More-than-human approaches to HCI design research have gained traction in recent years, facilitating a need to employ new methods that decenter the human perspective. We propose live-action roleplay (larp), as a method and practice within HCI that can support perspective taking and empathy-building with non-humans actors. In this paper, we discuss a local community workshop where we facilitated numerous body-based and larp activities surrounding the theme of sustainability, and reflect on the strengths larp offers in service of decentering the human perspective.

In this paper, we highlight how including technology, movement or play can boost a design process but with unbalanced amounts can also hamper the process. We provide a set of examples where we miscalculated the amount of technology, movement, or play that was needed in a design activity in such a way that it became counterproductive and for each example mention possible adaptations. Finally, we highlight three existing approaches that can balance the overabundance of technology, movement, and play in design processes: activity-centered design, somaesthetic design, and perspective-changing movement-based design.  

Warm-ups, as preliminary activities to physical training, are an inherent part of any physical exercise and sports practice. Rooted in the concept of embodied cognition, embodied design is a paradigm that shifts the focus of interaction design from external artefacts and devices to the human body (Svanæs & Barkhuus, 2020). A body-centred design emphasises the importance of having the human body at the centre of the entire design cycle, conveying movement, physical expressivity, feelings, and aesthetics, in a design process that uses the body as both a resource and target. Designing with the body is, therefore, a physically demanding activity that requires a specific set of warm-ups to educate and prepare designers mentally, socially, and physically for the act of embodied design. We propose social videogames as a resourceful framework for creating such a set of warm-up exercises. This paper presents a methodology comprising off-the-shelf commercial videogames whose rules have been adapted for embodied design. Three studies have been executed to validate the game's capacity as warm-up activity and icebreaker for embodied creativity and to study the conditions for an optimal method facilitation to external instructors in preparation for an applied session. The method applied is qualitative and quantitative feedback data gathered from the three studies using questionnaires, tests, observation, and open interviews. The results of the series of studies showed the potential of the proposed methodology as warm-ups for teaching, training, and practising embodied design, as well as giving insights on how to facilitate it. Overall, the game-based warm-ups for embodied design preparation using off-the-shelf movement games have a social and playful nature. The proposed twisted gameplays make them suitable to exert body moves and get ready to think and design with their bodies. The study on facilitation shows the need for a preparation session supported by an experienced person. However, one introductory session is enough for the toolbox to become an easily configurable resource that adapts to the facilitator's needs and goals. We suggest including sample implementation cases along with instruction cards of the embodied games. Further, the warm-up games are customisable using the toolbox's modifier cards. 

MnemoRoom4U is an AR (Augmented Reality) tool that uses a memory-palace strategy for foreign-language training. A memory palace helps information recall with the aid of object association in visualizations of familiar spatial surroundings. In MnemoRoom4U, paper or digital flashcards are re-placed with virtual notes containing L1 words and their L2 translations that are placed on top of real physical objects inside a familiar environment, such as one’s room, home, office space, etc. The AR-supported notes aid associative memory by establishing a relationship between the physical objects in the user’s mind and the virtual lexis to be retained in L2. Learners first set up a path through their familiar environment, attaching virtual sticky notes—each containing a target word to be memorized together with its corresponding source-language translation—to real-life objects (e.g. furniture in their homes or offices). They then take the same path again, reviewing all the words, and finally carry out a retention test. MnemoRoom4U is a technological artifact designed for specific didactic purposes in the Unity game engine with the ARCore augmented-reality plug-in for Android. This work takes a Design-Science approach with phenomenological, exploratory underpinnings tracking back to the efficiency of spatial mnemonics previously reported quantitatively and combines it with AR technology to effect L2 vocabulary recall.

We propose the Interactive Constrained MAP-Elites, a quality-diversity solution for game content generation, implemented as a new feature of the Evolutionary Dungeon Designer (EDD): a mixed-initiative co-creativity tool for designing dungeons. The feature uses the MAP-Elites algorithm, an illumination algorithm that segregates the population among several cells depending on their scores with respect to different behavioral dimensions. Users can flexibly and dynamically alternate between these dimensions anytime, thus guiding the evolutionary process in an intuitive way, and then incorporate suggestions produced by the algorithm in their room designs. At the same time, any modifications performed by the human user will feed back into MAP-Elites, closing a circular workflow of constant mutual inspiration. This paper presents the algorithm followed by an in-depth evaluation of the expressive range of all possible dimension combinations in several scenarios, and discusses their influence in the fitness landscape and in the overall performance of the procedural content generation in EDD.

Narratives are a predominant part of games, and their design poses challenges when identifying, encoding, interpreting, evaluating, and generating them. One way to address this would be to approach narrative design in a more abstract layer, such as narrative structures. This paper presents Story Designer, a mixed-initiative co-creative narrative structure tool built on top of the Evolutionary Dungeon Designer (EDD) that uses tropes, narrative conventions found across many media types, to design these structures. Story Designer uses tropes as building blocks for narrative designers to compose complete narrative structures by interconnecting them in graph structures called narrative graphs. Our mixed-initiative approach lets designers manually create their narrative graphs and feeds an underlying evolutionary algorithm with those, creating quality-diverse suggestions using MAP-Elites. Suggestions are visually represented for designers to compare and evaluate and can then be incorporated into the design for further manual editions. At the same time, we use the levels designed within EDD as constraints for the narrative structure, intertwining both level design and narrative. We evaluate the impact of these constraints and the system’s adaptability and expressiveness, resulting in a potential tool to create narrative structures combining level design aspects with narrative.  

We propose modeling designer style in mixed-initiative game content creation tools as archetypical design traces. These design traces are formulated as transitions between design styles; these design styles are in turn found through clustering all intermediate designs along the way to making a complete design. This method is implemented in the Evolutionary Dungeon Designer, a research platform for mixed-initiative systems to create adventure and dungeon crawler games. We present results both in the form of design styles for rooms, which can be analyzed to better understand the kind of rooms designed by users, and in the form of archetypical sequences between these rooms, i.e., Designer Personas.

In Mixed-Initiative Co-Creative tools, the human is mostly in control of what will and can be created, delegating the AI to a more suggestive role instead of a colleague in the co-creative process. Allowing more control and agency for the AI might be an interesting path in co-creative scenarios where AI could direct and take more initiative within the co-creative task. However, the relationship between AI and human designers in creative processes is delicate, as adjusting the initiative or agency of the AI can negatively affect the user experience. In this paper, different degrees of agency for the AI are explored within the Evolutionary Dungeon Designer (EDD) to further understand MI-CC tools. A user study was performed using EDD with three varying degrees of AI agency. The study highlighted elements of frustration that the human designer experiences when using the tool and the behavior in the AI that led to possible strains on the relationship. The paper concludes with the identified issues and possible solutions and suggested further research.

Augmented reality (AR) games are a rich environment for researching and testing computational systems that provide subtle user guidance and training. In particular computer systems that aim to augment a user’s situation awareness benefit from the range of sensors and computing power available in AR headsets. The main focus of this work-in-progress paper is the introduction of the concept of the individualized Situation Awareness-based Attention Guidance (SAAG) system used to increase humans’ situating awareness and the augmented reality version of the board game Carcassonne for validation and evaluation of SAAG. Furthermore, we present our initial work in developing the SAAG pipeline, the generation of game state encodings, the development and training of a game AI, and the design of situation modeling and eye-tracking processes.  

Games are complex, multi-faceted systems that share common elements and underlying narratives, such as the conflict between a hero and a big bad enemy or pursuing a goal that requires overcoming challenges. However, identifying and describing these elements together is non-trivial as they might differ in certain properties and how players might encounter the narratives. Likewise, generating narratives also pose difficulties when encoding, interpreting, and evaluating them. To address this, we present TropeTwist, a trope-based system that can describe narrative structures in games in a more abstract and generic level, allowing the definition of games’ narrative structures and their generation using interconnected tropes, called narrative graphs. To demonstrate the system, we represent the narrative structure of three different games. We use MAP-Elites to generate and evaluate novel quality-diverse narrative graphs encoded as graph grammars, using these three hand-made narrative structures as targets. Both hand-made and generated narrative graphs are evaluated based on their coherence and interestingness, which are improved through evolution.