[[_Anotacions]] tags:: #marc_teoric #Game #Player_Types # Adams 2004. Fundamentals of Game Design ## Anotacions > "GAME A game is a type of play activity, conducted in the context of a pretended reality, in which the participant(s) try to achieve at least one arbitrary, nontrivial goal by acting in accordance with rules" (Adams, 2004, p. 3) _Definició de joc > "The essential elements of a game are play, pretending, a goal, and rules." (Adams, 2004, p. 4) _Elements de un joc > "Pretending is the act of creating a notional reality in the mind, which is one element of our definition of a game. Another name for the reality created by pretending is the magic circle. This is an idea that Dutch historian Johan Huizinga originally identified in his book Homo Ludens (Huizinga, 1971) and expanded upon at some length in later theories of play. The magic circle is related to the concept of imaginary worlds in fiction and drama, and Huizinga also felt that it was connected to ceremonial, spiritual, legal, and other activities. For our purposes," (Adams, 2004, p. 4) _Adams recull la idea del cercle màgic de Huizinga amb dues idees: -Com a frontera entre la realitat i el ideal i -On el joc és significatiu > "however, the magic circle simply refers to the boundary that divides ideas and activities that are meaningful in the game from those that are meaningful in the real world. In other words, it defines the boundary between reality and make-believe." (Adams, 2004, p. 5) > "Huizinga did not use the term magic circle as a generic name for the concept. His text actually refers to the play-ground, or a physical space for play, of which he considers the tennis court, the court of law, the stage, the magic circle (a sacred outdoor space for worship in “primitive” religions), the temple, and many others to be examples. However, theoreticians of play have since adopted the term magic circle to refer to the mental universe established when a player pretends. That is the sense that this book uses." (Adams, 2004, p. 5) Encara que Huizinga parla del cercle màgic com un camp de joc, la idea general del llibre és més propera al univers mental dels jugadors > "The definition of a game used the term pretended reality rather than magic circle because the former is self-explanatory and the latter is not. However, from now on, we’ll refer to the magic circle because it is the more widely accepted term" (Adams, 2004, p. 5) > "In single-player games, the player establishes the magic circle simply by choosing to play. In multiplayer games, players agree upon a convention, which in turn establishes the magic circle. In other words, they all pretend together, and more important, they all agree to pretend the same things; that is, to accept the same rules. Although the pretended reality can seem very real to a deeply immersed player, it is still only a convention and can be renounced by the player refusing to play." (Adams, 2004, p. 5) > "At first glance, you might not think much pretending is involved in a physical game like soccer. After all, the players aren’t pretending to be someone else, and their actions are real-world actions. Even so, the players assign artificial significance to the situations and events in the game, and this is an act of pretending. Figure 1.2 illustrates the idea. In the real world, kicking a ball into a net is meaningless, but" (Adams, 2004, p. 5) > "for the duration of a soccer game, the players (and spectators) pretend that kicking the ball into the net is a good thing to do and that it benefits the team that successfully achieves it. Accepting and abiding by the rules is part of the pretending we do when we play a game. The distinction between the real world and the pretended reality is not always clear. If the events in the game are also meaningful in the real world, the magic circle becomes blurred. For example, various Mesoamerican Indian peoples used to participate in the ball-court game, a public activity that was superficially similar to basketball. From carvings that depict the game, it appears that the losers may have been ritually sacrificed to the gods. If so, the game was literally a matter of life and death—a matter of great importance in the real world. In spite of this, the ball-court game was not just a raw struggle for survival; it was played according to rules. Gambling, too, blurs the magic circle because when you gamble, you bet real money on the outcome of a game. The process of gambling may or may not be an intrinsic part of the game itself. On the one hand, you can choose to play dominoes for money, but you can also play for matchsticks, or nothing at all. On the other hand, betting money in craps is an intrinsic part of the game; if you don’t place a bet, you’re not participating." (Adams, 2004, p. 6) > "A GOAL A game must have a goal (or object; these terms are used interchangeably throughout the book), and it can have more than one. As observed previously, goalless play is not the same as game play. Even creative, noncompetitive play still has a goal: creation. Others take this requirement for a goal even further. For example, in Rules of Play, Salen and Zimmerman (Salen and Zimmerman, 2003, p. 80) require that a game have a “quantifiable outcome.” This definition is too restrictive. Consider an activity in which the participants collaborate to make a drawing of a scene in a limited time, with each one holding a crayon of a different color. This activity is clearly a game—it includes rules, a goal, play, and pretending, and the results vary depending on the decisions of the players—but its outcome is not quantifiable. Similarly, the object of SimCity is to build and manage a city without going bankrupt, and as long as the player does not go bankrupt, the game continues indefinitely without any outcome. In fact, the object of a game need not even be achievable, so long as" (Adams, 2004, p. 6) > "the players try to achieve it. Most early arcade games, such as Space Invaders and Breakout, gave the players an unachievable goal. The goal of the game is defined by the rules and is arbitrary because the game designers can define it any way they like. The goal of the children’s card game Go Fish is to obtain books—collections of four cards of the same suit—but the definition of what is to be collected could be changed by changing the rules. A book has no intrinsic real-world importance; it’s just a particular collection of cards. But within the context of a game of Go Fish, a book has a symbolic importance because the rules state that assembling it is a goal on the way to victory. The goal must be nontrivial because a game must include some element of challenge. Even in a game of pure chance such as craps or roulette, the players must learn to understand the odds and place bets that will most likely benefit them. Similarly, in a creative game, creation itself challenges the players. To do well requires skill. If the object can be achieved in a single moment, without either physical or mental effort, then the activity is not really a game. For example, children sometimes do a rudimentary form of gambling called Odds and Evens. Each flips a coin of identical value. If the results are odd (don’t match), one child takes both coins; if they are even (do match), the other does. The odds are exactly 50 percent and there is no way to improve them; in fact, there is no decision-making at all. This does not qualify as a game under the definition because it does not include a challenge. The object is trivial and the process momentary. It is a form of betting, but not a game." (Adams, 2004, p. 7) > "Magic circle Term originally coined by Johan Huizinga to refer to physical locations in which special social rules of behavior apply. Subsequently adopted by the game industry and other fictional media as follows: The magic circle is a theoretical concept related to the act of pretending that occurs when we choose to play a game. When we begin to play and agree to abide by the rules, we enter the magic circle. Within the magic circle, actions that would be meaningless in the real world take on meaning in the context of the game." (Adams, 2004, p. 642) ## Conceptes Marc Teòric ### [[021. Gamificació de l'Aprenentatge]] ### [[Game Design]] ### [[Game Design Elements. Levels]] ### [[Game Elements2]] ### [[Schell's Lenses]] ## Conceptes Propis ### [[041. Gamificació d'un mòdul d'informàtica d'FP]] ### [[_Elements de Joc_]] #### [[Conflicte, Competició o Cooperació]] #### [[Corba d'Interès]] #### [[El Viatge de l'Heroi]] #### [[L'Equivocar-se és Positiu]] #### [[Estètica (element de joc)]] #### [[Feedback a les aules]] #### [[Metes (Objectius)]] #### [[Narrativa]] #### [[Nivell (Grau de Dificultat)]] #### [[Nivell de Joc]] #### [[Nivell del Jugador]] #### [[Nivells]] #### [[Recompensa]] #### [[Regles]] #### [[Retroacció]] #### [[Temps]] #### [[Torna-ho a intentar]] ### [[Model de Joc]] #### [[Mecànica]] #### [[Dinàmica]] #### [[Estètica]] ### [[Regamificar l'educació. L'Escola, un Cercle Màgic Imperfecte]]