Blowtooth: pervasive gaming in unique and challenging environments
CHI '10 Extended Abstracts on Human Factors in Computing Systems
Ethnography considered useful: situating criticality
Proceedings of the 22nd Conference of the Computer-Human Interaction Special Interest Group of Australia on Computer-Human Interaction
Creating critical gameplay design
Proceedings of the 7th International Conference on Advances in Computer Entertainment Technology
PCG-based game design: enabling new play experiences through procedural content generation
Proceedings of the 2nd International Workshop on Procedural Content Generation in Games
Open-ended art environments motivate participation
Proceedings of the 8th International Conference on Advances in Computer Entertainment Technology
Purposeful by design?: a serious game design assessment framework
Proceedings of the International Conference on the Foundations of Digital Games
Blowtooth: a provocative pervasive game for smuggling virtual drugs through real airport security
Personal and Ubiquitous Computing
Musical embrace: exploring social awkwardness in digital games
Proceedings of the 2013 ACM international joint conference on Pervasive and ubiquitous computing
"A restless corpse": performativity, fetishism and planescape: torment
Proceedings of The 9th Australasian Conference on Interactive Entertainment: Matters of Life and Death
From Fiction to Reality and Back: Ontology of Ludic Simulations
International Journal of Gaming and Computer-Mediated Simulations
Making a difference in and through playful design
Proceedings of the 17th ACM conference on Computer supported cooperative work & social computing
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For many players, games are entertainment, diversion, relaxation, fantasy. But what if certain games were something more than this, providing not only outlets for entertainment but a means for creative expression, instruments for conceptual thinking, or tools for social change? In Critical Play, artist and game designer Mary Flanagan examines alternative gamesgames that challenge the accepted norms embedded within the gaming industryand argues that games designed by artists and activists are reshaping everyday game culture. Flanagan provides a lively historical context for critical play through twentieth-century art movements, connecting subversive game design to subversive art: her examples of "playing house" include Dadaist puppet shows and The Sims; her discussion of language play includes puns, palindromes, Yoko Ono's Instruction Paintings, and Jenny Holzer's messages in LED. Flanagan also looks at artists' alternative computer-based games, examining projects from Persuasive Games and Gonazalo Frasca and other games created through the use of interventionist strategies in the design process. And she explores games for change, considering the way activist concernsamong them Darfur, worldwide poverty, and AIDScan be incorporated into game design. Arguing that this kind of conscious practicewhich now constitutes the avant-garde of the computer game mediumcan inspire new working methods for designers, Flanagan offers a model for designing that will encourage the subversion of popular gaming tropes through new styles of game making, and proposes a theory of alternate game design that focuses on the reworking of contemporary popular game practices.