36).
So, wait for news about my new game. It’s a new creative experience for me and I hope for it to be a good journey for the players. The previous image is part of the game’s opening. Curious? Keep track here for more information.
Make games not war! =)
Go gamers!
Reference:
INCE, Steve. Writing for video games. London: A & C Black Publishers Limited, 2006.
Talking about my new mobile game DOMINAEDRO
Last week my new game, DOMINAEDRO, landed at the App Store. The game is a strategic puzzle that mixes dominoes and tic-tac-toe. It’s is an abstract battle between two players that uses pieces of domino as weapons.
The game, originally, was analogic and was launched as an independent title in the beginning of this year. After lots of positive reviews from Brazilian (and even European) sites I decided to transform the analogic version into a digital game.
The game is very simple and I will share the main idea of the rules below. The game’s grid is arranged with nine numbers randomly selected by the system. In a decreasing order: the highest number will be allocated in the center, intermediate values will be around the highest one, and lower values will be on the corners.
Your starting hand has 3 domino pieces. The player with the lowest sum of numbers in a single piece starts the game. On your turn, you must try to put a single piece in the grid respecting the following rules:
1) A number in a domino can only touch a piece with the same number, or lower, in the grid.
2) Like in a domino game, pieces connected on the grid must have the same numbers.
3) Every time you choose a piece, the system will point out the spaces allowed for allocating on the table.
You earn points by dominating a sum on the grid. For that, you should be the player with the highest sum of numbers around a value. In case of a tie, the sum of the second values of dominoes sets the winner. In case of a tie in both sides of the dominoes, the winner will be the player with more pieces.
The game ends when you cannot allocate more pieces on the grid. Each piece not allocated is worth -1 point. Values of the grid that were not completely surrounded by pieces are scored normally.
If a player has dominated all values in a row, column or diagonal, they win 4 extra points for each line. The player with the most points wins the game. Check a short video demo with the game mechanics below:
You can download DOMINAEDRO for free. Click here for more information. I’m waiting for your suggestions, critics and improvements.
Go gamers!
The game, originally, was analogic and was launched as an independent title in the beginning of this year. After lots of positive reviews from Brazilian (and even European) sites I decided to transform the analogic version into a digital game.
The game is very simple and I will share the main idea of the rules below. The game’s grid is arranged with nine numbers randomly selected by the system. In a decreasing order: the highest number will be allocated in the center, intermediate values will be around the highest one, and lower values will be on the corners.
Your starting hand has 3 domino pieces. The player with the lowest sum of numbers in a single piece starts the game. On your turn, you must try to put a single piece in the grid respecting the following rules:
1) A number in a domino can only touch a piece with the same number, or lower, in the grid.
2) Like in a domino game, pieces connected on the grid must have the same numbers.
3) Every time you choose a piece, the system will point out the spaces allowed for allocating on the table.
You earn points by dominating a sum on the grid. For that, you should be the player with the highest sum of numbers around a value. In case of a tie, the sum of the second values of dominoes sets the winner. In case of a tie in both sides of the dominoes, the winner will be the player with more pieces.
The game ends when you cannot allocate more pieces on the grid. Each piece not allocated is worth -1 point. Values of the grid that were not completely surrounded by pieces are scored normally.
If a player has dominated all values in a row, column or diagonal, they win 4 extra points for each line. The player with the most points wins the game. Check a short video demo with the game mechanics below:
You can download DOMINAEDRO for free. Click here for more information. I’m waiting for your suggestions, critics and improvements.
Go gamers!
Recreating game mechanics
One important thing about game design is the ability to learn from games. The act of creating a repertory full of different references and mechanics is fundamental for the work of a game designer.
With great knowledge of these points it is possible to recreate game mechanics. To demonstrate this, I will use as an example in this post a game that I created: ÁLMOK.
ÁLMOK is a card game for 2 to 4 players that uses an oneiric world as a scenario. Players need to find combinations of dreams to escape from a nightmare dimension.
The game mechanics were based in the classic memory game, with some modifications. In the original memory game, the idea is to find a pair of equal images, but in ÁLMOK, the players need to find three of a kind. After a player finds a “combo” of three cards, he or she earns a special coloured gem. Each gem has a special power (like discard cards from the table, see hidden cards, etc.) that could be used in the turn of a player.
So, in essence, it’s a memory game, but we have some “turbo” modifications.
The game is played with a 64 deck of cards in a 8x8 grid that offers a major challenge for the player’s mind.
Ceilikan Games launched the game in Brazil in February 2013. The art made by me and ÁLMOK means “dreams” in Hungarian language.
At this moment, I’m working on a translation into English for the rules and a print and play version to make available for download to non-Portuguese speakers. Wait for news!
With great knowledge of these points it is possible to recreate game mechanics. To demonstrate this, I will use as an example in this post a game that I created: ÁLMOK.
ÁLMOK is a card game for 2 to 4 players that uses an oneiric world as a scenario. Players need to find combinations of dreams to escape from a nightmare dimension.
The game mechanics were based in the classic memory game, with some modifications. In the original memory game, the idea is to find a pair of equal images, but in ÁLMOK, the players need to find three of a kind. After a player finds a “combo” of three cards, he or she earns a special coloured gem. Each gem has a special power (like discard cards from the table, see hidden cards, etc.) that could be used in the turn of a player.
So, in essence, it’s a memory game, but we have some “turbo” modifications.
The game is played with a 64 deck of cards in a 8x8 grid that offers a major challenge for the player’s mind.
Ceilikan Games launched the game in Brazil in February 2013. The art made by me and ÁLMOK means “dreams” in Hungarian language.
At this moment, I’m working on a translation into English for the rules and a print and play version to make available for download to non-Portuguese speakers. Wait for news!
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
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.
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
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.