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Ni no Kuni Ni no Kuni (二ノ国?, literally Second Country, also called The Another World) is a role-playing video game, developed by Level-5 and Studio Ghibli,[1] for the Nintendo DS and later PlayStation 3.[7] The Nintendo DS version, titled Ni no Kuni: Dominion of the Dark Djinn (二ノ国 漆黒の魔導士, Ni no Kuni: Shikkoku no Madōshi?, literally Second Country: The Jet-Black Mage), was released on December 9, 2010, while the PlayStation 3 version, titled Ni no Kuni: Wrath of the White Witch (二ノ国 白き聖灰の女王, Ni no Kuni: Shiroki Seihai no Joō?, literally Second Country: The Queen of White Sacred Ash), was released in Japan on November 17, 2011, with a Western release on January 22, 2013.[8] Both versions of the game (DS and PS3) were critically acclaimed, with many critics praising its graphic design and its unique gameplay which combined traditional Japanese RPG combat with more fast-paced Western RPG combat. Ni no Kuni
The Last Symphony was created to showcase design strategies based on indexical storytelling. Hidden object games often include objects that are out of place or anachronistic in their scenes, or ask players to find objects that are largely unrelated to the storyline or the goal of the player. Collection of objects in The Last Symphony is not only directly tied to the player's goal, but also reveals the story through that process. Load Game: The Last Symphony Load Game: The Last Symphony

Game Theory

Game Theory

#AltDevBlogADay I want to share a little discovery, a trick easing the creation and development of games. First a short motivational and historical introduction. I don’t know if you have it too, but when I’m creating a game, I often add to it a lot of keyboard shortcuts – even a few dozens. Player avatar, enemies, map, camera, physics, rules etc. Shortcuts use normal letters, digits, F keys, special keys (tab, home, backspace), and their combinations with ctrl, shift, alt.






So you want to design a game? Maybe you just love playing them and dream of someday working for a great game company, or maybe you already work at a company developing games, but you want to design your own. Designing a game is a lot harder than it looks, but there is a lot you can do and know in order to do it properly. There are some good books on game design, but few of them really tell you how to start with an idea and turn it into a design. Connected eXPeriences Connected eXPeriences


Airy Labs - Social Learning Games for Kids




Welcome to DiGRA ? Digital Games Research Association (DiGRA)

The Digital Games Research Association (DiGRA) announces the Call for Participation for DiGRA 2014 to be hosted by the University of Utah’s Entertainment Arts & Engineering program and held at Snowbird Ski & Summer Resort in Snowbird, Utah, August 3-6, 2014. Continue reading Interest in (and use of) digital learning environments has increased over the last decade, leading to a proliferation of designs for simulation andgame-based learning. One important characteristic of such designs is the extent to which they model the epistemological norms of real practices. Shaffer, for example, describes epistemic games as learning environments that are designed explicitly to help players develop “ways of seeing and solving problems that matter in society” and “…have the power to help shape how young people see themselves and the world around them.” Welcome to DiGRA ? Digital Games Research Association (DiGRA)
Ten games that make you think about life

Ten games that make you think about life

At the start of this year, we decided to come up with a list of Flash casual games with a philosophical bent. To be honest, we struggled. After days of research, we could only find a handful of games that had the thought-provoking depth we were looking for. Our list (which you can view by clicking here) was therefore only five games long. Fast forward to now, and it is remarkable how much difference a few months can make.
A Common Framework for Storytelling in Games A Common Framework for Storytelling in Games Do games tell stories? Sure, text, artwork, voice acting and cut-scenes can all arguably tell or help tell a story, but how can you truly say that the game itself is telling the story? And by the game, I mean the actual system, the units and rules that create the possibility for gameplay. Is gameplay a form of storytelling? Maybe not in most games (to avoid the argument), but if we wanted to conceptualize gameplay as storytelling, how would we do it? And if we wanted to make a game that told its story well, what would it take?
Games Studies 0101: Games telling Stories? by Jesper Juul -A brief note on games and narratives by Jesper Juul Introduction As questions go, this is not a bad one: Do games tell stories? Answering this should tell us both how to study games and who should study them. Games Studies 0101: Games telling Stories? by Jesper Juul
Game Programming