{"id":54,"date":"2018-05-30T19:25:55","date_gmt":"2018-05-30T19:25:55","guid":{"rendered":"https:\/\/pressbooks.library.ryerson.ca\/guide\/?post_type=chapter&p=54"},"modified":"2018-06-15T14:18:04","modified_gmt":"2018-06-15T14:18:04","slug":"1-3-the-art-of-serious-game-design-conceptual-framework","status":"publish","type":"chapter","link":"https:\/\/pressbooks.library.torontomu.ca\/guide\/chapter\/1-3-the-art-of-serious-game-design-conceptual-framework\/","title":{"raw":"The Art of Serious Game Design Conceptual Framework","rendered":"The Art of Serious Game Design Conceptual Framework"},"content":{"raw":"The Art of Serious Game Design<\/em> conceptual framework, anchored in the Design, Play, Experience Framework<\/em> developed by Brian Winn, is depicted as a circle and divided into four equal quadrants (see Figure 2 below), each representing a different but equally important game element: Learning<\/strong>, Storytelling<\/strong>, Gameplay<\/strong> and User Experience<\/strong>[footnote]Technology<\/strong> is an additional game element that is not included in the methodology above but is an important consideration. It has been intentionally left out to avoid restricting the design team\u2019s creativity during brainstorming.[\/footnote]. The components within each of these game elements are connected with double-ended arrows, representing iteration and the interconnectedness between the framework\u2019s layers. Below is a description of each of the four game elements:\r\n
    \r\n \t
  1. Learning<\/strong> refers to the content to be learned by players through the game with specific and measurable learning outcomes.<\/li>\r\n \t
  2. Storytelling<\/strong> refers to the background story of the game and includes a description of the character(s), the setting, and the ultimate goal of the game.<\/li>\r\n \t
  3. Gameplay<\/strong> refers to the way in which the player interacts with the game, or with other players (if a multiplayer game). It encapsulates the type of activity (e.g., puzzle, trivia, etc.) found in the game.<\/li>\r\n \t
  4. User Experience<\/strong> refers to the player\u2019s emotions and attitudes while playing the game, as well as how the player interacts with the game.<\/li>\r\n<\/ol>\r\nSimilar to the DPE framework, The Art of Serious Game Design<\/em> conceptual framework \u201cdepicts the relationship between the designer and the player\u201d (Winn 2009, p.1014), where:\r\n
      \r\n \t
    1. The innermost Design<\/strong> layer symbolizes the designer\u2019s \u201cstory,\u201d or all the elements that the designer introduces to the game that will allow the player to play the game. According to Winn (2009), the designer has direct control only over the design.<\/li>\r\n \t
    2. The middle layer, Play<\/strong>, which symbolizes the \u201cmediated experience\u201d between the player and design input through play, is influenced by the design and the player\u2019s background brought into the play experience.<\/li>\r\n \t
    3. The outermost Experience<\/strong> layer symbolizes the varying play experiences that players can have depending on their backgrounds, as well as the choices and actions made during game play.<\/li>\r\n<\/ol>\r\n\"Methodology\r\n\r\nFigure 2.<\/strong> The Art of Serious Game Design methodology circle.","rendered":"

      The Art of Serious Game Design<\/em> conceptual framework, anchored in the Design, Play, Experience Framework<\/em> developed by Brian Winn, is depicted as a circle and divided into four equal quadrants (see Figure 2 below), each representing a different but equally important game element: Learning<\/strong>, Storytelling<\/strong>, Gameplay<\/strong> and User Experience<\/strong>[1]<\/sup><\/a>. The components within each of these game elements are connected with double-ended arrows, representing iteration and the interconnectedness between the framework\u2019s layers. Below is a description of each of the four game elements:<\/p>\n

        \n
      1. Learning<\/strong> refers to the content to be learned by players through the game with specific and measurable learning outcomes.<\/li>\n
      2. Storytelling<\/strong> refers to the background story of the game and includes a description of the character(s), the setting, and the ultimate goal of the game.<\/li>\n
      3. Gameplay<\/strong> refers to the way in which the player interacts with the game, or with other players (if a multiplayer game). It encapsulates the type of activity (e.g., puzzle, trivia, etc.) found in the game.<\/li>\n
      4. User Experience<\/strong> refers to the player\u2019s emotions and attitudes while playing the game, as well as how the player interacts with the game.<\/li>\n<\/ol>\n

        Similar to the DPE framework, The Art of Serious Game Design<\/em> conceptual framework \u201cdepicts the relationship between the designer and the player\u201d (Winn 2009, p.1014), where:<\/p>\n

          \n
        1. The innermost Design<\/strong> layer symbolizes the designer\u2019s \u201cstory,\u201d or all the elements that the designer introduces to the game that will allow the player to play the game. According to Winn (2009), the designer has direct control only over the design.<\/li>\n
        2. The middle layer, Play<\/strong>, which symbolizes the \u201cmediated experience\u201d between the player and design input through play, is influenced by the design and the player\u2019s background brought into the play experience.<\/li>\n
        3. The outermost Experience<\/strong> layer symbolizes the varying play experiences that players can have depending on their backgrounds, as well as the choices and actions made during game play.<\/li>\n<\/ol>\n

          \"Methodology<\/p>\n

          Figure 2.<\/strong> The Art of Serious Game Design methodology circle.<\/p>\n

          1. Technology<\/strong> is an additional game element that is not included in the methodology above but is an important consideration. It has been intentionally left out to avoid restricting the design team\u2019s creativity during brainstorming. ↵<\/a><\/li><\/ol><\/div>","protected":false},"author":56,"menu_order":3,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-54","chapter","type-chapter","status-publish","hentry"],"part":23,"_links":{"self":[{"href":"https:\/\/pressbooks.library.torontomu.ca\/guide\/wp-json\/pressbooks\/v2\/chapters\/54","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pressbooks.library.torontomu.ca\/guide\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/pressbooks.library.torontomu.ca\/guide\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/pressbooks.library.torontomu.ca\/guide\/wp-json\/wp\/v2\/users\/56"}],"version-history":[{"count":21,"href":"https:\/\/pressbooks.library.torontomu.ca\/guide\/wp-json\/pressbooks\/v2\/chapters\/54\/revisions"}],"predecessor-version":[{"id":295,"href":"https:\/\/pressbooks.library.torontomu.ca\/guide\/wp-json\/pressbooks\/v2\/chapters\/54\/revisions\/295"}],"part":[{"href":"https:\/\/pressbooks.library.torontomu.ca\/guide\/wp-json\/pressbooks\/v2\/parts\/23"}],"metadata":[{"href":"https:\/\/pressbooks.library.torontomu.ca\/guide\/wp-json\/pressbooks\/v2\/chapters\/54\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.library.torontomu.ca\/guide\/wp-json\/wp\/v2\/media?parent=54"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.library.torontomu.ca\/guide\/wp-json\/pressbooks\/v2\/chapter-type?post=54"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.library.torontomu.ca\/guide\/wp-json\/wp\/v2\/contributor?post=54"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.library.torontomu.ca\/guide\/wp-json\/wp\/v2\/license?post=54"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}