Tamagotchi was released on November 23, 1996.
The first Tamagotchi was released on November 23, 1996. (Source: https://tamagotchi-official.com/us/history/).
Tamagotchi was released on November 23, 1996.
The first Tamagotchi was released on November 23, 1996. (Source: https://tamagotchi-official.com/us/history/).
Just think about what you’re making as interactive experiences that someone might remember one day. Classifications are useful for marketing, and still important, but also creatively limiting. So, at the core, just make sure the experience you’re creating is a meaningful and interesting one at the abstract level.
Kan Gao on prioritizing making games that are "meaningful and interesting" and that "someone might remember one day" instead of worrying about categories.
It was the tool with the least friction capable of making what I needed to make. I think an important rule for me is to choose not the most elaborate, fancy or feature-heavy tool, but rather the simplest one that’s capable of doing what I need for the project. Friction is the enemy of making multi-media projects, and I tend to become my own obstacle when choosing a needlessly complex tool for the job.
Kan Gao on why he chose RPG Maker VX as his game development tool of choice. He goes for "the simplest [tool] that's capable of doing what I need for the project..." Admirable in that he thinks of the project first.
If the player can customize characters, statistics, equipment, abilities, routes, schedules, or other aspects of the game, the question isn't whether customization exists. The question is what the customization is trying to accomplish. If customization primarily changes the player's interaction with the game, that's something other than a visual novel. If customization primarily changes the story being experienced, that's more of a visual novel.
Stella De's principles for when customization is consistent with a visual novel vs a non-VN game.
A visual novel is a type of narrative video game that provides a written narrative experience accompanied by visuals. Visual novels focus on reading and/or listening to a story above any other form of interaction. When a visual novel presents interactions or customizations, they will primarily influence or appear to influence the story.
Stella De's definition of visual novels.
Explaining this design choice, the director says, “I’m simply not very fond of dialogue scenes where characters go on and on about trivial matters. I prefer the pacing and atmosphere of films. Of course, I believe games that emphasize dialogue have their own merit, like allowing readers to project onto the protagonist and soak in the atmosphere, so this isn’t about which approach is better or worse. However, I believe that the maximum amount of time a person can concentrate on reading text is about 4 to 6 hours at most, and I’m concerned that if it goes on any longer, more people will start skimming or rapidly clicking though the text.”
Todo Kataoka explaining why he prefers "film" pacing in visual novels over lengthy dialogue scenes. Notable: "I believe the maximum amount of time a person can concentrate on reading text is about 4 to 6 hours at most..."
A Visual Novel (VN) is a digital narrative focused game that requires interactions where the player must be able to impact the story world or the story’s progression. The story and interactions are most commonly presented through a text box and often employ additional forms of interac- tion including menu choices—which often contain sets of actions that the player character can perform—or dialogue options representing the player character’s speech or thoughts. Crucially, VNs have On-Click Progression, where the player clicks, taps or presses a button to see the next part of the story. The aesthetics of VNs are most often conveyed through static images of characters, background art, sound effects (SFX) feedback, and soundtracks.
A proposed definition of visual novels based on consulting research papers and a collection of "popular" VNs.
until now, my approach hasn’t been to create a game around a story, but rather, to develop worldbuilding and narrative within the game system.
Thought on games with notable stories: Focus on game system first and build world and narrative within the system.
However, in a world overflowing with games, getting a slice of that pie of gamers is a difficult task. So, I figure there are about six people in the world who love everything I make, and I’ll do my best to cater my games specifically to them.
Interesting thought on making games (or any art) for a small audience of people who love your work, at least as a start point.
Digitale Spiele im Geschichtsunterricht als ein Medium zwischen Historizität, Histotainment, Authentizität und Immersion präsentierte online zugeschaltet MATHIAS HERRMANN (Dresden). Er skizzierte die Entwicklung digitaler Spiele seit den 1970er-Jahren hin zu einem millionenschweren Massenmedium – ein Indiz für das breite öffentliche Interesse an Geschichte. Der Unterhaltungswert steht dabei oft über historischer Genauigkeit, doch gerade darin liegt auch ein didaktisches Potenzial: Historisierende Spiele sind Teil der Geschichtskultur, spiegeln populäre Vergangenheitsvorstellungen und können – kritisch analysiert – sogar als Quellen genutzt werden, um aktuelle Narrative und ideologische Deutungen sichtbar zu machen. Angesichts ihrer gezielten Nutzung durch rechtsideologische Kreise forderte Herrmann eine reflektierte Auseinandersetzung mit dem Medium. Richtig eingesetzt, etwa im Unterricht und begleitet durch geeignetes Material, könnten Spiele sowohl Faktenwissen als auch Medienkompetenz fördern – vorausgesetzt, sie werden als ernstzunehmende Bildungsmedien anerkannt.
Well, yes history in games is rarely accurate and this also okay. The main purpose is entertainment. We need a culture that recognizes that a game can still teach some things about history (e.g. how does persecution work). And also show perspectives about history. ALSO: Its not a question if games are educational, people will always use them to passively or actively educate themself about history.
innovative idea
Résumé de la vidéo [00:00:00][^1^][1] - [00:24:40][^2^][2]:
La vidéo présente une conférence sur l'innovation dans l'éducation, organisée par l'INSEP. Les intervenants discutent de l'importance de l'innovation pédagogique et de son intégration dans la formation des enseignants.
Points forts: + [00:00:00][^3^][3] Introduction de la conférence * Présentation des rencontres de l'innovation + [00:03:33][^4^][4] L'importance de l'innovation * L'innovation alimente la formation et la recherche + [00:07:00][^5^][5] La création d'une communauté * Développer une culture de l'innovation chez les étudiants + [00:09:00][^6^][6] Le service d'innovation pédagogique * Présentation du service et de son rôle + [00:11:43][^7^][7] Les objectifs de l'innovation * Éveiller la créativité et accompagner la création de dispositifs pédagogiques + [00:17:01][^8^][8] Les types d'innovation * Différence entre innovation incrémentale et de rupture
Résumé vidéo [00:24:44][^1^][1] - [00:49:46][^2^][2]: La vidéo présente une discussion sur l'innovation pédagogique et le rôle du mini-lab dans la création de ressources éducatives. Elle met en lumière l'importance de la collaboration, de la créativité et de l'expérimentation dans le développement de méthodes d'enseignement innovantes.
Points forts: + [00:24:44][^3^][3] Introduction aux contreparties * Formation requise * Création de dispositifs + [00:26:48][^4^][4] Mission de création de ressources * Développement d'escape games * Réappropriation par les visiteurs + [00:29:48][^5^][5] Bilan des accompagnements * Soutien individuel et en groupe * Projets avec divers partenaires + [00:35:42][^6^][6] Perspectives et enjeux * Capitalisation des productions * Renforcement du lien innovation-recherche
Résumé de la vidéo 00:49:48 - 01:11:08: La vidéo présente un projet éducatif innovant utilisant le kamishibai, un théâtre de bois japonais, pour encourager l'expression orale des élèves. Le projet intègre la technologie avec des cartes mécaniques et une Raspberry Pi pour créer un mur d'expression interactif sans nécessiter d'ordinateur ou de connexion internet.
Points forts: + [00:49:48][^1^][1] Introduction du kamishibai * Théâtre de bois pour l'expression * Collaboration avec le mini Lab + [00:53:00][^2^][2] Application en mathématiques * Utilisation d'un escape game pédagogique * Amélioration de l'engagement des étudiants + [00:57:00][^3^][3] Avantages du module * Motivation et implication accrues * Développement de compétences diverses + [01:07:23][^4^][4] Escape game en mathématiques * Facilité de mise en œuvre * Changement d'attitude des étudiants
Résumé de la vidéo [01:11:10][^1^][1] - [01:34:07][^2^][2]:
Cette vidéo présente une table ronde sur l'innovation pédagogique, abordant des sujets tels que la création d'un escape game éducatif, les défis de l'innovation, et l'importance de l'adaptation et de la réflexion dans l'enseignement.
Points forts: + [01:11:10][^3^][3] L'escape game éducatif * Discussion sur la conception et l'adaptabilité + [01:11:43][^4^][4] Défis de l'innovation * Accepter l'inconnu et gérer l'imprévu + [01:12:23][^5^][5] Importance de l'adaptation * Réflexion sur l'usage du numérique en éducation + [01:18:26][^6^][6] Réflexions finales * Contributions au domaine de l'éducation et remerciements
The game went on to be a minor hit in Japan, selling over 100,000 copies -- and was followed up by a Game Boy version which, thanks to Pokemon's popularity, sold over 300,000, launching the new franchise.
Interesting facts about the launch of the Harvest Moon/Story of Seasons series in Japan. The first game for SNES sold about 100,000 copies. The game that most launched the series, however, was the simpler Game Boy game, which "sold over 300,000, launching the new franchise." This article credits the success of Pokemon in part with the high sales of Story of Seasons.
Long before Where In The World Is Carmen Sandiego or The Oregon Trail, there was The Sumerian Game.
all the mechanics are missing
another take on turn-based racing
Unleash your creativity with the innovative Navalia ship editor and bring your creations into battle!
A non-pretentious yet funny and innovative physics puzzle game
A very creative concept that i`ve never seen before in a video game.
Seguin, D., Kuenzel, E., Morton, J. B., & Duerden, E. (2021). School’s out: Parenting stress and screen time use in school-age children during the COVID-19 pandemic. PsyArXiv. https://doi.org/10.31234/osf.io/5guc3
a strategy game for me is mostly about the mechanics and the replayability. I love good art and design, but function follow form!
On sale for $4.99.
Watch for free here: https://www.youtube.com/playlist?list=PLIhLvue17Sd7F6pU2ByRRb0igiI-WKk3D