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Copyright of Annales Françaises de Médecine d'Urgence is the property of John Libbey Eurotext Ltd. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

As Mattel celebrated the 65th anniversary of Barbie in 2024, to address the issues raised by by this plastic object and its influence in our culture and collective imaginary carries profound implications. Barbie, the iconic doll created by Ruth Handler in 1954, has a long cultural history as a globally relevant phenomenon which has been explained from two conflicting perspectives: either as a feminist revolutionary model, or as a hegemonic representation. Using the conceptualization of schizophrenia and capitalism, or the “body without organs” (BwO), proposed by Deleuze and Guattari in Anti-Oedipus, this article presents Barbie as a manifestation of contemporary depletion of criticism. Discussed with the tools of ideological and ludological analysis, the movie Barbie (2023), directed by Greta Gerwig, provides the main case study for the debate about the transformations of our ludic experiences, with references to the adaptation of this popular toy to various other media. This tendency, considered to be relevant for contemporary social and economic dynamics, is related to the concept of puerilization. [ABSTRACT FROM AUTHOR]

Le RÉCITFAD développe des plugiciels pour Moodle, dont deux qui ont le potentiel d’intégrer des activités immersives : Tour 360 et Jeu d’évasion. Le plugiciel Tour 360 facilite la création d’activités immersives qui permettent à la personne apprenante de visiter virtuellement des environnements. À l’aide d’un casque de RV ou d’un support traditionnel, elle navigue d’une image ou d’une vidéo à l’autre pour y trouver des informations et des éléments interactifs. Le plugiciel Jeu d’évasion permet de proposer des défis de différentes natures et de niveaux de difficulté variés qui concordent avec les intentions pédagogiques de la personne enseignante. En plus de présenter ces deux plugiciels, cet article traite de la pertinence de créer des activités immersives en FAD et relève quelques exemples.

La réalité virtuelle, qui implique un environnement généré par un système informatique donnant une impression de réalité, de présence et d'engagement (Pellas et al., 2020), a connu des développements dans le domaine de l’éducation (Freina et Ott, 2015; Jensen et Konradsen, 2018). Les avantages qu’elle présente, notamment pour la visualisation des concepts abstraits, pour la réalisation de tâches expérimentales difficiles ou impossibles à réaliser dans la réalité ainsi que pour la motivation, l’engagement et le transfert des apprentissages la rendent particulièrement utile pour l’apprentissage des sciences (Dalgarno et Lee, 2010; Lewis et al., 2021; Shin, 2017). En nous ancrant dans une démarche adaptée de l’analyse de la valeur pédagogique (Rocque et al., 1998), du modèle ADDIE, de l’art de la conception des jeux sérieux (Ryerson University, 2018) et d’un modèle de conception d’applications en réalité virtuelle (Vergara et al., 2017), nous avons développé de manière itérative différents jeux sérieux en réalité virtuelle en sciences au collégial (biologie, chimie et physique) pour finalement les mettre à l’essai en classe à l’automne 2022. Cet article vise à partager le processus expérimenté pour le développement, les résultats de chacune des étapes de ce processus ainsi que les principes qui en sont ressortis. Le tout sera utile aux acteurs du milieu de l’éducation désirant développer des jeux sérieux en réalité virtuelle.

Gamification in digital design harnesses game-like elements to create rewarding and competitive systems that encourage desirable user behaviour by influencing users' bodily actions and emotions. Recently, gamification has been integrated into platforms built to fix democratic problems such as boredom and disengagement in political participation. This paper draws on an ethnographic study of two such platforms – Decide Madrid and vTaiwan – to problematise the universal, techno-deterministic account of digital democracy. I argue that gamified democracy is frictional by nature, a concept borrowed from cultural and social geographies. Incorporating gamification into interface design does not inherently enhance the user's enjoyment, motivation and engagement through controlling their behaviours. 'Friction' in the user experience includes various emotional predicaments and tactical exploitation by more advanced users. Frictional systems in the sphere of digital democracy are neither positive nor negative per se. While they may threaten systemic inclusivity or hinder users' abilities to organise and implement policy changes, friction can also provide new impetus to advance democratic practices. [ABSTRACT FROM AUTHOR]

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Copyright of J3eA is the property of EDP Sciences and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Tecnología, Ciencia & Educación is the property of Centro de Estudios Financieros SL and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Translation technique typology indicates a lack of specific technique to evoke playful nuance – ludification. We argue that ludification might also serve as a translation technique in video game translation context. This research attempts to prove the presence of ludification translation technique. To do so, we analyzed nine PC, console, mobile, and online games from various genres and developers under the umbrella of qualitative design. The theories of lability and merrines by Huizinga, ludification of digital media by de Lange et al, and skopos by Reiss and Vermeer were applied in the analysis. The findings reveal that ludification as a translation technique is existent. This type of translation technique is made possible due to the carte blanche of video game translators. The findings also indicate that ludification as a translation technique has a distinctive typology, making it different from the other translation techniques. First, it breaks translation rules and standards to generate contextual merriness. Second, it has explanative and expressive functions. Third, it has subtypes, namely emojization, referencing, and para-localization. This study implies that the scholars of translation studies might apply this typology not only on game translation context but also audiovisual context like subtitling especially fansub, where carte blanche and creativity are required to deal with the space restriction.

L’émergence grandissante des technologies n’est plus une surprise pour personne. Depuis les dernières années, les chercheurs ont avancé plusieurs hypothèses et présenté autant de résultats sur les retombées avantageuses que procure l’usage des technologies éducatives sur l’apprentissage (Bulfin, Johnson et Bigum, 2015). À cet effet, plusieurs études s’intéressent à l’impact et à l’utilisation efficace de différentes technologies éducatives pour l’ensemble des matières à l’école. Néanmoins, l’éducation physique semble être le mouton noir. De ce fait, très peu d’études expliquent comment, en éducation physique, les technologies éducatives sont utilisées ainsi que l’optimisation des apprentissages qu’elles engendrent (Casey, Goodyear, et Armour, 2016). Pourtant, tout comme les apprenants, les athlètes pourraient également bénéficier des retombées avantageuses de l’utilisation des technologies éducatives afin de développer leurs qualités athlétiques. La présente recherche permet de comprendre comment l’usage de certaines technologies éducatives peut contribuer au développement des qualités athlétiques en tentant de répondre à la question suivante : Comment la ludification, la réalité virtuelle (RV) immersive et l’intelligence artificielle (IA) peuvent-elles contribuer au développement des qualités athlétiques? Afin de répondre à cette question, une analyse de la littérature est d’abord effectuée. Ensuite, un cadre théorique est élaboré. Ce dernier se base sur la création d’une synergie entre deux théories appliquées au contexte sportif et l’exploitation de ces trois stratégies pédagogiques intégrant les technologies éducatives innovantes du 21e siècle pour le développement de qualités athlétiques. Le cadre proposé permet d’envisager l’hybridation de l’enseignement et de l’apprentissage, lié au développement des qualités athlétiques.

Copyright of Annales Françaises de Médecine d'Urgence is the property of John Libbey Eurotext Ltd. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article discusses the relatively new concept of ludification with the attempt of laying the theoretical groundwork for further studies. Although ludification ties in with both gamification and the concept and practice of transmedia it possesses unique characteristics and qualities of its own, primarily evolving around games and playful ways of structuring stories. The focus point is how traditional media such as tv-series and movies incorporate gamelike traits and structures into their narrative structure. This concerns both the narrative structures that users can and cannot interact with. Among other things, we consider a deep understanding of ludification vital for the more practically oriented approach to learning through (serious) games. Thus, this paper serves as a prolegomenon to the interpretation of works of ludification, as well as to the diverse field of deploying gamified material in didactical and pedagogical context. In addition to the conceptual groundwork for understanding ludification and how it manifests itself we propose an analytical method for unearthing the traits and structures of ludification: we have coined this method the ludo-interpretation. Furthermore, this article discusses the merits and shortcomings of ludification and the ludo-interpretation in the final section where we deploy a Popperian inspired three-levelled falsification and refutation technique. [ABSTRACT FROM AUTHOR]

Many aspects of handling the COVID-19 pandemic bear a resemblance to patterns found in games. We observe point displays and leader boards, the visible assumption of roles, classic archetypes, the collection of resources, and spatial awareness. We argue that these patterns manifest spontaneously as a form of analogical reasoning, because people lack cultural and individual norms as well as cognitive scripts for a pandemic. Trying to find systematic similarities between a novel and a familiar situation is an essential cognitive strategy and a cultural tool, resulting in a spontaneous ludification of this crisis. Unfortunately, most institutions, the media and policymakers focus on attributes that are easy to communicate, not on relations and causal chains. This results in shallow analogies, where the mechanisms and dynamics of COVID-19 are not addressed. This can cause a sense of helplessness, where many people remain passive viewers. A pandemic, however, calls for cooperative action of people who understand the relations between different factors and stakeholders in order to mitigate several negative effects linked to such a crisis. We propose a psychologically founded “Strategic gamification” (here in the context of a pandemic), a form of sense-making that builds on spontaneously emerging ludic elements. By extending upon those elements through the lens of game design, we can shape the mechanics, dynamics and esthetics of a serious context in a more meaningful way. The resulting analogies have better predictive power and are suited to utilize positive aspects of gamification like engagement, elaboration and collaboration.

Many aspects of handling the COVID-19 pandemic bear a resemblance to patterns found in games. We observe point displays and leader boards, the visible assumption of roles, classic archetypes, the collection of resources, and spatial awareness. We argue that these patterns manifest spontaneously as a form of analogical reasoning, because people lack cultural and individual norms as well as cognitive scripts for a pandemic. Trying to find systematic similarities between a novel and a familiar situation is an essential cognitive strategy and a cultural tool, resulting in a spontaneous ludification of this crisis. Unfortunately, most institutions, the media and policymakers focus on attributes that are easy to communicate, not on relations and causal chains. This results in shallow analogies, where the mechanisms and dynamics of COVID-19 are not addressed. This can cause a sense of helplessness, where many people remain passive viewers. A pandemic, however, calls for cooperative action of people who understand the relations between different factors and stakeholders in order to mitigate several negative effects linked to such a crisis. We propose a psychologically founded "Strategic gamification" (here in the context of a pandemic), a form of sense-making that builds on spontaneously emerging ludic elements. By extending upon those elements through the lens of game design, we can shape the mechanics, dynamics and esthetics of a serious context in a more meaningful way. The resulting analogies have better predictive power and are suited to utilize positive aspects of gamification like engagement, elaboration and collaboration. [ABSTRACT FROM AUTHOR]

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In Brazil, the Royal Road is "gold" when it comes to tourist destination, once it is the natural, cultural and historic cradle of Brazilian colonization. Therefore, this paper presents the agents, their initiatives, connections, besides the results achieved with regard to new uses and appropriations resulting from the Royal Road transformation process. From a methodological point of view, the research has qualitative nature, using both the "Snowball" the "Content Analysis" scientific methods. The results and analysis showed that the agents directly involved in the Royal Road Ludification process, implement initiatives that have generated new uses and appropriations, products and/or goods to the symbolic market due to their organizational format connections. The tourist route "Royal Road has become a place of imaginary and bucolic experience, as well as a tourist destination of national and international reference. [ABSTRACT FROM AUTHOR]

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This article capitalizes on the notion of linguistic risk-taking by focusing on a new pedagogical initiative at the University of Ottawa, an institution where courses, programs, and services in both English and French are available. In this bilingual context, we define linguistic risks as authentic communicative acts in learners' second official language (French/English) which may be "risky" due to factors such as making mistakes, being misunderstood, misunderstanding others, being judged, taking on a different identity, and changing previously established language-choice patterns. This may cause learners to miss campus-wide opportunities for authentic and meaningful second language engagement. To encourage risk-taking, we designed an initiative offering a Linguistic Risk-Taking Passport (a 26-page booklet with over 70 risks) distributed to over 500 French/English learners. The risks represent authentic activities available outside the language classroom (e.g., speak the second language at the library, approach a passer-by for directions, order food at the cafeteria, interact with professors/administrators, attend events, etc.). Learners autonomously check off risks in their passports, comment on difficulty levels, propose additional risks, and can submit passports for prizes. We survey theoretical constructs related to linguistic risk-taking, detail the development of the initiative, and conclude with future directions, including technology use. [ABSTRACT FROM AUTHOR]

The aim of this article is to advance a conceptual framework of ludification by separating out current thinking to incorporate two noninteractive cinematic areas—playful aesthetics and gameful narratives. Ludification is usually associated with the construction of ludic identities and cultural practices in the usage of new media or with application of game elements in nongame contexts known as gamification. This overlooks, on the one hand, the influence of cinematic aesthetics on computer games and, on the other hand, the extent to which play aspects and computer game elements imprint and transform the narrative compositional structures of modern cinema. The present study's investigation will present an expanded conceptualization of ludification, classified by playfulness and gamefulness through interactive/noninteractive properties, aesthetic forms of expressions, and narrative compositions under the respective headings of gamification and cinemafication. These efforts unearth five traits of computer game influences on contemporary cinema presented under the headings, (1) play worlds, (2) ludified quests, (3) controller and interfaces, (4) play experience, and (5) game structure. [ABSTRACT FROM AUTHOR]

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Immer häufiger sind Spielelemente Gegenstand verschiedener spielfremder Forschungsbereiche. Einzug haben diese gamifizierten Methoden mittlerweile auch im Gesundheitswesen gehalten. Dieses systematische Review untersucht den aktuellen Forschungsstand der Anwendung von Gamification in den Bereichen „Therapie“ und „Rehabilitation“ anhand von ausgewählten Studien. Ziel ist es, sowohl Forschern als auch Anwendern von gamifizierten Projekten einen Überblick über die eingesetzten Methoden und Anwendungsmöglichkeiten zu geben. Behandelt werden der Einsatz und der Erfolg von gamifizierten Systemen sowie deren Auswirkungen auf die Patienten. Es wird zudem auf Themen hingewiesen, die innerhalb der untersuchten Literatur kaum bzw. nicht behandelt wurden. [ABSTRACT FROM AUTHOR]

Comme dans bien d’autres formations, les étudiants de DUT Informatique suivent des cours d’expression-communication. Mais, ce type de cours est souvent considéré comme un cours de français et donc peu digne d’intérêt pour une majorité d’étudiants. Aussi, afin d’intéresser les étudiants, nous avons tenté de mettre en place quelques formes de jeux à des fins sérieuses. Pour ce faire, nous avons tenté de mieux comprendre ce que pouvait être un jeu sérieux à partir de sa terminologie, de ses origines ainsi qu’à partir de la sémantique du prototype. Nous avons ensuite identifié certains jeux qui pouvaient être adaptés à notre situation de cours. Nous relatons à la fin de cet article, trois expériences utilisant le jeu dans notre cadre d’enseignement. Ces formes de jeu exploitent des aspects de jeux de compétition, de rôles et de construction.

Cet article se présente comme une étude de cas de la pratique d’un jeu pervasif nommé Ingress. Il cherche à comprendre la façon dont ce jeu modifie l’organisation des déplacements quotidiens tout en générant différentes formes de collaboration et de communication en situation de coprésence ou à distance. L’ethnographie de ce jeu permet de mettre en évidence un écosystème original mêlant mobilité, actions ludiques, et différents formats d’interactions sociales aboutissant au développement d’une sociabilité électronique et plus particulièrement en situation de face à face. Ce type de jeu est de nature à modifier notablement les pratiques de déplacement et développer les relations sociales tout en rendant inévitablement publique la localisation des participants.

This article offers the case study of a contemporary mediatized Christian passion event that takes place annually in the public sphere in the Netherlands. Contributing to debates in various studies of religion regarding religious change in late modern societies, the authors propose the concept of ‘play’ that, although not a new concept to the study of religion or ritual, is well suited to investigate religious ritual in a liquid modern world that is characterized by, as scholars state, a global ludification of culture. Play helps to explain that and in what ways a mediatized event like The Passion in a digital media culture opens a ludic space for many people, where their hermeneutical faculty to deal with the sacred is activated. This can resolve the paradox that, in a still secularizing country like the Netherlands, a ritual on the suffering and death of Jesus Christ can be so popular. [ABSTRACT FROM AUTHOR]

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The recent rise of gamification lead to a revival of the traditional game studies debate on the relationship between games and society, a key theme since Huizinga, Caillois, and Suits. Yet quite surprisingly, the works of these three authors, Caillois in particular, have mainly been used to establish notable antecedents, not been reevaluated nor discussed. The following pages will first explain the reasons behind these overlooking, taking advantage of the gamification debate to compare the actual theories on the relationship between games and society, subsequently recalling Caillois’ position, pointing out analogies and differences between the present and past stances. Secondly, this article will discuss the reasons to introduce the thought of Caillois in the current debate, showing compatibility between his theories and contemporary reflections, suggesting the possibility to use them to understand gamification, by observing the long-term analogies between games and societies and the role performed by mimicry. [ABSTRACT FROM AUTHOR]

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This paper aims for studying the ludification phenomenon through one of its realizations: the introduction of play in the writing of fan fictions on the Internet. According to the perspective of the "play studies" (Triclot, 2011) and of the "play design" (Genvo, 2008), the ludification is defined here as the generalization of a "playful attitude" observable through the traces (the "signs of playability") it leaves on the objects it appropriates. This work therefore seeks to identify, within a corpus of fan fiction inspired by the videogame series Kingdom Hearts, any marks of the playful use that is made of these texts. The modifications occasioned, in the practice, by the use of digital technology will also be considered (can this "ludogenic" media increase the playability?; Vial, 2012). The fan fiction will successively be considered as a community phenomenon, as a writing practice and, finally, as a set of texts.

The differences between game and labor are culturally defined. According to places and cultures, those activities are similarly described as rational layouts of resources to achieve some specific goals, by following rules located into well-structured environments – although more and more complex and less defined. For all that, despite of the proximity of these abstract concepts, the process of gamification promotes a brand new model of engagement into the activity, inviting workers to explicitly play the job. More specifically, we will discuss the case of a French video games studio in Strasbourg in which we conducted a participating observation at the end of a serious game production. Through the observation of the different ways for the game to occur, we will explore the game as cooperation, as commercial argument and as product. In this way, the process of gamification can be understood as a boundary object from the workers to the public targeted by the serious game; while showing the limits of linking the company and the market.

Cet article élabore une nouvelle structure pour permettre d’étudier les jeux (games) comme des lieux de rationalisation sociale, en appliquant la théorie critique de la technologie de Feenberg. Nous commencerons en argumentant que si les jeux (games) sont des systèmes de rationalité sociale, ils doivent être considérés comme étant apparentés à d’autres systèmes modernes, comme les marchés capitalistes et les organisations bureaucratiques. Nous présenterons ensuite une conceptualisation du jeu (play) comme un processus par lequel l’attention du joueur est détournée de l’action indifférenciée de la vie quotidienne vers une sphère différenciée d’activités ludiques. Cette approche révèlera combien l’expérience du jeu (play) change lorsqu’elle est rationalisée par la médiation technologique, et comment une normalisation généralisée se produit quand les jeux (games) deviennent des pratiques sociales à grande échelle. Nous proposerons donc une théorie de la rationalisation du jeu (ludification) décrivant les composants clés des jeux socialement rationalisés ; une théorie que nous appliquerons alors à l’exemple spécifique des jeux en ligne massivement multijoueurs (MMOG, pour Massively Multiplayer Online Games).