Games for Change looking for
2 Production Interns

1508_Games for Change internship posting

Games for Change is seeking two production interns to support a range of game development projects. Candidates for this unpaid internship should meet the below qualifications and requirements.
 
Qualifications:

  • Very reliable, self-motivated, and proactive
  • Passion for and interest in social impact games and video game development (production, design, and development)
  • Highly organized and detailed-oriented
  • Strong communication skills and ability to work with remote teams
  • Desire to share Games for Change’s mission

 
Position details:

  • Support G4C staff (VP of Production and Program Manager) in daily activities across range of game development projects
  • Conduct research on games, game-related programs, tech opportunities and interventions, and game developers
  • Communicate and manage outreach to partners seeking support with impact game projects and liaise with game developers, funders, researchers, and evaluators
  • Conduct research relating to game projects
  • Compose overview documents and concept decks

 
Requirements:

  • Seeking full-time applicants (10-30 hours/week; minimum of six weeks)
  • Position based in Boston or New York (with the possibility of remote work for the right candidate)
  • Applicants must be enrolled in a college or university-level program

 
Applying:
To apply, please send an email with the subject line “Production Intern” to Tania Hack, Program Manager ([email protected]). Please send your resume as an attachment and include the following information in the body of the email:

  • Availability (hours per week) and location
  • School, program and expected graduation year
  • Overview of interest and experience with social impact games (design, play, etc.)
  • Details on any prior related internship experience

 

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Industry Circle: Filament Games measures results in learning games

GOOGLE HANGOUT WITH FILAMENT GAMES (SEPT. 17)

 
In our second installment of the G4C Industry Circle series, Filament Games shares a case study evaluating the impact of their engineering game Backyard Engineers. Hear even more about how Filament makes learning games and measures their results at our upcoming Google Hangout on September 17 at 2 p.m. EST. Send questions for our Q&A session via Twitter or Facebook with #G4CIndustry. RSVP here.

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A Case For Learning Games

Together with physical classroom activities, learning games afford students a more comprehensive view of classroom materials and a more dynamic classroom experience. Learning games can teach students about dynamic content in ways textbooks cannot. With Filament Games, students can explore organ systems, travel through the body as a cell, and watch plants grow and bloom in a matter of minutes. Learning games provide a safe environment for students to explore these environments and experiment with these systems.

Good learning games aren’t designed just for fun; they are designed to teach students predetermined learning outcomes. This case study on the game Backyard Engineers shows how learning games, used in conjunction with other classroom activities, can increase student learning.

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Backyard Engineers Case Study

Implementing game-based learning in the classroom creates opportunities for students to further their knowledge by exploring content in a meaningful and engaging way. Not only do learning games inspire and engage students — they help build critical thinking, creative problem-solving, and teamwork skills.

Learning games can be used in the classroom to teach new content, reinforce previously taught content, and measure student learning. Learning games are at their most beneficial when integrated with additional instructional activities [1]. A well-designed learning game can be seamlessly integrated into classroom experiences to create a richer, more dynamic learning ecosystem. Michele Huppert, seventh-grade STREAM (science, technology, reading, engineering, arts, and math) teacher at Spring Valley Middle School in Wisconsin, incorporated Backyard Engineers into her classroom activities and did just that.

Backyard Engineers is an engineering learning game aligned to middle-school science standards. In order to successfully complete the game, students must customize different catapult elements in order to manipulate movement, accuracy, and range.

In order to bring the advantages of game-based learning into the classroom, Backyard Engineers was incorporated into an interdisciplinary unit tied to Next Generation Science Standards. Not only did the students enjoy participating in the game, results showed an increase in test scores between a pre- and post-test.

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Key Results

  • An average 20.09% increase in general student scores between pre- and post-test
  • An average 9.56% increase in scores for students with identified special needs between pre- and post test
  • An average 17.42% increase in scores across all students between pre- and post-test

Key Components of Study Design

  • Pre- and post-test data: Gained through testing using Google Forms
  • Designated in-class game play time
  • Integration of digital and physical activities to reinforce classroom content
  • Post-experience reflective writing activities

Google Forms were utilized to create pre- and post-tests for the 63 seventh-grade students (16 of them were students with identified special needs) in this case study. All of the students received access to Backyard Engineers and played the game on designated lab days. Students also played Backyard Engineers on their own outside of class.

The game reinforced concepts that the students were learning during classroom lessons and activities. Concepts included catapult criteria and constraints, structural design, forces, velocity and acceleration, and work and energy.

In addition to playing Backyard Engineers, the students participated in a culminating event in which they were asked to design, build, and test catapults, towers, and heraldic banners. The students were then able to physically play a game similar to that of Backyard Engineers. When working in teams, students developed social and collaborative skills by selecting leaders to fill team positions.
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Backyard Engineers features dashboard capabilities that allow teachers to check in on progress and assess which learning objectives students have encountered. This function is available in real-time, allowing just-in-time intervention when students need it most! Integrated free curriculum is also available to enhance student learning and provide additional classroom activities.

Go to www.filamentlearning.com to learn more about implementing game-based learning and schedule a demo!

 
1. Wouters, P., van Nimwegen, C., van Oostendorp, H., & van der Spek, E. D. (2013, February 4). A Meta-Analysis of the Cognitive and Motivational Effects of Serious Games. Journal of Educational Psychology, 105(2), 249-265.

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Get your tickets for Jane McGonigal’s NYC talks (September 15, 16)

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In partnership with The New York Public Library and NYU Game Center, we’re pleased to invite you to two special evenings of inspiring thought and a book signing with award-winning game maker and best-selling author Jane McGonigal.

Jane will speak about a decade’s worth of scientific research into the ways all games change how we respond to stress, challenge, and pain. She’ll explain how we can cultivate new powers of recovery and resilience in everyday life simply by adopting a more “gameful” mindset, and bring the same psychological strengths we naturally display when we play games to real-world goals.

After her talk, she will sign copies of her second book Superbetter. This new book will be available for purchase at both events, and at Jane’s book tour stops across the country. If you can’t make it to these book signings, you can preorder a copy here.

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Industry Circle: Kognito asks, “What is the state of our industry?”

INTRODUCING THE INDUSTRY CIRCLE SERIES

We are pleased to introduce the first article in our series around our new initiative, the Industry Circle, which aims to acknowledge the achievements and challenges in the growing social impact games industry. We hope you enjoy the following article from Kognito’s CEO and co-founder Ron Goldman, and that we’ll see you at G4C’s Google Hangout Q&A with the Kognito executive team on August 24! Register here.

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What is the State of
our “Industry”?

By Ron Goldman, co-founder & CEO, Kognito

During the 2015 Games for Change Festival in NYC, together with Asi Burak, president of Games for Change (G4C), I organized a panel discussion entitled State of the Industry: A Town Hall, as part of the inaugural Industry Circle. The panel included executives from some of the leading companies involved in the G4C community such as Amplify, BrainPOP, Global Gaming Initiative, GlassLab, Filament Games, Schell Games, and Kognito. The goal was to have a candid discussion about where we stand in the process of transforming social impact games from a niche movement into a self-sustaining, growing industry.

We want to continue to discuss with the G4C community where we stand, where we should go, what critical challenges we face, and what we should be cautious about on this journey. We welcome your perspective, insights, criticism, and questions — even challenges about whether a mission-driven community like G4C should even try to become a self-sustaining industry.

To start this conversation, we have described what we refer to as “The 7 Keys to G4C Success,” which were a constant theme during the panel discussion at the G4C Festival. The companies that participated on the G4C panel will author future articles, each providing their unique perspectives on the issues.

The 7 Keys to G4C Success:

  1. Business Model: A critical component of building a sustainable, scalable business is the ability to develop your own content/IP and then sell or license it directly or through third parties to numerous clients at a price above your costs. A SaaS (Software-as-a-Service) subscription-based content delivery model best meets the need for small companies to attain recurring revenues and higher profit margins that they need to grow. Today, an increasing number of companies are investing in building a portfolio of owned games instead of creating client-owned content/IP in work-for-hire projects, but we are still a long way from this being the dominant business model. Current estimation is that the majority of companies generate more than 75% of their revenue from work-for-hire projects.
  2. The Type of Change Games Aim to Achieve: The “change” in G4C can be defined in many ways; however, we can probably all agree that the basis of any G4C should have at its core a social mission. Initially at G4C, the majority of games were educational software concerning school curricula around math and science learning skills. While games clearly present a way to revolutionize how math and science are taught in school, many don’t view teaching math as a social topic but as an educational topic. Over the past few years, we have seen an increasing number of games dedicated to core social change issues such as supporting vulnerable populations, mental health, civics, human trafficking, and discrimination. This shift is a clear indicator of an almost holistic understanding of where developers and clients now envision the potential of games to change perception, attitudes, and behaviors around social and health topics. This is a key factor in the value proposition that we are all offering the market.
  3. Diversification of Funding Sources: Early-stage industries tend to rely on foundations and government grants as sources of funding. For example, the Robert Wood Johnson Foundation supported Games for Health through its initial years. Multiple government research grants secured by companies in our field are also great examples of short-term wins that we can all reference. However, relying on these sources for too long is perilous, as awards are usually designed as work-for-hire and don’t offer the recurring revenue upside to act as long-term, on-going financial support for an emerging industry. Long-term G4C members are all painfully aware of outstanding teams of game designers that closed up shop due to foundations or government grantors shifting their priorities. While some G4C companies have been increasingly successful in securing more of their revenue from long-term sources (e.g., content licensing), foundations and government grants still account for the majority of funding secured by our community members.
  4. Venture Capital/Investors: While foundations and government research grantors are comfortable taking risk on unproven approaches, investors cannot and do not. Investors do not invest in niche categories with marginally profitable products based on limited clinical science. Investors must consider the scalability and clinical validity of products and solutions. Now, as angel investors and institutional venture capitalists begin to invest in G4C companies, they are sending a clear message that we are a viable industry. We should celebrate every investment made in our space. We must examine these events more closely and incorporate and leverage similar business strategies in our own organizations to attract even more investors to our space. The success that members are starting to experience is not a false positive. Things are moving. Investors are interested. We are addressing the need. Investors know this.
  5. Prove the Change: Changing perceptions, attitudes, and behaviors is a difficult task, and while game-based experiences are superior in achieving such changes when compared to traditional PSAs, flyers, and lectures, this won’t count as long as we can’t prove it. Conducting empirical research to prove the efficacy of games for change has been a discussion for several years and groups like the Health Games Research at USC and the Impact with Games: A Fragmented Field report from G4C are great — but rare — examples. Our conversation about success is still defined by how many people accessed the game or how many articles were written on it in the media.
  6. Companies Solely Committed to Selling Games for Change: When someone asks you what you do, what do you tell them? It’s an important response. As the spotlight on our industry increases, the number of companies that are truly dedicating their efforts to G4C will become a critical element to our credibility and viability. Our community is built of nonprofits, foundations, and companies that vary in size and in the role that G4C really plays in their daily activities. Some companies can be viewed as educational software companies only. Some produce a portion of their work that can be defined as G4C. Whether more and more companies in our community will be able to allow G4C to play a dominant role in their daily activities and revenue to the point where 100% of their efforts could be defined as games for change, is an important indication of our ability to back up our claim of becoming a self-sustaining industry.
  7. Successful and Diverse Use Cases: As with any emerging industry, we need a few great examples that showcase the ability of game-based experiences to drive meaningful change. Examples like Half the Sky and the media coverage it received are critical and essential. We are seeing more acceptance by the media to cover such projects and the number of users is continuously increasing. Still, considering point #5 above, these success stories should not just be about number of users, but also about being able to prove the change they generate so that strong ROI (return on investment) cases can be created.

This is a conversation we must have now before it is too late. Yes, it will likely create some strong feelings among those who feel that G4C should never think about money or commercialization, but what we can all agree on is that we don’t want in 10 years for people to say, “Oh, remember those games for change people? I wonder what happened with them; it looked so promising, but then it just faded away.”

What we do is real. What we do works. What we do is better than many traditional approaches to changing attitudes and behaviors that companies and governments spend billions of dollars a year on. Let’s have a candid discussion. Let’s claim our place.
 



The author of this post is Ron Goldman, co-founder and CEO at Kognito, with contribution from Stephen Shinnick, CFO at Kognito.

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G4C Student Challenge with NYC’s Dept. of Education

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We are excited to launch our NYC Games for Change Student Challenge, a new game design program for middle and high school students throughout the 2015-16 school year that is supported by an amazing group of partner organizations.

With the help of their teachers and veteran game designers, hundreds of students from public schools across NYC will create original digital games about social issues in their communities, under themes from our sponsors who provide domain expertise, workshop opportunities, and prizes:

  • Civic journalism and under-reported stories (The New York Times)
  • Smart cities (NYC Mayor’s Office of Technology & Innovation)
  • Adult literacy (XPRIZE Foundation)
  • Animal welfare (A Kinder World Foundation)
  • … and more to come this summer

All teachers and students are invited to participate in the challenge. Twenty teachers from schools in all five NYC boroughs have been selected to receive robust training to run game-making courses in their schools. After students submit their games between September 2015 and January 2016, a jury of experts will select the best games. An awards ceremony and a public arcade featuring the top games will be hosted in March by the Museum of the Moving Image.

The challenge is being implemented by Games for Change, Globaloria, Institute of Play, and the Museum of the Moving Image in collaboration with the NYC Department of Education through two innovation initiatives, iZone and Digital Ready. A consortium of cross-sector partners is providing additional resources, prizes, and expertise, including leading game platform Unity and Susan Crown Exchange (SCE) Foundation.

Want to help the next generation of game makers?
We are seeking in-kind prizes that reward students’ passion for technology, creativity, and game design, such as software and hardware, internships, scholarships to summer programs, and mentorship opportunities. Please email [email protected] if you or your organization are interested in sponsoring a prize.

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Save the dates: Jane McGonigal in NYC, Superbetter book signing

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In September, we’re co-hosting two free public events with award-winning game maker and best-selling author Jane McGonigal.

Jane will speak about a decade’s worth of scientific research into the ways all games change how we respond to stress, challenge, and pain. She’ll explain how we can cultivate new powers of recovery and resilience in everyday life simply by adopting a more “gameful” mindset, and bring the same psychological strengths we naturally display when we play games to real-world goals.

Following her talk, she will sign copies of her second book Superbetter. This new book will be available for purchase at these events, or if you can’t make it, you can preorder a copy here.

Tickets will be released by August 18 on our Eventbrite for:

  • The New York Public Library’s Stephen A. Schwarzman Building, September 15, 6 p.m.
  • NYU Game Center, September 16, 7 p.m.
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Come play this summer at our
Cities of Learning arcades

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For the second year, we’re partnering with Cities of Learning to provide a digital G4C Arcade for students across the country and a live physical experience at end of summer showcases.

Here’s what’s new this year:

  • Four physical arcades in major cities:
  • Dallas (August 7)
  • Pittsburgh (August 8)
  • Chicago (September 19)
  • Washington DC (October, TBA)
  • Five new games added to our digital arcade, each paired with real-world activities so players can make a positive impact in their community

Supported by the MacArthur Foundation and powered by the Digital Youth Network and Connected Learning Alliance, each City of Learning brings together all of a city’s resources to equip young people with the skills they need to succeed in the 21st century. Games for Change is one of many organizations — among NASA, Best Buy, Mozilla, and more — providing accessible, free-to-low-cost activities to youth through the summer and beyond. Our arcades are able to travel across the country thanks to a grant from the National Endowment for the Arts.

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Lessons Learned from Camp Minecraft

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Game designers know a lot about failure and iteration. Getting a play concept right on the first (or 50th!) try happens infrequently and as a result, game designers quickly learn to traffic in the space of possibility—what if we did this? What if we changed that? Feedback from players fuels the iterative design cycle, helping to push a game from alpha through beta and beyond.

Minecraft, the ridiculously popular game about placing and breaking blocks in a 3D world was designed, developed, and released in collaboration with its player community over a period of more than two years between alpha and beta. During that time features were added, tested and iterated upon—sometimes daily—until the dev team and the community deemed a certain level of fun to have been reached. And then the iteration continued.

Camp Minecraft, part of a Connected Learning Alliance project called Pursuitery, was an outgrowth of this design methodology. The camp, which ran from July 14 to August 6, 2014, provided a friendly and open virtual space where 250 kids played Minecraft together. The camp offered both a space to play, as well as experts who helped kids solve various challenges. The camp only required a valid Minecraft account; access to the server was free.

The camp was run as a pilot designed to better explore the ways in which the interests of young people could be supported, how pathways toward mastery and expertise could be made evident, and how the affordances of “in-the-wild” online communities, like those that have grown up around Minecraft, could serve as models for new kinds of learning communities. Three key takeaways emerged from the pilot:
 
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Kids often grief by accident
Camp Minecraft took place on a multiplayer server, an environment that was new to many of the campers, and their inexperience showed. Multiplayer play is social play—kids are building and playing in a virtual social world, one that comes with all the human complexities of a real-world playground. Learning how to communicate, share, respect boundaries, collaborate and negotiate can be challenging for anyone (kids and adults alike). During the camp, as kids learned the social ropes they sometimes made choices that reflected their inexperience—building on someone else’s plot, dismantling someone else’s structure, flooding chat channels with what amounted to spam. Other players experienced these choices as griefing.

Griefing in games can be a big problem as it destroys the experience of fun for players. Reports of griefing are taken seriously, and no less so during Camp Minecraft. Counselors were quick to investigate any report that came in and took action, where necessary, to kick or ban players. But they found that in the vast majority of cases griefing issues were due to a misunderstanding between players and their boundaries, rather than malicious intent. Kids didn’t mean to grief; they just didn’t understand how to communicate. Counselors refined their approach to griefing based on this realization, supporting players in reflecting on the “whys” of their choices and their responses, rather than excluding them from play.

Kids get invested
Camp Minecraft was scheduled to run for three weeks, during which time the cohort of campers did what kids at camp do—they made friends, leveled up their skills, and formed a unique community, defined by their passions and interests. They also built a lot of stuff. A world that had started out as a blank canvas had been filled to the gills, with all manner and form of built creations. It became obvious to the camp organizers that the campers were heavily invested in their creations and communities. Simply shutting down the server at the end of camp would not only destroy the Minecraft world, but also the community of which so many kids had become part. The server survived and many of the campers are still playing on it today, a year after the camp officially ended.
 
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Challenges provide purpose
The sandbox nature of Minecraft appeals to so many because of the freedom it affords players to pursue any idea they might come up with. Players tap into this LEGO-ish quality and let their imaginations run wild. This can lead to a lot of invention but also, within the context of a community-based experience like Camp Minecraft, to chaos and fragmentation. In response, the camp experimented with weekly player spotlights and challenges that provided structure and encouraged players to work together toward a shared purpose. Players could choose to participate in spotlights or challenges and could do so on their own schedule. This flexibility both empowered the campers and gave them a structure to hang on to, one that allowed for solutions as variable as the interests of the campers themselves.

The second iteration of the camp—Summer of Minecraft—is now underway, its design influenced by these three key takeaways, and others like them. Produced by Connected Camps in collaboration with Institute of Play, the camp runs from July 6 to August 2, with specialized one-week blocks of coding camp offered weekly during that same period. Camp activities give kids a chance to level up their design, building, and social skills in a safe, moderated multiplayer environment staffed by expert high-school and college mentors. There is a camp for grown-ups as well, which runs on a separate server, and allows parents to learn about the game and follow what’s going on with their kids. Visit Connected Camps to register and learn more. Use discount code G4C30 for 30% off Online Kid Camp.

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E3 2015: 10 games that we’re looking forward to

E3, the annual Electronic Entertainment Expo, is always a spectacle: hours-long press conferences from top developers and publishers, flashy new titles, and a sprawling exhibition floor. Some things this year were a little different. Large studios are responding to the calls for inclusivity and diversity in games, with more than 20 games featuring female leads or playable characters, character customization with character customization with wide arrays of (Fallout 4, Animal Crossing), and bold experiments that look and feel entirely new to the medium (Cuphead, Unravel).

Here are some of our favorite titles shown at this year’s E3. Which are you most looking forward to?

Upcoming Games

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Developer: Fullbright
Platforms: PC, Mac, Linux, Xbox One
Release Date: 2016

The developers of the award-winning game Gone Home are back with a sci-fi twist. Tacoma takes place 70 years in the future and follows the story of Amy Ferrier, a space explorer in search of her missing crew members through an eponymous lunar transfer station with the help of a computer called Odin. Their trailer introduces us to a rich technological environment vaguely reminiscent of Rapture from Bioshock, a project the developers have worked on previously. While details are still scant, it sounds like players can expect the same sense of relationship-focused, thoughtfulness and personal exploration as they did with Gone Home.


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Developer: Media Molecule
Platforms: PlayStation 4
Release Date: Unknown

Community is key with this game from the creators of LittleBigPlanet and Tearaway. This surreal collaborative sandbox/game engine combo will allow users to create and express themselves through 3D animated film, games, art, and music. Using DualShock 4 motion controls, players can sculpt and mold characters and the environment before pushing it onto the web for the world to interact with their creation. An interview with Engadget also revealed it will likely be a launch title on Sony’s Morpheus virtual reality headset.


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Developers: Blindflug Studios
Platforms: iOS
Release Date: Fall 2015

Cloud Chasers is a randomly generated, steampunk journey about the hardships of immigration, based on the experiences of real-world immigrants. The goal of the game is to guide an estranged farmer and his daughter past five large deserts and reach the “land above the clouds.” The trailer even shows hints of exploring themes like class, environmental collapse, and nuclear war. This is not Blindflug’s first game with roots in present-day issues. They also made a strategy game about nuclear war and politics First Strike.


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Developers: EA Digital Illusions CE
Platforms: Xbox One, PlayStation 4, Origin for PC
Release Date: February 23, 2016

It’s been seven years since the release of Mirror’s Edge, a first-person action-platformer where players parkoured their way across a futuristic dystopian city as Faith Connors, a runner delivering messages while avoiding government surveillance. Its sequel, Catalyst, will delve into Faith’s mysterious origin story and touch on technology’s ever-increasing role in our lives and corporate dictatorships, said design director Erik Oledahl in an interview with Wired. The combat will focus even more on movement and agility, rather than guns, which Faith will not use at all this time.


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Developer: StarBreeze Studios via 505 Games
Platforms: Android, iOS
Release Date: Late 2015

Launched on PC and consoles back in 2013, Brothers: A Tale of Two Sons was critically acclaimed for its beautiful graphics, charming game mechanics, and emotionally charged storyline. In this 3D puzzle-platformer, players lead brothers Naiee and Naia on a mission to save their dying father. At E3, it was announced that the game was going mobile on Android and iOS with bonus content. This game approaches mature themes, like death, in unconventional ways, and is one of the more stirring downloadable titles we’ve played.


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(Gif from Kotaku)

Developer: Tiger & Squid
Platforms: PlayStation 4, Xbox One, PC, Mac, Linux
Release Date: 2015

In Beyond Eyes, you play as a 10-year-old blind girl named Rae, who explores the world through touch, scent, and sound. She has lost her cat, Nani, and despite her anxiety, goes beyond the land she knows to find it, despite being traumatized from the accident that blinded her and a fear of loud noises and public spaces. The trailer alone gives the sense that being blind doesn’t really hide the world, but lets Rae experience it in a different way.


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Developer: Ninja Theory
Platforms: PlayStation 4, Windows
Release date: 2016

From the creators of Heavenly Sword and Devil May Cry, Hellblade is about a Celtic warrior named Senua and her journey to Hell as she copes with mental illness, battling depression, anxiety, hallucinations, and delusions. Working with University of Cambridge neuroscience professor Paul Fletcher and mental health foundation Wellcome Trust, Ninja Theory promises a sensitive depiction of depression as Senua faces her literal and figurative demons.


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Photo credit: Jeff Williams

Developer: DragonRat Studio
Platforms: Book and PC game
Release Date: Unknown

This experimental title uses a physical pop-up book of Lewis Carroll’s Alice in Wonderland as a controller for a digital game. Each page of the pop-up book has a new game to explore on screen. The sensors and buttons in the book are connected to an Arduino unit, which turns players’ actions into on-screen play.

Curiouser and Curiouser! is a great example of what games can be when we look beyond the screen and combine physical and digital gameplay. There is no news about mass production of this game, but you can watch the playthrough here.


1506_e3 SMS Racing

Developers: Turbo Button
Platforms: Oculus Rift, Samsung Gear VR for Galaxy Note 4, Galaxy S6, Galaxy S6 Edge
Release Date: Late 2015

SMS Racing, a VR game about texting and driving, shows that sometimes satire is the best way to convey a valuable message. Players balance driving in a metropolitan area while having lengthy conversations with their friends on a cell phone, with only 10 seconds to answer a text. While SMS Racing was not created with the intention of tackling the greater issue of texting and driving, it at least reminds us of how silly and dangerous it really is.


1506_e3 in tune

Developers: Tweed Couch Games
Platforms: You and a friend!
Release Date: Unknown

In Tune, another gem found at IndieCade’s E3 booth, asks players use their bodies as controllers, opening up a very real conversation about consent. Two players imitate body positions that are presented on a screen, and must communicate and discuss their comfort levels throughout the experience. The rules of play show the level of thoughtfulness and passion the creators had while crafting the game. Tweed Couch Games has made other games in order to promote conversations about consent, gender, sexuality, and discrimination which you can find on their website.

Now playable

On the E3 expo floor, we stopped by and played a handful of already publicly available games at IndieCade’s booth, which displayed many innovative games. Give these a try while you wait for newly announced titles to come out.

  • Earth Primer (Chaim Gingold), an interactive earth science book from one of Spore’s creators
  • Metamorphabet (Vectorpark), a virtual alphabet like no other
  • Sunset (Tale of Tales), about a housekeeper in a fictional country in the throes of a civil war
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Response to Impact With Games Report: Sabrina Culyba of Schell Games

[ This post was originally published on GameImpact.net This guest post by Sabrina Culyba is the first in a series of responses to our first report. ]

I’m Sabrina Culyba, a game designer at Schell Games. I was excited to see the first Impact with Games report and the conversation it represents. The report team put out a call for feedback and I’d like to share some from my own perspective to keep the conversation going.

Defining Impact
In a parallel to the first claim of the report “Impact is defined too narrowly,” I was intrigued by the aspect of the report on games that create collective social change.

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First some background: In my work at Schell Games, I’ve mostly approached impact from a player-centric perspective. At our studio, we call these games “Transformational Games” and approach our design as a means to transform the player, with the view that larger social change spreads from individual transformation.

This isn’t to say that we don’t design for social or group interactions, but our focus has typically been how these interactions contribute to, or stem from, individual players.

So this report and further conversation with Ben Stokes challenged the “individual first” view a bit, opening up a different perspective for me about group transformation as its own thing separate from individual transformation. For me, group transformation is a new layer to creating change that I am eager to dig into more in the future.

Surfacing Forms of Evaluation
Claim #3 “Evaluation Methods are Inflexible” really came to life for me recently during a thread on a educational games mailing list of which I am a member. The conversation started out as an attempt to collectively list the entities out there who are publishing assessments on learning games, whether based on formal research, teacher experience, factual stats, subjective review, or other means.

Almost immediately the discussion evolved into a debate about what constituted valid evaluation of a game, including some pointed statements from individuals about what other people are doing wrong in this space. I wish I could say that we came to an insightful conclusion but the reality was that there was a lot of collective cross talking, rather than collaborative problem solving. It’s clear there’s a lot of frustration out there and I think this is one of the most important conversations to continue to push forward from this report.

Personally, I agree with the sentiment in the report that we should have multiple lenses through which to evaluate the efficacy of a game. And I also think that one of those lenses should be rigorous research. Two of the most interesting relevant points to come out of that mailing list conversation were:

  1. Context of use matters: A great teacher can create an amazing learning experience out of a game whether or not it was designed well or with learning in mind. Similarly a proven, effective game for impact used in the completely wrong context may fail to change anything. We need to talk about context when we talk about a game’s efficacy.
  2. Problems with Access & Timing: Without a clear way to find out what research or evaluation has been done on which games, teachers and others looking to use games for change are forging their own path or relying on word of mouth. They aren’t going to simply wait for a 3-5 year study (assuming there is one on a game that fits their need.) What tools can we provide to collect and surface useful short term metrics such as anecdotes, expert review, or informal data?

A Missing Piece: Higher Costs (for transformation & evaluation)
Under “Anticipated Project Benefits for Game Designers & Makers,” the report says:

If the lack of evaluated games is any indication, a common scenario is to focus on creating the game and worry about evaluation once it is done (if at all).

The assumption implied here is that game makers do not see the importance of considering assessment early — that their approach is to focus on the game first.

I’ve also heard this echoed from other sources, sometimes even with a statement that game makers don’t want their games to be evaluated, lest their ineffectiveness be revealed. While this could be true in some cases, I think this understates the role of funding in what is produced.

Developers actually have little recourse when there is insufficient funding; too often there are insufficient funds to do a proper pre-production that includes significant integration with prior research and planning for assessment, and too often there is no funding for post-ship followup to evaluate the game’s effectiveness. In fact, lack of funding that enables the creation of games that are both of a high entertainment quality and also incorporate research, teacher tools, assessment, etc., is, I think, an elephant in the report. There’s really no way around the fact that for two games of around the same size and production value, a transformational game has more moving parts, more stakeholders, and more metrics for success to hit than a game developed purely for entertainment.

And yet I still see RFPs for these kinds of games that would barely cover the costs of cloning an existing game. How do we talk about that? Can we talk about it?

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