We have all at some point encountered the vaporware problem of academic game design practice, where design artifacts once accessible to the academic community have disappeared into the ether. Given the practice-based nature of design and the heavy emphasis placed on artifacts for demonstrating and embodying designerly knowledge, we pose the following question: when we no longer have access to design artifacts, how do we access the knowledge that led to them?

As game design research is an emerging area of games research, game design researchers are still establishing consensus around baseline methodological practices that enable us to stop talking past each other and start putting our research efforts into genuine conversation. Stemming from our work on game design research methodology, we are proposing an interstitial design research step between design process data collection and design data analysis: corpus assemblage. In this paper, we overview the Method for Design Materialisation (MDM) and its workflows, then zoom in on what existing research approaches (and their supporting instruments) leave unaddressed in the context of game design research. We then introduce Ponte, a design-oriented research tool that bridges the material, technical, and methodological space that exists between design process-oriented data collection and design process-oriented data analysis. Ponte makes visible metadata, a commonly invisible layer of process-related information consistently being tracked by our digital work environments. Through the exploration and organisation of design metadata, Ponte invites design researchers to intentionally and explicitly undertake corpus assemblage as a crucial stage of data engagement that magnifies our abilities to make sense of design materials, processes, and practices.

Recent years have borne witness to an explosion of games research from diverse home disciplines. Much of this work concerns game design, but the games research community has yet to agree on practices and methods for examining game design that are simultaneously rigorously scholarly, flexible enough to accommodate a design-oriented perspective, and sufficiently knowledgeable of computation to engage with the materiality of games.

The concept of gamification is receiving increasing attention, particularly for its potential to motivate students. However, to date the majority of studies in the context of education have predominantly focused on University students. This paper explores how gamification could potentially benefit a specific student population, children with dyslexia who are transitioning from primary to secondary school. Two teachers from specialist dyslexia teaching centres used classDojo, a gamification platform, during their teaching sessions for one term. We detail how the teachers appropriated the platform in different ways and how the students discussed classDojo in terms of motivation. These findings have subsequently informed a set of provisional implications for gamification distilling opportunities for future pedagogical uses, gamification design for special education and methodological approaches to how gamification is studied.

Designers of intelligent tutoring systems (ITSs) have long been interested in delivering personalized teaching to individual students, typically by ensuring that the student receives content appropriate to their skills and knowledge. Nonetheless, a more holistic view on what constitutes good teaching practice has challenged whether this approach to user modelling is sufficient. Teaching is not only defined by what is taught, but also by how it is taught. In this paper, we demonstrate that exploratory design research can support this view by generating a more inclusive set of user attributes for purposes of user modelling. Through a case study, we show that design research for user modelling can function as a boundary object serving three important roles that underpin more specifically the design of user modelling and more broadly ITS design. First, design research can establish common ground by encapsulating domain knowledge in an accessible form. This can support diverse project stakeholders to make decisions on what is to be modelled. Secondly, design research can reveal a wide range of teaching and learning perspectives that in turn introduce transparency to the decision-making process of user modelling and provoke a sense of criticality and accountability amongst project stakeholders. Thirdly, design research can build new bridges between the design of the technology and the user model that underpins it. To this end, user attributes deemed important, yet too complex or cumbersome to develop, can become design principles in the context of the overall ITS design. RESEARCH HIGHLIGHTS We highlight how the creation of user models rarely incorporates assistance from the HCI community. We present a series of design activities intended to assist in the creation of a User Model. We examine how this design-oriented methodology creates a boundary object. We discuss the three benefits this boundary object brings to constructing user models, namely establishing common ground, creating transparency when considering possible alternatives and creating a springboard for new activities.

Children typically have extensive expertise and experiences of computer games, which can enable them to make valuable contributions when involved in the design of games. Within this paper we discuss our approach to the involvement of children in the game design process, specifically to inform a game narrative. We describe two design workshops with children, which focused on the design of the narrative within a literacy game based on the Day of the Dead festival. We describe how the knowledge that resulted from these workshops furthered our understanding of children's storytelling schema and preferences for games as well as their approach to story creation and expression during the game design process. We also discuss how our findings informed an initial set of design principles for guiding narrative design within children's games as well as recommendations for including storytelling design activities within the technology design process.

The neurodiversity movement seeks to positively reframe certain neurological conditions, such as autism spectrum disorders (ASD) and dyslexia, by concentrating on their strengths. In recent years, neurodiverse children have increasingly been involved in the technology design process, but the design approaches adopted have focused mostly on overcoming difficulties of working with these children, leaving their strengths untapped. We present a new participatory design (PD) framework, Diversity for Design (D4D), which provides guidance for technology designers working with neurodiverse children in establishing PD methods that capitalize on children's strengths and also support potential difficulties. We present two case studies of use of the D4D framework, involving children with ASD and dyslexia, showing how it informed the development and refinement of PD methods tailored to these populations. In addition, we show how to apply the D4D framework to other neurodiverse populations.

Procedural content generation (PCG), the algorithmic creation of game content with limited or indirect user input, has much to offer to game design. In recent years, it has become a mainstay of game AI, with significant research being put towards the investigation of new PCG systems, algorithms, and techniques. But for PCG to be absorbed into the practice of game design, it must be contextualised within design-centric as opposed to AI or engineering perspectives. We therefore provide a set of design metaphors for understanding potential relationships between a designer and PCG. These metaphors are: tool, material, designer, and domain expert. By examining PCG through these metaphors, we gain the ability to articulate qualities, consequences, affordances, and limitations of existing PCG approaches in relation to design. These metaphors are intended both to aid designers in understanding and appropriating PCG for their own contexts, and to advance PCG research by highlighting the assumptions implicit in existing systems and discourse.

Game design and user experience (UX) design both centre on the design of experiences. But whereas it is par for the course for end-user perspectives to be included during early design stages in UX, there is little methodological support or research into how to incorporate player perspectives into early stages of game design. In this paper, we introduce muse-based game design, an experimental empathic design approach foregrounding a dialogic artist -- muse relationship between a game designer and player. Following a user research stage focused on learning about the player, the designer forms idiosyncratic design constraints inspired by and relating to the player, which are then used to inspire ideation. To understand the consequences, advantages, and disadvantages of this approach, we discuss findings from two years of application of this style of game design in a Master's-level class of game design students at the IT University of Copenhagen.

Games offer a compelling medium for learning. However, designing a successful learning game that features engagement alongside its educational objectives is a craft that is still underway. Our research adapts a user-centered approach toward designing a game that will teach children conflict resolution skills. By involving users of the game, namely teachers and students, in the design process we reveal new considerations for how to create convincing narratives of conflict, sustain children's engagement and gain teachers' support. At the same time, our work highlights the challenges facing researchers in this domain who must balance users' values, needs and expectations with the game's learning objectives.

Serious games have received much positive attention; correspondingly, many researchers have taken up the challenge of establishing how to best design them. However, the current literature often focuses on best practice design strategies and frameworks. Fine-grained details, contextual descriptions, and organisational factors that are invaluable in helping us to learn from and reflect on project experiences are often overlooked. In this paper, we present five distinct and sometimes competing perspectives that are critical in understanding factors that influence serious game projects: project organisation, technology, domain knowledge, user research, and game design. We explain these perspectives by providing insights from the design and development process of an EU-funded serious game about conflict resolution developed by an interdisciplinary consortium of researchers and industry-based developers. We also point out a set of underlying forces that become evident from viewing the process from different perspectives, to underscore that problems exist in serious game projects and that we should open the conversation about them.

We present our research towards the design of a computational framework capable of modelling the formation and evolution of global patterns (i.e. group structures) in a population of social individuals. The framework is intended to be used in collaborative environments, e.g. social serious games and computer simulations of artificial societies. The theoretical basis of our research, together with current state of the art and future work, are briefly introduced.

Conflict is an unavoidable feature of life, but the development of conflict resolution management skills can facilitate the parties involved in resolving their conflicts in a positive manner. The goal of our research is to develop a serious game in which children may experiment with conflict resolution strategies and learn how to work towards positive conflict outcomes. While serious games related to conflict exist at present, our work represents the first attempt to teach conflict resolution skills through a game in a manner informed by sociological and psychological theories of conflict and current best practice for conflict resolution. In this paper, we present a computational approach to conflict generation and resolution. We describe the five phases involved in our conflict modeling process: conflict situation creation, conflict detection, player modeling and conflict strategy prediction, conflict management, and conflict resolution, and discuss the three major elements of our player model: assertiveness, cooperativeness, and relationship. Finally, we overview a simple resource management game we have developed in which we have begun experimenting with our conflict model concepts.