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“Authors: Mark Lochrie, Paul Egglestone, Matjaž Kljun, Klen Čopič Pucihar
Abstract: This paper presents a concept of using an Unmanned Aerial Vehicle (UAV) commonly known as a ‘drone’ as a means to deliver and facilitate game play. Our idea is to project a playing area and follow users in the game with a support of drone. This introduces novel abilities (i) to move the gaming platform to the desired location and (ii) to free users from carrying the gaming equipment. Consequently this intigates novel possibilities to explore and study new exergame paradigms and users’ attitudes towards the system as a whole. The concept has also a potential to provide a breakthrough in social acceptance of drones in gaming scenarios whilst contributing to current debates on the legislation governing drone flights and furthering knowledge in human-drone interaction.

(via Media Innovation Studio – A Moving Projector Platform for Projected Street Games)

Games mock realities that, at their best, can make players feel an emotion more powerfully than any other medium. You are the on-screen actor, and you control the game’s plot through your actions. Having control means you’re responsible, within obvious bounds, for what happens in the game, so achievements, failures, consequences and the emotions those come with, belong to you.

What does it feel like to face the death of a child, or to live with hopelessness, or to suffer from the bitterness of extreme loneliness? Fiction and art have grappled with these issues for centuries. Now games are showing us what it is to exist at the extreme margins. A new generation of games, like That Dragon, Cancer, Depression Quest and Actual Sunlight, is connecting players with real human issues, including terminal illness, depression and suicide. Mostly generated by small teams or by individuals, these games are described by Lucas Pope, creator of Papers, Please, as “other people simulators” that allow us to interact with the world from a challenging point of view. While games have traditionally endowed the player with a host of impressive fantasy powers, these games show how their creators cope with real-life difficulties, often with a limited ability to effect change. In demonstrating specific challenges via game mechanics, they allow us to walk in other people’s shoes. Developers are showing a deeper understanding that by connecting the player with the storyteller through actions, as opposed to the anecdote, confession or demonstration of more linear forms, they can convey strong feelings or empathy in unique ways.

Quinn had created graphically oriented games before, including the satirical Ghost Hunter Hunters. But she decided to make Depression Quest through an increasingly popular program called Twine. Although it’s possible to add images and music to Twine games, they’re essentially nothing but words and hyperlinks; imagine a digital “Choose Your Own Adventure” book, with a dash of retro text adventures like Zork. A free program that you can learn in one sitting, Twine also allows you to instantly publish your game so that anyone with a web browser can access it. The egalitarian ease of Twine has made it particularly popular among people who have never written a line of code — people who might not even consider themselves video-game fans, let alone developers. Chris Klimas, the web developer who created Twine as an open-source tool in 2009, points out that games made on it “provide experiences that graphical games would struggle to portray, in the same way books can offer vastly different experiences than movies do. It’s easy to tell a personal story with words.” Twine games look and feel profoundly different from other games, not just because they’re made with different tools but also because they’re made by different people — including people who don’t have any calcified notions about what video games are supposed to be or how they’re supposed to work. While roughly 75 percent of developers at traditional video-game companies are male, many of the most prominent Twine developers are women, making games whose purpose is to explore personal perspectives and issues of identity, sexuality and trauma that mainstream games rarely touch on.

The video games industry is an integral part of the UK creative economy, but hard data about its economic performance and geography are difficult to come by. In this report, done in partnership with Ukie (a trade body supporting the UK’s games and interactive entertainment industry), we adopt an experimental ‘big data’ approach to measure the sector, identifying games companies through their digital footprint in product directories, wikis and games reviews sites instead of using official industrial (SIC) codes or surveys.