Digital games have become a remarkable cultural phenomenon in the last ten years. The casual games sector especially has been growing rapidly in the last few years. However, there is no clear view on what is "casual" in games cultures and the area has not previously been rigorously studied. In the discussions on casual games, "casual" is often taken to refer to the player, the game or the playing style, but other factors such as business models and accessibility are also considered as characteristic of "casual" in games. Views on casual vary and confusion over different meanings can lead to paradoxical readings, which is especially the case when "casual gamer" is taken to mean both "someone who plays casual games" and someone who "plays casually". In this article we will analyse the ongoing discussion by providing clarification of the different meanings of casual and a framework for an overall understanding of casual in the level of expanded game experience.
Game jams are intensive events focusing on creation. Their popularity and visibility have soared in recent years. The phenomenon has attracted the attention of scholars interested in education and learning, and the potential of game jams has been studied in various ways. Increasingly, game jams have come to be viewed as a site for learning. They are seen as activities for developing technical skills needed for digital game development, developing so-called soft skills such as collaboration and communication skills and as a way to teach and learn science, technology, engineering, arts, mathematics (STEAM) skills. In this article, the educational aspects of game jams are explored from multidisciplinary points of view. Combining education science, design research, and game studies, the authors position game jamming at the intersection of these disciplines to explore its various learning dimensions. This positioning provides a starting point for future studies of game jamming in the context of learning and teaching and invites discussion from diverse fields of study.
This paper introduces brainstorming games developed for the use of game designers. Three games designed especially for generating new game ideas were developed in the GameSpace project, which studies methods for design and evaluation of casual mobile multiplayer games. GameSpace idea generation games have been developed through an iterative process in collaboration with the end users: game industry professionals. According to our workshop experiences and tentative results from a pilot study, idea generation games can be successful devices for the creative work of game designers. Gamebased idea generation techniques provide an easily facilitated, focused yet playful setting for coming up with new ideas. However, our experiences indicate that idea generation games feature special challenges that must be taken into consideration when designing such games.
In this article we examine playful hybrid products located in the intersection of toys and games. By hybrid, we mean games and toys that utilize digital environments to provide added value to tactile, physical or material experiences. The paper aims to create a preliminary model for mapping hybrid dimensions. Our initial analysis paints a picture of a design space with varied degrees of hybridity. Comparing seven example cases lets us see how in some products the digital part of the experience is independent of the material side, while sometimes these sides are co-dependent. Further, in some cases the digital and material halves are intertwined to a synchronous experience, whereas in others they take turns. Our analysis is preliminary at this point and we conclude that there is much room for future research in the field of hybrid play products.
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