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This paper presents a case study of the key decisions made in the design of Orbit, a child sexual abuse prevention computer game targeted at school students between 8 and 10 years of age. Key decisions include providing supported delivery for the target age group, featuring adults in the program, not over-sanitizing game content, having a focus on building healthy self-concept of players, making the game engaging and relatable for all players and evaluating the program. This case study has implications for the design of Serious Games more generally, including that research should underpin game design decisions, game designers should consider ways of bridging the game to real life, the learning that arises from the game should go beyond rote-learning, designers should consider how the player can make the game-world their own and comprehensive evaluations of Serious Games should be undertaken.

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Drama in games is created by the interplay of the narrative structure of story and the ludic structure of challenges. In this paper, we combine Csikszentmihalyi's model of engagement and flow with Freytag's pyramid, a model of narrative structure. Using this combination, we explore the dramatic structure of Halo: Combat Evolved, comparing ludic and narrative structures at each stage of the game. Based on our analysis, we recommend that game designers recognise the importance of psychological states beyond flow, and structure gameplay to lead the player on a journey through different states. In particular, we defend the idea of pushing the player out of their comfort zone early in the game to provide motivation and positive stress, and ending the game with challenges below the player's level of expertise, to allow them to relax, reflect, and experience a sense of closure.