Possibly Tetris?: Creative Professionals’ Description of Video Game Visual Styles

Total Page:16

File Type:pdf, Size:1020Kb

Possibly Tetris?: Creative Professionals’ Description of Video Game Visual Styles Proceedings of the 50th Hawaii International Conference on System Sciences | 2017 The Style of Tetris is…Possibly Tetris?: Creative Professionals’ Description of Video Game Visual Styles Stephen Keating Wan-Chen Lee Travis Windleharth Jin Ha Lee University of Washington University of Washington University of Washington University of Washington [email protected] [email protected] [email protected] [email protected] Abstract tools cannot fully meet the needs of retrieving visual Despite the increasing importance of video games information and digital materials [2] [21]. In addition, in both cultural and commercial aspects, typically they current access points for retrieving video games are can only be accessed and browsed through limited limited, with browsing options often restricted to metadata such as platform or genre. We explore visual platform or genre [9] [10] [14]. In order to improve the styles of games as a complementary approach for retrieval performance of video games in current providing access to games. In particular, we aimed to information systems, standards for describing and test and evaluate the existing visual style taxonomy organizing video games are necessary. Among the developed in prior research with video game many types of metadata related to video games, visual professionals and creatives. User data were collected style is an important but overlooked piece of from video game art and design students at the information [5]. The lack of standard taxonomy for DigiPen Institute of Technology to gain insight into the describing visual information, with regard to video relevance of the existing taxonomy to a professional games, is a primary reason for this problem. This study audience. Using a think-aloud card sort method, we focuses on improving the organization and retrieval of observed their thought process for describing and video games through visual style information. categorizing visual styles of video games, and also Our goal is to conduct specialized user-based collected candidate terms for revising the taxonomy. research for modeling visual styles as they relate to The results of this research will inform ongoing video games. In particular, we explore how individuals metadata work in the field to develop a standard for close to the creation process of video games perceive cataloging video games and interactive media, and will and describe visual styles of games. The participants of be useful to information systems that sort and classify this study were recruited from the DigiPen Institute of games for users and cultural preservation. Technology, a university offering strong undergraduate programs focused on video games and digital art creation. This group was selected specifically for their 1. Introduction close involvement in the video game creation process. This study applies think-aloud and card sorting Video game retrieval remains a challenging task methods to collect user-generated descriptors of video despite many existing systems of organizing game visual styles. We compared the collected terms information. In the library and information science with the existing taxonomy established by the GAMER domain, there have been continuous efforts devoted to (GAME Research) group at University of Washington the establishment of classification schemes, such as the Information School [6] [18]. This video game visual Dewey Decimal Classification, and cataloging rules style taxonomy was created as part of a larger research like the Resource Description and Access. There are agenda establishing a metadata schema for video also metadata schemas like Dublin Core that expand games, which targets general users and information their application to non-book materials. However, professionals who describe, organize, and preserve these existing standards were developed with a focus video games. The Video Game Metadata Schema on describing textual materials and thus, are limited in (VGMS) was established as a result of this project. The their applicability to describe visual information schema was created based on multiple approaches appropriately [10]. With the advent of the Internet, the involving domain analysis and a series of user studies, digital world created a glut of visual information that and was tested and modified several times [3] [10] needs to be organized and accessed. Video games, as a [14]. The existing visual style taxonomy was also prominent type of visual information, prosper in the created and tested in a prior user study [3], but digital age, and there are increasing needs to retrieve primarily with general game players. With the data video games and game-related information. However, contributed by the particular group of participants in as noted in prior research, current search and discovery URI: http://hdl.handle.net/10125/41402 ISBN: 978-0-9981331-0-2 CC-BY-NC-ND 2046 our study, we can examine the level of conformity content and concept image-based retrieval [4]. The between the user-generated terms and the visual style history and focus of computerization is heavily taxonomy established by the GAMER group. Through influenced by content, rather than concepts, largely this study, we explore the following research questions because content-based retrieval is an easier process to in particular: automate [5]. This resulted in a research field dominated by content-based work in spite of the rich RQ1. How do individuals close to the creation process but different research of concept-based work [4]. of video games describe and organize the visual styles In the 1980s, Shatford [24] discussed the relative of video games? absence of studies for what users are searching for in RQ2. Does the existing visual style taxonomy images as well as how they are searching for it. By the accurately reflect the cognitive descriptors applied by early 2000s, image searching and organization creatives to visual styles? emerged as its own field due to the explosion of visual RQ3. Are there terms specific to video games and content generated by the Internet. As indicated by the visual styles that should be added to the existing numerous studies Jörgensen references in 2003, the taxonomy? amount of research for querying digital images goes from practically non-existent in the 1980s to This work will contribute to 1) improving our necessitating multiple studies by multiple organizations general understanding of how specialized users in less than a decade [11]. The importance of describe and organize visual styles of games, and 2) understanding user-querying of images and their needs evaluating and understanding what might be improved is becoming increasingly important today. As users upon in the current metadata schema and encoding become more specialized, a need arises for the ability scheme with relation to video games and visual styles. to search and organize information catered to interests This work also highlights the importance of adapting that are not just general, but also highly specific. As metadata to specific users in order to facilitate early as the 1990s, Keister [12] noted that searching information retrieval, given the highly specialized becomes specific to user types based on queries organizational terms resulting from the user research. structured by specialization. A better understanding of how specialized users query their semantic world thus 2. Relevant Work becomes vital for being able to better serve user needs, ideally at the level of the individual. Examining video game visual styles requires an Though digital specialization results in the creation understanding of both the context of conceptual image of a huge amount of image content, it also results in retrieval as well as the role of visual styles in video much of that information lacking context. Conceptual game retrieval. The following sub-sections will focus metadata creation is a time-consuming process and on reviewing literature related to each of these topics. frequently motivated by personal interest or knowledge Understanding the context of conceptual image rather than empirical data from users. As a result, much retrieval helps elucidate the need for concept-based of the research for image organization is still based on search in image retrieval, its inherent biases and content analyses performed by individuals or machines limitations, and informs, through transference, how rather than multi-user image organization analyses [7]. video game image retrieval is handled [5]. In addition, The emphasis on image content creates a semantic gap the second sub-section will focus on discussion of as defined in the image retrieval community [19], video game retrieval, mainly how metadata contributes which prevents users from being able to discover to video game discovery, and how users respond to concepts contained in the image. In addition, it also searching and browsing for games by visual style. misses how the audience is using the image as well as what they perceive as important. For purposes of 2.1 Conceptual Image Retrieval discovery and acquisition, how an audience finds images serves as the primary challenge, and what is In prior image-based retrieval research, there are often missing tend to be terms not described purely by two kinds of retrieval methods that are prominently content alone. discussed: content-based retrieval and concept-based Visual styles are important methods for referring to retrieval [4]. Content-based image retrieval focuses on concepts in an image and also provide a linguistic and examining the image material, or
Recommended publications
  • Effects of Art Styles on Video Game Narratives
    Effects of Art Styles on Video Game Narratives UNIVERSITY OF TURKU Department of Future Technologies Master's Thesis July 2018 Leena Hölttä UNIVERSITY OF TURKU Department of Future Technologies HÖLTTÄ, LEENA Effects of Art Styles on Video Game Narratives Master's thesis, 76 pages, 29 appendix pages Computer Science August 2018 The effect of an art style on a video game's narrative is not widely studied and not much is known about how the general player base views the topic. This thesis attempts to answer this question through the use of two different surveys, a general theory related one, and one based upon images and categorization and a visual novel based interview that aims at gaining a further understanding of the subject. The general results point to the art style creating and emphasizing a narrative's mood and greatly enhancing the player experience. Based on these results a simple framework ASGDF was created to help beginning art directors and designers to create the most fitting style for their narrative. Key words: video games, art style, art, narrative, games TURUN YLIOPISTO Tulevaisuuden teknologioiden laitos HÖLTTÄ, LEENA Taidetyylien vaikutus videopelien narratiiviin Pro gradu -tutkielma, 76 s., 29 liites. Tietojenkäsittelytiede Elokuu 2018 Taidetyylien vaikutus videopelien narratiiviin ei ole laajasti tutkittu aihe, eikä ole laajasti tiedossa miten yleinen pelaajakunta näkee aiheen. Tämä tutkielma pyrkii vastaamaan tähän kysymykseen kahden eri kyselyn avulla, joista toinen on teoriaan perustuva kysely, ja toinen kuvien kategorisointiin perustuva kysely. Myös visuaalinovelliin perustuvaa haastattelua käytettiin tutkimuskysymyksen tutkimiseen. Yleiset tulokset viittaavat siihen, että taidetyyli vaikuttaa narratiivin tunnelmaan ja korostaa pelaajan kokemusta.
    [Show full text]
  • Studio Showcase
    Contacts: Holly Rockwood Tricia Gugler EA Corporate Communications EA Investor Relations 650-628-7323 650-628-7327 [email protected] [email protected] EA SPOTLIGHTS SLATE OF NEW TITLES AND INITIATIVES AT ANNUAL SUMMER SHOWCASE EVENT REDWOOD CITY, Calif., August 14, 2008 -- Following an award-winning presence at E3 in July, Electronic Arts Inc. (NASDAQ: ERTS) today unveiled new games that will entertain the core and reach for more, scheduled to launch this holiday and in 2009. The new games presented on stage at a press conference during EA’s annual Studio Showcase include The Godfather® II, Need for Speed™ Undercover, SCRABBLE on the iPhone™ featuring WiFi play capability, and a brand new property, Henry Hatsworth in the Puzzling Adventure. EA Partners also announced publishing agreements with two of the world’s most creative independent studios, Epic Games and Grasshopper Manufacture. “Today’s event is a key inflection point that shows the industry the breadth and depth of EA’s portfolio,” said Jeff Karp, Senior Vice President and General Manager of North American Publishing for Electronic Arts. “We continue to raise the bar with each opportunity to show new titles throughout the summer and fall line up of global industry events. It’s been exciting to see consumer and critical reaction to our expansive slate, and we look forward to receiving feedback with the debut of today’s new titles.” The new titles and relationships unveiled on stage at today’s Studio Showcase press conference include: • Need for Speed Undercover – Need for Speed Undercover takes the franchise back to its roots and re-introduces break-neck cop chases, the world’s hottest cars and spectacular highway battles.
    [Show full text]
  • Academic Worksheet 1St YEAR
    1st Fall WU TRANSFER YEAR COMM 120 Public Speaking 3 2019-2020 FOUN 101 Beginning Drawing 3 GAME 101 Game Design Fundamentals 3 Academic Worksheet GAME 106 Game Code Fundamentals 3 GAME ART & DESIGN WRIT 111 Academic Writing 1 3 Design Emphasis ANIM 112 Portfolio Review Workshop 1 Spring GENERAL Core Competencies GDES 107 Digital Practice 3 EDUCATION GAME 105 3D Game Art Fundamentals 3 Breadth GAME 112 Game Design Documentation 3 Principles GAME 114 Introduction to Game Engines 3 LSCI 105 Information Theory and Practice 1 WRIT 112 Academic Writing 2 3 Name WU TRANSFER nd YEAR Fall ID# Matriculated 2 FOUN 102 Design and Composition 3 ____________________________________ GAME 211 Game Level Design 3 Minimum Unit Requirement 125 GAME 221 Game Prototyping 3 GAME 224 History of Games: 20th Century 3 Major 67 INDS 1____ Interdisciplinary Core Course 3 General Education 49 __________ Social Science Course 3 Unrestricted Electives 9 ____________________________________ Spring Preparatory Requirements __________ Ethics Course 3 WRIT 100 Bridge to Academic Writing 3 GAME 222 Game Player Analysis 3 MATH 100 Pre-Statistics 3 GAME 240 Networked Game Development 3 GAME 250 Portfolio Review 0 FILM 200 Screenwriting 3 __________ Art/Film/Design History Course 3 Fall WU TRANSFER 3rd YEAR FILM 140 Sound 3 GAME 321 User Interface Design 3 GAME 323 Story Development for Interactive 3 ENVT 220 Environmental Studies 3 MATH 2__ Mathematics Course 3 Spring __________ Natural Science Course w lab 3 GAME 304 Sound Synthesis and Design 3 GAME 332 Experimental Technology for Games 3 INDS 3___ Transdisciplinary Course 3 __________ Social Science Course 3 Work Experience 0 Fall WU TRANSFER 4th YEAR GAME 431 Degree Project R & D 3 __________ Art/Film/Design History 3 __________ Humanities Course 3 __________ Unrestricted Elective 3 __________ Unrestricted Elective 3 Spring GAME 432 Degree Project: Production 3 GAME 434 Professional Practices 3 ____3____ General Education Elective 3 __________ Art/Film/Design History 3 __________ Unrestricted Elective 3 .
    [Show full text]
  • Hi-Bit Pixel Graphics – the New Era of Pixel Art
    Hi-Bit Pixel Graphics – The New Era of Pixel Art Olli Heikkinen Thesis May 2021 Degree Programme in Information Business Systems Game Production 2 ABSTRACT Tampere University of Applied Sciences Information Business Systems Game Production Olli Heikkinen Hi-Bit Pixel Graphics – New Era of Pixel Art Bachelor's thesis 35 pages May 2021 This bachelor’s thesis studies how pixel graphics in video games are seen today, and what current trends make classic pixel graphics hi-bit. This thesis briefly covers the beginnings of pixel graphics, how pixel graphics in video games have changed over the years, as well as a few key techniques that make hi-bit pixel art. To further demonstrate the elements of hi-bit pixel graphics, a short game demo “Mr. Skullerton’s Vault” was created in the Unity game engine. In this demonstration a variety of different hi-bit pixel art techniques were tested, including pixel perfect settings, normal mapping, skeletal animation. The techniques tested in this demonstration proved to be significant elements, which distinguish classic pixel graphics from hi-bit pixel art Key words: pixel graphics, pixel art, video game graphics 3 CONTENTS Introduction ................................................................................................ 5 1 Pixel art in general ................................................................................ 7 1.1 Pixel art in video games today ....................................................... 8 1.2 Why Hi bit-pixel art? ....................................................................
    [Show full text]
  • Electronic Arts V. Zynga: Real Dispute Over Virtual Worlds Jennifer Kelly and Leslie Kramer
    Electronic Arts v. Zynga: Real Dispute Over Virtual Worlds jennifer kelly and leslie kramer Electronic Arts Inc.’s (“EA”) recent lawsuit against relates to these generally accepted categories of Zynga Inc. (“Zynga”) filed in the Northern District of protectable content, thereby giving rise to a claim for California on August 3, 2012 is the latest in a string of infringement, is not as easy as one might think. disputes where a video game owner has asserted that an alleged copycat game has crossed the line between There are a couple of reasons for this. First, copying of lawful copying and copyright infringement. See N.D. games has become so commonplace in today’s game Cal. Case No. 3:12-cv-04099. There, EA has accused industry (insiders refer to the practice as “fast follow”) Zynga of infringing its copyright in The Sims Social, that often it is hard to determine who originated which is EA’s Facebook version of its highly successful the content at issue. A common—and surprisingly PC and console-based game, The Sims. Both The Sims effective—defense is that the potential plaintiff itself and The Sims Social are virtual world games in which copied the expression from some other game (or the player simulates the daily activities of one or perhaps, a book or a film), and thus, has no basis more virtual characters in a household located in the to assert a claim over that content. In this scenario, fictional town of SimCity. In the lawsuit, EA contends whether the alleged similarities between the two that Zynga’s The Ville, released for the Facebook games pertain to protectable expression becomes, platform in June 2012, copies numerous protectable frankly, irrelevant.
    [Show full text]
  • Pixel Art: 1.0
    Pixel Art: 1.0 Square is Cool! by Astra Wijaya (astrawijaya.com) with Tech Valley Game Space What is on the menu today? 1. Introduction 2. History 3. Software setup 4. Playing with pixels 5. Resources 0.1 Some questions - Does anyone know how/is learning to draw (digital or traditional)? - Familiar with Photoshop/Piskel/other image editing software? - Who is using what software? 1.1 What is a pixel? - From the words, picture and element. This one square is a pixel "Pixel-example" by ed g2s • talk - Example image is a rendering of Image:Personal computer, exploded 5.svg.. Licensed under CC BY-SA 3.0 via Wikimedia Commons - https://commons.wikimedia. org/wiki/File:Pixel-example.png#/media/File:Pixel-example.png 1.2 What is pixel art? - Drawing or editing on the pixel level that now has become a style of its own. 2.1 History - Came from hardware processing limitation - Not able to draw or render too many colors 2.1 History - Very similar to mosaic art 2.2 Visual History Pong (1972) Credit: Amintore Fanfani 2.2 Visual History Space Invaders (1978) 2.2 Visual History Pac Man (1980 2.2 Visual History Donkey Kong [arcade] (1981) 2.2 Visual History Super Mario Bros (NES) (1985) 2.2 Visual History Ryu (Street Fighter series) 1987+ 2.2 Visual History Chrono Trigger (1995) 2.2 Visual History Metal Slug series (1996+) 2.2 Visual History Castlevania: Symphony of the Night (1997) 2.2 Visual History Final Fantasy Tactics (1997) 2.2 Visual History Pokemon series (1996) 2.2 Visual History 3D Dot Game Heroes (2009) 2.2 Visual History Minecraft (2009) 2.2
    [Show full text]
  • The Game of Tetris in Machine Learning
    The Game of Tetris in Machine Learning Simon´ Algorta 1 Ozg¨ ur¨ S¸ims¸ek 2 Abstract proaches to other games and to real-world problems. In the Appendix we provide a table of the algorithms reviewed The game of Tetris is an important benchmark and a description of the features used. for research in artificial intelligence and ma- chine learning. This paper provides a histori- cal account of the algorithmic developments in 2. The Game of Tetris Tetris and discusses open challenges. Hand- Tetris is one of the most well liked video games of all time. crafted controllers, genetic algorithms, and rein- It was created by Alexey Pajitnov in the USSR in 1984. forcement learning have all contributed to good It quickly turned into a popular culture icon that ignited solutions. However, existing solutions fall far copyright battles amid the tensions of the final years of the short of what can be achieved by expert players Cold War (Temple, 2004). playing without time pressure. Further study of the game has the potential to contribute to impor- The game is played on a two-dimensional grid, initially tant areas of research, including feature discov- empty. The grid gradually fills up as pieces of different ery, autonomous learning of action hierarchies, shapes, called Tetriminos, fall from the top, one at a time. and sample-efficient reinforcement learning. The player can control how each Tetrimino lands by rotat- ing it and moving it horizontally, to the left or to the right, any number of times, as it falls one row at a time until one 1.
    [Show full text]
  • Project Design: Tetris
    Project Design: Tetris Prof. Stephen Edwards Spring 2020 Arsalaan Ansari (aaa2325) Kevin Rayfeng Li (krl2134) Sooyeon Jo (sj2801) Josh Learn (jrl2196) Introduction The purpose of this project is to build a Tetris video game system using System Verilog and C language on a FPGA board. Our Tetris game will be a single player game where the computer randomly generates tetromino blocks (in the shapes of O, J, L, Z, S, I) that the user can rotate using their keyboard. Tetrominoes can be stacked to create lines that will be cleared by the computer and be counted as points that will be tracked. Once a tetromino passes the boundary of the screen the user will lose. Fig 1: Screenshot from an online implementation of Tetris User input will come through key inputs from a keyboard, and the Tetris sprite based output will be displayed using a VGA display. The System Verilog code will create the sprite based imagery for the VGA display and will communicate with the C language game logic to change what is displayed. Additionally, the System Verilog code will generate accompanying audio that will supplement the game in the form of sound effects. The C game logic will generate random tetromino blocks to drop, translate key inputs to rotation of blocks, detect and clear lines, determine what sound effects to be played, keep track of the score, and determine when the game has ended. Architecture The figure below is the architecture for our project Fig 2: Proposed architecture Hardware Implementation VGA Block The Tetris game will have 3 layers of graphics.
    [Show full text]
  • 2018 - 2019 Catalog
    2018 - 2019 Catalog Version 2 The Art Institute of Austin 101 W. Louis Henna Boulevard, Suite 100 Austin, TX 78728 Phone: 512-691-1707 https://www.artinstitutes.edu/austin The Art Institute of San Antonio 10000 IH-10 W, Suite 200 San Antonio, Texas 78230 Phone: 210-338-7320 https://www.artinstitutes.edu/san-antonio 4140 Southwest Freeway www.artinstitutes.edu/houston Houston, TX 77027 (713) 623-2040 Publication Date: July 29, 2019 Table of Contents LETTER FROM THE PRESIDENT ...........................................................................................................4 MISSION AND VISION STATEMENTS ..................................................................................................7 ACCREDITATION & LICENSING ................................................................................................................7 CAMPUS LOCATIONS .............................................................................................................................8 COLLEGE HISTORY, CHARACTERISTICS, AND OWNERSHIP........................................................9 PROGRAMS OF STUDY .........................................................................................................................11 Culinary Programs .......................................................................................................................................11 Design Programs .........................................................................................................................................11
    [Show full text]
  • Academic Worksheet 1St YEAR
    1st Fall WU TRANSFER YEAR COMM 120 Public Speaking 3 2020-2021 GAME 101 Game Design Fundamentals 3 GAME 107 Game Design Practices 2 Academic Worksheet GAME 109 Game Art Practices 2 GAME ART & DESIGN WRIT 113 First-Year Academic Writing 3 Design Emphasis __________ Unrestricted Elective 3 Spring GENERAL Core Competencies GAME 106 Game Code Fundamentals 3 EDUCATION GAME 112 Game Design Documentation 3 Breadth GAME 114 Game Engine Fundamentals 3 Principles GDES 107 Digital Practice 3 LSCI 105 Information Theory and Practice 1 WRIT 313 Advanced Academic Writing 3 Name Fall WU TRANSFER ID# Matriculated nd YEAR FOUN 101 2 or GAME Beginning Drawing or 3D Art ____________________________________ 105 Fundamentals 3 Minimum Unit Requirement 125 GAME 200 Portfolio Review 0 Major 67 GAME 201 Narrative Design Fundamentals 3 General Education 49 GAME 203 Sound Design Fundamentals 3 Unrestricted Electives 9 GAME 221 Game Prototyping 3 ____________________________________ INDS 1____ Interdisciplinary Core Course 3 Spring Preparatory Requirements FILM 200 Screenwriting 3 MATH 100 Pre-Statistics 3 GAME 211 Game Level Design 3 GAME 222 Game Player Analysis 3 WRIT 114 Academic Writing Workshop 0 th GAME 224 History of Games: 20 Century 3 GAME 240 Networked Game Development 3 MATH 2___ Mathematics Course 3 WU TRANSFER rd YEAR Fall 3 GAME 321 User Interface Design 3 Story Development for Interactive GAME 323 Media 3 __________ Ethics Course 3 __________ Social Science Course 3 ______3___ General Education Elective 3 Spring ENVT 220 Environmental Studies 3
    [Show full text]
  • Chicago New Media 1973- 1992' Pays Tribute to the City's Contribution to Video Games and Digital
    Chicago New Media 1973- 1992' pays tribute to the city’s contribution to video games and digital art On the frontier of free information, experimentation, and self-expression. By Caroline Picard @cocolarolo Have a Nice Day II: VR Tour Through the Decades, Ellen Sandor, Chris Kemp, Diana Torres, and Azadeh Gholizadeh, (art)n, virtual reality installation with Unity and Oculus Rift, 2017. COURTESY OF ELLEN SANDOR AND VGA GALLERY Chicago isn't immediately associated with technology's vanguard in the popular imagination. But Gallery 400's current exhibition, "Chicago New Media 1973-1992," focuses on the city's contribution to new media history through a broad installation of video games, digital art, video art, and archival materials. The oldest photograph is a 1910 still from Uptown's Essanay Studios showing a cast of cowboys with horses posed beneath the elaborate (and heavy looking) electric studio lights. Not only is this image evidence of how, as curator Jon Cates puts it, Chicago was "an early contender" for the film industry, it shows a direct correlation between representations of the iconic west and the technology that produced it. With assistance from Chaz Evans, Jonathan Kinkley and the Video Game Art (VGA) Gallery, Cates highlights the way "new media"—video art, video games, and electronic music—evolved through a radical community of Chicago-based early adopters in the early 70s. "This creative culture of collaborative communities gathered together regularly to perform in various configurations publicly during annual Electronic Visualization Events on the campus of the University of Illinois at Chicago," he says. "Their connections were social, artistic, educational, and technological." The exhibition shows how people like Dan Sandin, Phil Morton, Tom DeFanti, Ted Nelson, Jamie Faye Fenton, and others connected commercial gaming, academic research, and independent art making in a way that permanently impacted the industry.
    [Show full text]
  • GAMES-KONZEPTE Für Schule Und Jugendbildung + IMPRESSUM
    SPIELEND LERNEN 17 innovative GAMES-KONZEPTE für Schule und Jugendbildung + IMPRESSUM Herausgeber medien+bildung.com gGmbH Lernwerkstatt Rheinland-Pfalz Turmstr. 10 67059 Ludwigshafen Registernummer: HRB 60647 Gerichtsstand: Amtsgericht Ludwigshafen Verantwortlich Katja Friedrich (Geschäftsführerin) Tel.: (0621) 52 02 256 [email protected] Redaktion Christian Kleinhanß Hans-Uwe Daumann Autor/innen Katja Batzler Christopher Bechtold Steffen Griesinger Maren Herrmann Christian Kleinhanß Friedhelm Lorig Katja Mayer Daniel Zils Bildnachweis medien+bildung.com, LMK Layout und Gestaltung Kristin Lauer, www.diefraulauer.com, Mannheim Druck Nino Druck GmbH, Neustadt an der Weinstraße IN- Dieses Werk ist lizenziert unter einer Creative Commons Namensnennung 3.0 Deutschland Lizenz HALT Seite Inhalt Alter Stufe 04 Grußworte 05 Einleitung 06 Learning Apps Ab 8 GS SEK1 SEK2 08 Kahoot: Quizzes entwickeln Ab 8 GS SEK1 SEK2 10 Moodle: Gamifizierte Online-Kurse Ab 10 SEK1 SEK2 12 Eigene 3-D-Welten gestalten mit Co-Spaces Ab 10 SEK1 SEK2 14 Pixel Art Ab 10 SEK1 SEK2 15 Machinima Ab 12 SEK1 SEK2 16 Minetopia Ab 12 SEK1 17 Filmwerkstatt Minecraft Ab 12 SEK1 18 Digital Outdoor Games Ab 8 GS SEK1 SEK2 19 Code Breakers Ab 14 SEK1 SEK2 23 Bloxels Ab 8 GS SEK1 24 Gamesentwicklung mit Scratch Ab 10 SEK1 SEK2 26 Twine: Digital Storytelling Ab 10 SEK1 SEK2 28 Make Dance Moves Ab 10 SEK1 30 Exzessives Spielen Ab 11 SEK1 32 Gewalt in digitalen Spielen Ab 11 SEK1 34 check the games – Ein Projekttag Ab 11 SEK1 35 Links & Empfehlungen IN- HALT GRUSS-WORTE Georg Banek © Das Konzept des homo ludens, des spielenden Menschen, ist Spielend zu lernen ist für viele Schülerinnen und Schüler ein vom Gedanken getragen, dass jedes Spiel auch dem Lernen Traum.
    [Show full text]