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Tattling, defined as the reporting to a second party of norm violations committed by a third party, is a frequent but little-studied activity among young children. Participant observation and quantitative sampling are used to provide a detailed characterization of tattling in 2 preschools (initial mean age = 4.08 years, N = 40). In these populations, tattling represents the majority of talk about peers' behavior to third parties. It is usually truthful, it rarely refers to transgressions committed against other individuals, it is not often ignored by adults, it is performed more frequently by dominant children, and it correlates with teacher reports of relational aggression. These exploratory results suggest several new avenues of research into children's developing understanding of social norms.

Adult humans are characterized by low rates of intra-group physical aggression. Since children tend to be more physically aggressive, an evolutionary developmental account shows promise for explaining how physical aggression is suppressed in adults. I argue that this is achieved partly through extended dominance hierarchies, based on indirect reciprocity and linguistic transmission of reputational information, mediated by indirectly aggressive competition. Reviewing the literature on indirect and related forms of aggression provides three pieces of evidence for the claim that evolutionarily old impulses towards physical aggression are socialized into indirect aggression in humans: (i) physical aggression falls in early childhood over the same age range at which indirect aggression increases; (ii) the same individuals engage in both direct and indirect aggression; and (iii) socially dominant individuals practice indirect aggression more frequently. Consideration of the developmental course of indirect aggression is complemented by analysis of similar developments in verbal behaviors that are not always thought of as aggressive, namely tattling and gossip. An important puzzle concerns why indirect aggression becomes more covert, and tattling more derogated, in preadolescence and adolescence. This may be due to the development of new strategies aimed at renegotiating social identity and friendship alliances in the peer group.

Serious games have received much positive attention; correspondingly, many researchers have taken up the challenge of establishing how to best design them. However, the current literature often focuses on best practice design strategies and frameworks. Fine-grained details, contextual descriptions, and organisational factors that are invaluable in helping us to learn from and reflect on project experiences are often overlooked. In this paper, we present five distinct and sometimes competing perspectives that are critical in understanding factors that influence serious game projects: project organisation, technology, domain knowledge, user research, and game design. We explain these perspectives by providing insights from the design and development process of an EU-funded serious game about conflict resolution developed by an interdisciplinary consortium of researchers and industry-based developers. We also point out a set of underlying forces that become evident from viewing the process from different perspectives, to underscore that problems exist in serious game projects and that we should open the conversation about them.

If you had three wishes to change the world, what would they be? Perhaps you would like to put an end to war? Reverse global warming? Or eliminate extreme poverty?

Games offer a compelling medium for learning. However, designing a successful learning game that features engagement alongside its educational objectives is a craft that is still underway. Our research adapts a user-centered approach toward designing a game that will teach children conflict resolution skills. By involving users of the game, namely teachers and students, in the design process we reveal new considerations for how to create convincing narratives of conflict, sustain children's engagement and gain teachers' support. At the same time, our work highlights the challenges facing researchers in this domain who must balance users' values, needs and expectations with the game's learning objectives.

Compassion-focused imagery (CFI) is an emotion-regulation technique involving visualization of a person, animal or object offering one compassion, to generate feelings of safeness. It is proven to increase self-compassion and reduce negative affect. This study explores two hypotheses not previously investigated: i) which sensory modalities can stimulate compassionate affect; and ii) whether presentation of pictorial stimuli can enhance CFI. Additionally, we examine iii) whether CFI can reduce shame and iv) whether self-criticism inhibits CFI, since previous studies have involved small samples or methodological limitations. After completing measures of self-criticism, selfreassurance and imagery abilities in five sensory modalities, participants (n=160) were randomly assigned to look at compassionate images during CFI (visual input), compassionate images before CFI (priming), or abstract images (control). Participants trialled CFI then rated compassionate affect and completed open-response questions. Before and after CFI, participants recalled a shame-based memory and rated state shame. Correlational analyses explored whether self-criticism, self-reassurance, and multisensory imagery abilities moderated outcomes. CFI significantly reduced shame regarding a recalled memory, particularly for those high in shame. Compassionate affect was predicted by imagery vividness in visual and bodily-sensation modalities. Self-criticism predicted poorer CFI In multiple regressions, self-reassurance predicted poorer CFI outcomes but self-criticism did not. Between-group effects did not emerge. Qualitative data suggested that pictures helped some participants but hindered others. CFI is a promising technique for shame-prone clients, but may be challenging for those with low imagery abilities or unfamiliar with self-reassurance. Multiple senses should be engaged.