Game Story Research Articles

26.4 LANGUAGE DISTURBANCE AS A PREDICTOR OF PSYCHOSIS ONSET IN YOUTH AT ENHANCED CLINICAL RISK

BackgroundLanguage offers a privileged view into the mind; it is the basis by which we infer others’ thoughts. Subtle language disturbance is evident in schizophrenia prior to psychosis onset, including decreases in coherence and complexity, as measured using clinical ratings in familial and clinical high-risk (CHR) cohorts. Bearden et al previously used manual linguistic analysis of baseline speech transcripts in CHR to show that illogical and referential thinking, and poverty of content, predict later psychosis onset. Then, Bedi et al used automated natural language processing (NLP) of CHR transcripts to show that decreased semantic coherence and reduction in syntactic complexity predicted psychosis onset. To determine validity and reproducibility, we have applied automated NLP methods, with machine learning, to Bearden’s original CHR transcripts to identify a language profile predictive of psychosis.MethodsParticipants in the Bearden UCLA cohort include 59 CHR, of whom 19 developed psychosis (CHR+) within 2 years, whereas 40 did not (CHR-), as well as 16 recent-onset psychosis and 21 healthy individuals, similar in demographics; speech was elicited using Caplan’s “Story Game. Participants in the Bedi NYC cohort include 34 CHR (29 CHR+), with speech elicited using open-ended interview. Speech was audiotaped, transcribed, de-identified and then subjected to latent semantic analysis to determine coherence and part-of-speech tagging to characterize syntactic structure and complexity. A machine-learning speech classifier of psychosis onset was derived from the UCLA CHR cohort, and then applied both to the NYC CHR cohort and to the UCLA psychosis/control comparison, with convex hull (three-dimension depiction of model) and receiver operating characteristics analyses. Correlational analyses with demographics, symptoms and manual linguistic features were also done.ResultsA four-factor model language classifier derived from the UCLA CHR cohort that comprised three semantic coherence variables and one syntax (usage of possessive pronouns) predicted psychosis t with accuracy of 83% (intra-protocol) for UCLA CHR, 79% (cross-protocol) for NYC CHR, and 72% for discriminating psychosis from normal speech (UCLA psychosis/control). Convex hulls were defined as the smallest space containing all datapoints within a set for CHR- or healthy controls: these convex hulls showed substantial overlap, with CHR+ and psychosis speech datapoints largely outside these convex hulls. Coherence was associated with age, but speech variables did not vary by gender, race, or socioeconomic status in this study. While automated text features were unrelated to prodromal symptom severity, they were highly correlated with manual text features (r = 0.7, p < .000001).DiscussionIn this small preliminary study, we identified and cross-validated a robust language classifier of psychosis risk that comprised measures of semantic coherence (flow of meaning in language) and syntactic usage (usage of possessive pronouns). This classifier had utility in discriminating speech in individuals with recent-onset psychosis from the norm. It demonstrated concurrent validity in that it was highly correlated with manual linguistic features previously identified by Bearden et al, important as automated methods are fast and inexpensive. Automated language features were unrelated to sex, ethnicity or social class in these small samples, and semantic coherence increased with age, consistent with prior studies of normal language development. Of interest, overlapping convex hulls could be defined for groups of individuals without psychosis (UCLA CHR-, NYC CHR- and UCLA healthy), suggesting a constrained hull of normal language in respect to syntax and semantics, from which pre-psychosis and psychosis speech deviates. The RDoC linguistic corpus-based variables of semantic coherence and syntactic structure hold promise as biomarkers of psychosis risk and expression, with initial validation and reproducibility. Next steps in biomarker development include larger multisite studies with standardization of protocols for speech elicitation, test-retest, and attention to traction/feasibility, acceptability, cost, and utility. Mechanistic studies can also yield neural and physiological correlates of abnormal semantic coherence and syntax.

THE EFFECT OF VERB STORY GAME TOWARDS STUDENTS’ MOTIVATION IN LEARNING GRAMMAR

This research was aimed to find out the effect of Verb Story game towards students’ motivation in learning grammar. The research was experimental research and the design that was used was post-test only design. The population of the study was the second grade students of MTs Aunul Ibad NW Beroro course which consisted of four classes. Two classes were chosen as the samples, those were MTs Aunul Ibad NW Beroro A Class as experimental group consisted of twenty four students and C Class as control group consisted twenty four students. They were chosen by using Simple Random Sampling technique. Experimental group was treated by Verb Story game and control group was treated by Verb Search game. The instrument that was used objective test and questionnaire in forms of multiple choices and matching word. Then, the scores were analyzed by using statistical analysis. It showed the mean score of experimental group was 73,16 while the mean score control group was 55,12 and the value of t (t test) = 3,537 was higher than the value of (t table) = 2, 013 at the significance level of 5% and the number of degree freedom (46). Therefore, according to the result of the analysis, it can be concluded that it can be concluded that the use of verb story game is effective in learning grammar at second grade students of MTs Aunul Ibad NW Beroro and the result correlation between students’ motivation and grammar, it shows r-test (0,993) &gt; r-table (0,404). Based on the result of the study, it can be conclude there is correlation between students’ motivation and grammar is accepted. In other word, alternative hypothesis (Ha) is accepted and null hypothesis (Ho) is rejected.

Canons and Contestation, Fairy Tales and Trickster Tales: Educational Storytelling as Intellectual Work

This conceptual article uses storytelling for the intellectual work of contesting (and rewriting) unjust canonical stories about education, transforming both the self and oppressive social structures. It builds from original fictional stories: a fairy tale and a trickster tale. These stories apply academic concepts (e.g., genre); question underlying assumptions; link personal stories to larger systemic narratives; and retell stories so as to transform the educational narratives we live. Potentially, transformative storytelling asks teachers and students to take risks, to involve emotion, imagination, and creativity, and to work communally to rewrite oppressive narratives. Lastly, the article outlines pedagogical storytelling activities (story-sharing, word or story games, and stories from multiple perspectives) that offer opportunities to retell or think with narrative.

Shamrocks in the Greek Isles: Billy Sherring's Olympic Journey, and Mine

Shamrocks in the Greek Isles:Billy Sherring's Olympic Journey, and Mine Jim Smyth It is a truism that one is never far from some reminder of Ireland, or indeed, from an Irish person. In 2009, while visiting my friend Veronique, who then ran a fabulously cluttered antique shop on the Greek island of Hydra in the Aegean Sea, a colored lithograph caught my eye. The image is of a moustachioed Greek, in full national costume. The Greek was shaking the hand of a slightly built man in shorts and singlet, as a winged angel lowered a victory wreath onto his head. The inscription, in French and Greek, identified the Greek as Spyridon Louis, the winner of the marathon race in the first modern Olympics of 1896. The other person is identified as M. D. Sherring of Canada, the winner of the same race at the 1906 Olympics. (Misidentified, I would later learn: the initials M. D. are erroneous. Sherring's first name was William and he was usually simply called Billy.) Naturally, I bought it. But for me, Irish born, a sometime exile, and now living back in Ireland, the more fascinating question was, Why was Sherring wearing a singlet emblazoned with a large shamrock? Like many of my fellow residents of Ireland, I take an interest in sports, and I can claim a strong family connection with the Gaelic Athletic Association. (Actually, my family's relationship with sport is rather fraught. The Fenian P.J. Nally, after whom the Nally Stand in Croke Park is named, is a close relation. In 1920, my father was in the park on Bloody Sunday as a young child. My father was an all-round athlete and expelled from the GAA for playing soccer to which his response was, "I play a lot more tennis than soccer; is tennis not a foreign game? Expel me for that.") But I am also a sociologist: when I look at a sporting event, I cannot help but also take note of the social contexts and the shaping history that accompany it. Over the past decade-and-a-half, the lithograph that I picked up in the Greek isles has spurred me to learn much more about the history of competitive racing, worldwide, and more, too, about the enigmatic athlete with a shamrock on his chest. I found myself consulting books I might never have [End Page 9] encountered otherwise: Kevin McCarty's Gold Silver and Green (2010), David Martin and Roger Gynn's The Olympic Marathon (2000), and Robin Water-field's Olympia: The Story of the Ancient Olympic Games (2018). It's also sent me trawling through the sports pages of newspapers from the turn of the twentieth century, and—with the help of Marie Claude Klein, without whom I never would have been able to decipher the handwriting and aristocratic French of Baron de Coubertin—to read yellowing letters from the inception of the modern games. And still, the mystery of Billy Sherring continues to pique my curiosity. ________ The marathon race in the first modern Olympics in 1896 was the climax of the games. This is all the more bizarre because, although the organizers of the first modern Olympic games believed they were reviving competitions that had been in abeyance for millennia, there was no such run in the ancient games. Nonetheless, the "revival" gave the race an almost instant global popularity. Other road races sprung up in Europe and North America. The Boston Marathon, first run a year later in 1897, quickly became a national institution. To the west and slightly farther north, in the Canadian town of Hamilton, Ontario, the Around Round the Bay Race was already well established. It was first run in 1894, and continues today as an annual event—the oldest long-distance race in North America. Hamilton, at the time, was not many decades removed from it frontier origins. It was certainly on the cusp of change. Like most cities in the former British North America, the town was run by a predominantly English establishment who controlled the city council and almost all of the businesses. A large Irish community, swollen by waves of immigrants in...

The implementation of an interactive gaming machine of “Mafia Wars”

This article describes the implementation of a gaming machine of “Mafia Wars” using Arduino UNO board and some other electrical components for the construction. The gaming machine is designed by the following items, such as game story setting, interactive elements for the game play, game art, state machine for the game process, coding, electrical components, and hardware construction, etc. There are INTRO, ROULETTE, SLAP, WAR and End Round states in this game. Some important interactive mechanisms with Arduino board for the gaming machine are designed and illustrated in this study. The hardware of the gaming machine consists of an Arduino UNO, a LCD screen, a photo resistor, several resistors, LEDs, buttons, plastic coins, game art decoration and the wood shielding box. Finally, the resultant functions of the gaming machine are tested by playing and the testing results demonstrate the good working performance.

Aplikasi Game Cerita Rakyat Bali Sebagai Sarana Pendidikan Karakter Anak Berbasis Mobile

Folklore has a value of local wisdom that can be used in character learning for children. the delivery of folklore to children is mostly done by parents through telling stories. the phenomenon of less popular folklore by children one of them due to lack of time parents to convey the story. This study goals to transform Balinese folklore into mobile-based game applications, in order to make it more interesting, further, it could be use as a means of character education teaching gained from the local wisdom of folklore and introducing local culture to children. Moral messages that want to be presented in this game is the right promise, honest and helpful through crukcuk kuning story, i kekua and i lacur. Based on the questionnaires as the assessment method could obtained the application of the Bali Folk Story Game categorized well.&#x0D; &#x0D;

A Conceptual Framework Review of Gamification Elements on Mobile Marketing Outcomes

The mobile marketing application such as gamification has been used among online marketers which hopes enhance the engagement and purchasing. However, marketing scholars and management practice have paid less attention on how the best gamification elements such as game story, game mechanics, game aesthetics and game technology should affect mobile marketing outcomes. It also claimed to enhance engagement and purchasing but the relationship between customer and games are complex. Therefore, this study intends to extent the knowledge of gamification elements on mobile marketing outcomes (engagement and purchasing). The objective of this study is (i) to develop a comprehensive conceptual framework of gamification elements in mobile marketing outcomes (engagement and purchasing) and (ii) to propose products and consumer moderate the relationship of gamification elements and mobile marketing outcomes. The conceptual framework is proposed on this study with four independent variables of gamification elements (game story, game mechanics, games aesthetics and game technology), two moderator variable (products and consumers) and two dependent variables of mobile marketing outcomes (engagement and purchasing). This study applied Elemental Game Tetrad Model by looking how gamification elements affect the mobile marketing outcomes. The future of the study will contribute the new body of knowledge and area in mobile marketing development.

The Impact of 1980s and 1990s Video Games on Multimedia Cartography

The video game industry revolutionized the game market from the 1970s onwards. Stationary video game machines, such as “coin-ops” and, later, consoles for home entertainment made it possible to experience and interact with new virtual environments. Based on technical innovations, early video games already included different graphic and auditory effects that were used to present and emphasize the spatial dimension of game stories. One of the most famous and successful video game series that “told” spatial stories and included many visualizations of virtual topographies was Nintendo's Super Mario series. Nintendo developed diverse video game topographies including different interactive and animated cartographic media throughout the Super Mario series. These maps were early and fundamental examples that were user-friendly and suitable for children. Moreover, they established a basis for future video game spaces, and the techniques used to create, animate, and visualize these maps have also found their ways into other applications of cartography and geomatics. It seems that the early worlds of Super Mario animated cartographers to animate cartographic visualizations. This article presents the characteristic spatial structures and cartographic techniques found in early Super Mario games, from the arcade classic Donkey Kong (1981) to the Super Nintendo classic Super Mario Kart (1992). The meaning of these structures and techniques for other cartographic applications is discussed.

Inclusive game design facilitating shared gaming experience

This article presents the result from a study comparing the perception and understanding of a game story between sighted and visually impaired players playing the same game. In particular, whether sighted and visually impaired players could experience and recount the same story construed from the plot elements that are either manifested by audio and graphics in the case of sighted players or primarily by audio in the case of visually impaired players. To this end, we have developed a graphical point-and-click adventure game for iOS and Android devices that aims to show how inclusive game design may be used to facilitate a shared gaming experience between sighted and visually impaired players. The game provides players with audio feedback that enables visually impaired players to interact with and experience the game, but in a manner that does not interfere with the overall appearance and functionality of the game. Thus, it has been designed to be fully inclusive to both groups of players and to give the same gaming experience when it comes to story content. The game has been evaluated through formal user tests where subjects have been asked to play the first chapter of the game followed by an interview. The study shows that the perception of the story was almost identical between the two groups. Generally it took visually impaired players a little longer to play the game but they also seem to listen more carefully to the dialogue and hence also build a slightly deeper understanding of the characters. The study also shows that the sighted players did not respond negatively towards the inclusive game design employed in the game.

Drawn from the Ground. Sound, Sign, and Inscription in Central Australian Sand Stories - By Jennifer Green

Drawn from the Ground. Sound, Sign, and Inscription in Central Australian Sand Stories - By Jennifer Green

Problem Formulation for Accommodation Support in Plan-Based Interactive Narratives

Branching story games have gained popularity for adapting to user actions within a story world. An active area of Interactive Narrative (IN) research uses automated planning to generate story plans as it can lighten the authorial burden of writing a branching story. Branches can be generated from a declarative representation rather than hand-crafted. A goal of an Experience Manager (EM) is to guide a user through a space of desirable narrative trajectories, or story branches, in an IN. However, in the cases when an EM must accommodate user actions and mediate them from a desired narrative trajectory to a new narrative trajectory, automated planning’s authorial advantage becomes a liability as the available narrative trajectories are not known apriori. This limitation can lead to the EM choosing a new narrative trajectory that is not coherent with the previous one and may result in a negative user experience. The goal of my research is to develop a problem formulation methodology for story planning problems that elicits the available narrative trajectories enabling an EM to execute more coherent accommodations.

Atari to Zelda: Japan's Videogames in Global Contexts by Mia Consalvo

Reviewed by: Atari to Zelda: Japan's Videogames in Global Contextsby Mia Consalvo Dal Yong Jin (bio) Atari to Zelda: Japan's Videogames in Global Contexts. by Mia Consalvo. Cambridge, MA: MIT Press, 2016. Pp. 272. $32. In the early twenty-first century, the videogame industries witnessed tremendous changes. Historically, several advanced economies, including the United States and Japan, developed console games and became global leaders in the videogame markets. However, less-developed countries, including South Korea and China, have rapidly produced online games with the growth of high-speed internet services. The contemporary milieus surrounding the global videogame industries and markets continue to shift, as new technologies such as smartphones and tablets become new platforms for mobile games. Mia Consalvo's Atari to Zeldais a valuable contribution to the literature because it is time to think of the continuity and change in the global videogame industries. There are several major merits that make the book unique. Most of all, Consalvo successfully documents the history of the Japanese gaming scene by bringing together institutional analysis with in-depth interviews. While investigating games and localization processes, the book develops rich historical contexts for the progress of Japan's games and videogame industries, and the complex relationships between Western developers, hackers, and gamers, as well as Japanese game developers. This book succinctly addresses the evolution of Japan's videogames in both national and global contexts. [End Page 604] Consalvo also carefully analyzes certain key theoretical frameworks, such as localization, glocalization, and studio studies. While admitting the significance of globalization theory, she mostly utilizes John Urry's cosmopolitanism as the major theoretical framework for mapping out not only the growth of Japanese games as influenced by global videogames, but also the advancement of Western games as hugely influenced by Japanese videogames. The result is a concrete and convincing model for studying global videogames and game industries. The structure of the book is effective as well. It juxtaposes relevant themes back to back; therefore, game scholars, gamers, and developers will easily understand the major arguments. The first three chapters primarily examine the ways in which global gamers have enjoyed Japanese video-games, either by relishing game stories, characters, and gameplay or by reconfiguring the code of several games through hacking and translating them for mostly Western gamers. This part clearly identifies how both hackers and translators in Western countries have developed a unique participatory culture. Since Consalvo personally played all games analyzed, which is itself admirable, readers are easily able to learn the variety that local developers have offered gamers outside Japan. The next three chapters shift from the local to the global. Consalvo employs Urry's cosmopolitan disposition as a main framework for her empirical evidence on the ways in which Japanese videogame industries advance the global appearance of local games. It also provides the reasons why "Japan's console giants have moved from a strong early history of game development and sales to an industry allegedly on the brink of global irrelevance" (p. 151). With the cases of two console game corporations, Capcom and Level-5, Consalvo delves into console game corporations' strategies, which are sometimes successful and at other times not. In the final two chapters, Consalvo addresses the effects of Japanese game developers on North American developers—looking at how their own interests in games have taken shape and what role Japanese games might have played in the process. Through Jennifer Whitson's studio studies, this part asks us to think of the reasons why and how game developers in studios have created videogames and changed their business models. Of course, there are a handful of issues that the book could have developed further. The major shortfall is a simple acceptance, with no further elaboration, of the dichotomy of the West and the East. After discussing Edward Said's 1978 Orientalismseveral times, Consalvo should have discussed Stuart Hall's notion of the West as a "historical, not a geographical construct," a notion of particular relevance to Japan, given its cultural, technological, and political modernity. An extensive discourse on the same issue might provide a richer and better understanding of the power relationships between Japan's videogames and...

Site-Specific Forecasting Games and Serious Play: An Interview with Ken Eklund

Site-Specific Forecasting Games and Serious Play:An Interview with Ken Eklund Stephanie LeMenager (bio) and Ken Eklund (bio) ken eklund is an artist who works in immersive and collaborative play, informed by a career in game design. He's best known for "authentic fictions"—immersive, what-if storymaking games about real issues—such as World Without Oil (2007),1 Ed Zed Omega (2010),2 and FutureCoast (2014).3 In these games, people explore social concerns by working together to bring possible futures into clearer focus, and by imagining positive solutions and action. Eklund's games have become known as "forecasting games" and as modes of developing long-term planning skills, as described in jane mcgonigal's [End Page 509] groundbreaking book about game psychology, Reality Is Broken (2011).4 His approach stems from a deep belief that participation and collaboration are transformative acts for players, and that engaging people in play opens them to true learning. Ken also designs free-to-play geolocated storytelling games and cellphone adventures such as Giskin Anomaly (2010-2012)5 and Ruination: City of Dust (2014),6 as well as socially relevant "games for non-gamers" for museums, cultural institutions, and public media. Often appearing as immersive "alternate realities" that play out in both a game world and the real world, his games respect the ability and desire of their audiences to shape virtually materialized possible worlds that reflect their experiences and their hopes. He is currently working on two new projects: Abundant Future, a cellphone adventure exploring community transformations, and Force Majeure,7 a game-powered theater performance about the Anthropocene. stephanie lemenager and Ken eKlund sat down in November 2016 to talk about site specificity, future forecasting, serious play, storymaking vs. storytelling, and creating empathic spaces. Click for larger view View full resolution Ken Eklund. Photo credit: Rewa Bush/Djerass. sl/ Set the stage for us. How would you describe what you do? ke/ To artists, I would say I create authentic fictions. To funders, I would say I create engagement engines. Casually, I might tell you I am a game and experience designer. Others might say I create "thought experiments" or "what-if play" or "meaningful storyworlds" or "alternate reality games." sl/ I'm fascinated by the ways in which your games tend to move between virtual and material or "real world" sites. Using one of your games as a case study, can you say a little bit about how the virtual or digital environments that the games offer enhance players' engagement with local ecosystems, infrastructures, or communities? ke/ I think, when gamemaking, I actually approach this question from the other side: I assume people are already engaged with the world around them—or want to be—so I figure out ways my game can point that out, amp it up, encourage it, and reward it as people play. It's like a hidden asset that I can help grow and share. One way to do this is to use the game story to "reformat" the real world, by putting a game layer over it. World Without Oil (Fig. 1) is a great [End Page 510] example: the game pretended a global oil crisis had started, and asked people to document how their lives were changing in the crisis.8 Many players responded with imaginative reworkings of their everyday environments. At least one player sent us a picture of their car with a FOR SALE sign on it (at an alarmingly low price), for example. The genius thing about World Without Oil and many serious games that have followed it is that it turns players' engagement with local ecosystems, infrastructures, and communities into valued currency in the game. As a player, you talk about such engagements and share them with other players. And if you idealize them—or even make them up entirely—that's just fine. It's just a game. It turns out that trying out these behaviors—playing with them—is an effective precursor to adopting these behaviors.9 In World Without Oil, there was a prominent player thread about backyard gardens: how to start them, the benefits of having them. And it was easy to join the...

Developing Standards and Strategies for Globalizing the Storytelling of Korean Online Games

Objectives: This study was aimed at extracting and proposing a narrative grammar that the South Korean online game industry would do well to take on strategically, in the context of a comparative analysis of storytelling in globally successful games. Methods/Statistical Analysis: The study set “globalization” as a key word for the industry’s current challenge, based on the view that this crisis in the game industry can be seized as an opportunity. As a method for comparative analysis, this study examined how the “hero narrative,” which is the most classical story archetype, is applied in game stories. Findings: The South Koran game industry has not fully understood the importance of storytelling, as it has focused on technology-centered production contexts, such as videos and graphics. Particularly, South Korean games focused on MMORPG share a trend in which there is a setting but not a drama. They only have settings in terms of basic elements, such as historical background, space, and characters, but no drama structure that develops conflict, confrontation, depth, and resolution. The study developed a globalization strategy for the global competitiveness of the South Korean online game market by approaching the optimization strategy of online game storytelling from four angles, namely “convergence,” divergence,” extension,” and “sharing”. To develop South Korean online games, professional writers specializing in game scenarios should be cultivated. Cultivation of competent writers who can develop scenarios that harmonize locality and universality via extension and sharing, beyond convergence and divergence, will be the only strategy to sustain export of the South Korean online game industry. Application/Improvements: Particularly in the current saturated market, stories with high completeness are in demand. This is the academic background to the problem of developing South Korea’s own creative narrative strategy in order to improve the completeness of stories, which will help to create new markets, and also to acquire global competitiveness.

Efficacy of Mobile Serious Games in Increasing HIV Risk Perception in Swaziland: A Randomized Control Trial (SGprev Trial) Research Protocol.

BackgroundThe human immunodeficiency virus (HIV) and acquired immune deficiency syndrome (AIDS) continue to be a major public health problem in Sub-Saharan Africa (SSA), particularly in Swaziland, which has the highest HIV prevalence in this region. A wide range of strategies and interventions have been used to promote behavior change, though almost all such interventions have involved mass media. Therefore, innovative behavior change strategies beyond mass media communication are urgently needed. Serious games have demonstrated effectiveness in advancing health in the developed world; however, no rigorous serious games interventions have been implemented in HIV prevention in SSA.ObjectiveWe plan to test whether a serious game intervention delivered on mobile phones to increase HIV risk perception, increase intention to reduce sexual partnerships, and increase intention to know own and partners HIV status will be more effective compared with current prevention efforts.MethodsThis is a two-arm randomized intervention trial. We will recruit 380 participants who meet the following eligibility criteria: 18-29 years of age, own a smartphone running an Android-based operating system, have the WhatsApp messaging app, live in Swaziland, and can adequately grant informed consent. Participants will be allocated into a smartphone interactive, educational story game, and a wait-list control group in a 1:1 allocation ratio. Subsequently, a self-administered Web-based questionnaire will be issued at baseline and after 4 weeks of exposure to the game. We hypothesize that the change in HIV risk perception between pre- and post-intervention assessment is greater in the intervention group compared with the change in the control group. Our primary hypothesis is based on the assumption that increased perceived risk of HIV provides cues to engage in protective behavior. Our primary outcome measure is HIV risk perceived mean change between pre- and post-intervention compared with the mean change in the wait-list control group at 4-weeks post-intervention. We will use standardized regression coefficients to calculate the effect of the intervention on our primary outcome with P values. We will conduct both intention to treat and as treated analysis.ResultsThis study is funded by Hayao Nakayama Foundation for Science & Technology and Culture; Grant number H26-A2-41. The research and development approval has been obtained from Kyoto University Graduate School and Faculty of Medicine Ethics Committee, Japan, and Swaziland’s Ministry of Health Ethics and Scientific committee. Results are expected in February 2017.ConclusionsThis study will provide evidence on the efficiency of a mobile phone interactive game in increasing HIV risk perception in Swaziland. Our findings may also be generalizable to similar settings in SSA.Trial RegistrationUniversity Hospital Medical Information Network Clinical Trial Registry ID number (UMIN-CTR):UMIN000021781; URL:https://upload.umin.ac.jp/cgi-open-bin/ctr_e/ctr_view.cgi?recptno=R000025103 (Archived by WebCite at http://www.webcitation.org/6hOphB11a).

Children Safety: Education Game for Childs Sex Education

Some people still cannot talk freely about sex education. On the other hand, some of them have an assumption about teaching sex education will leads to free sex behavior. Sometimes parent afraid to talk about sex education with their children, even some parent think sex education is not important thing for children.However, in fact children need to know about sex education for their own good. To children, sex education is to explain differences in male and female and to know well about themselves. Create media to deliver sex education is the way to teach children about sex education. Among many media, game is one option to deliver this education.This research will discuss about game for childs sex media education. Use game as sex media education because game has capability to deliver message. Through game concept, picture, and animation, game deliver childs sex education to children. With the objective to prevent child from sexual abuse. However, when children play the game they need companion to make clear that children understand the meaning of game message through game story.

At-risk adolescents as experts in a new requirements elicitation procedure for the development of a smart phone psychoeducational trauma-informed care application

ABSTRACTBackground/Purpose: Adolescents from urban, socioeconomically disadvantaged communities of color encounter high rates of adverse childhood experiences. To address the resulting multidimensional problems, we developed an innovative approach, Experiential Participatory and Interactive Knowledge Elicitation (EPIKE), using remote experiential needs elicitation methods to generate design and content requirements for a mobile health (mHealth) psychoeducational intervention. Methods: At a community-based organization in a northeastern city, the research team developed EPIKE by incorporating elicitation of input on the graphics and conducting remotely recorded experiential meetings and iterative reviews of the design to produce an mHealth smartphone story application (app) prototype for the participants to critique. The 22 participants were 13- to 17-year-olds, predominantly African American and female, from underresourced communities. Results: The four goals of the design process were attained: 1) story development from participant input; 2) needs-elicitation that reflected the patient-centered care approach; 3) interactive story game creation that accommodates the participants’ emotional and cognitive developmental needs; 4) development of a game that adolescents can relate to and that which matches their comfort levels of emotional intensity. Conclusions: The EPIKE approach can be used successfully to identify the needs of adolescents across the digital divide to inform the design and development of mHealth apps.

Game story space of professional sports: Australian rules football.

Sports are spontaneous generators of stories. Through skill and chance, the script of each game is dynamically written in real time by players acting out possible trajectories allowed by a sport's rules. By properly characterizing a given sport's ecology of "game stories," we are able to capture the sport's capacity for unfolding interesting narratives, in part by contrasting them with random walks. Here we explore the game story space afforded by a data set of 1310 Australian Football League (AFL) score lines. We find that AFL games exhibit a continuous spectrum of stories rather than distinct clusters. We show how coarse graining reveals identifiable motifs ranging from last-minute comeback wins to one-sided blowouts. Through an extensive comparison with biased random walks, we show that real AFL games deliver a broader array of motifs than null models, and we provide consequent insights into the narrative appeal of real games.

When intelligence meets data: game story generation by compositional creativity

Creative computing concerns itself with theoretical and practical issues in the interdisciplinary study of creativity and computing. This paper covers a variety of preliminary compositional considerations relevant to stories generation, including conceptualising a theme, generating a storyline, and developing story narratives. An interactive game story generation system with compositional creativity as the main technique is proposed in this study. Generally speaking, a story composition process includes two major tasks: story plotting and narrative generation. This paper proposes using compositional creativity to produce credible story characters and consistent stories while addressing the needs and preferences of game players. Stories are generated according to the blind selection of story characters, events and organisations use the story theme as a selective-retention criteria taking into account the temporal, spatial and logical relationships and constraints.

An Analytic Creativity Assessment Scale for Digital Game Story Design: Construct Validity, Internal Consistency and Interrater Reliability

Mobile technology has rapidly made digital games a popular entertainment to this digital generation, and thus digital game design received considerable attention in both the game industry and design education. Digital game design involves diverse dimensions in which digital game story design (DGSD) particularly attracts our interest, as the literature needs more information, especially the creativity assessment of DGSD. Existing measuring tools do not adequately address the characteristics of game-story duality. Thus, an analytic creativity assessment scale of DGSD (CAS-DGSD) based on literature and original ideas was developed in our previous work. This study aims to statistically examine its construct validity, internal consistency reliability, and interrater reliability to verify its effectiveness. Three commercial games of 3 different game genres (action, puzzle, and role-play) were rated by 32 student raters and 4 expert raters. Statistical results show acceptable construct validity, internal consistency reliability, and interrater reliability of the CAS-DGSD. The CAS-DGSD not only helps evaluators like teachers identify which aspects of DGSD are short of creativity, but also serves as a guideline for digital game story designers like design students and product developers to tailor creative and entertaining game stories.