| FILM AND TELEVISION | |||||
| Bachelor | TR-NQF-HE: Level 6 | QF-EHEA: First Cycle | EQF-LLL: Level 6 | ||
| Course Code | Course Name | Semester | Theoretical | Practical | Credit | ECTS |
| GAD5204 | Playful Experience Design | Spring | 3 | 0 | 3 | 8 |
| This catalog is for information purposes. Course status is determined by the relevant department at the beginning of semester. |
| Language of instruction: | English |
| Type of course: | Non-Departmental Elective |
| Course Level: | Bachelor’s Degree (First Cycle) |
| Mode of Delivery: | Face to face |
| Course Coordinator : | Assist. Prof. ÇAKIR AKER |
| Course Objectives: | In order to understand how game works and how the concept of play is and can be integrated to our lives, students must understand the fundamentals of gamification and business applications of gamification and game design. The course will give a hands-on approach to play theory, and an academic understanding of the practice of playful design. |
|
The students who have succeeded in this course; 1) Understand the fundementals of game and play 2) Define, measure and evaluate the different metrics and key performance indicators for applications that provide playful experience across a range of dimensions 3) Design, develop, and evaluate a playful interaction concept project for a real-world case 4) Percieve fundemental methods and theory related to player experience 5) Understand game design and game studies, as well as user experience perspectives for interaction design, and human computer interaction 6) Apply behaviour analysis via playful interaction 7) Form relation between game elements and personal motivations for gamification projects |
| In order to understand how game works and how the concept of play is and can be integrated to our lives, students must understand the fundementals of game experience approaches, business reflections and applications of game design. The course will give a hands-on approach to play theory, and an academic understanding of the practice of playful experience design. Teaching Methods: Lecture, Group Work, Individual Studies, Readings, Discussions, Projects |
| Week | Subject | Related Preparation |
| 1) | Introduction | |
| 2) | Game and Play | |
| 3) | Sociology of Games | |
| 4) | Meaningful Game Mechanics | |
| 5) | Draft Project Assignment | Preliminary Gamification Idea Generation Assignment |
| 6) | New Approaches in Playful Interactions and Player Experience I | |
| 7) | New Approaches in Playful Interactions and Player Experience II | Preparing the Hero’s Journey of a Game |
| 8) | Midterm Project | |
| 9) | Case Studies and Motivation | |
| 10) | Persona & Activity Cycles | |
| 11) | Gamification Frameworks | Persona Assignment |
| 12) | Flaneur & Gameur | |
| 13) | The End game of Gamification | |
| 14) | The Final Project | The final projects are discussed and presented |
| Course Notes / Textbooks: | |
| References: | Best, J. (1998). Too much fun: Toys as social problems and the interpretation of culture. Symbolic Interaction, 21(2), 197-212. De Certeau, M., & Rendall, S. F. (2004). From the practice of everyday life (1984). The city cultures reader, 3(2004), 266. Davis, M. S. (1977). Beyond Boredom and Anxiety: The Experience of Play in Work and Games. Games, W. W. P. (2004). Four Keys to More Emotion Without Story. Hodent, C. (2017). The Gamer’s Brain: How Neuroscience and UX Can Impact Video Game Design. Boca Raton, FL: CRC Press. |
| Semester Requirements | Number of Activities | Level of Contribution |
| Attendance | 1 | % 10 |
| Homework Assignments | 2 | % 30 |
| Midterms | 1 | % 20 |
| Final | 1 | % 40 |
| Total | % 100 | |
| PERCENTAGE OF SEMESTER WORK | % 60 | |
| PERCENTAGE OF FINAL WORK | % 40 | |
| Total | % 100 | |
| Activities | Number of Activities | Duration (Hours) | Workload |
| Course Hours | 14 | 3 | 42 |
| Application | 4 | 3 | 12 |
| Study Hours Out of Class | 14 | 8 | 112 |
| Presentations / Seminar | 3 | 3 | 9 |
| Project | 2 | 6 | 12 |
| Homework Assignments | 2 | 3 | 6 |
| Midterms | 1 | 3 | 3 |
| Final | 1 | 3 | 3 |
| Total Workload | 199 | ||
| No Effect | 1 Lowest | 2 Low | 3 Average | 4 High | 5 Highest |
| Program Outcomes | Level of Contribution | |
| 1) | Being familiar to the main concepts and methods of the social sciences and the fine arts devoted to understanding the world and the society | 4 |
| 2) | Having comprehensive knowledge regarding different media and branches of art | 3 |
| 3) | Knowing the historical background of audio-visual moving images in the world and in Turkey and keeping pace with the new developments in the area | 1 |
| 4) | Having a good command of the language and the aesthetics of audio-visual moving images in the world and in Turkey | 1 |
| 5) | Being able to create a narrative that could be used in a fiction or a non-fiction audio-visual moving image product | 2 |
| 6) | Being able to write a script ready to be shot | 2 |
| 7) | Having the skills to produce the photoboard of a script in hand and to shoot the film using the camera, the lights and other necessary equipment | 2 |
| 8) | Being able to transfer the footage of a film to the digital medium, to edit and do other post-production operations | 2 |
| 9) | Being able to create a documentary audio visual moving image from the preliminary sketch stage to shooting, editing and post-production stages | 2 |
| 10) | Being able to produce an audio visual moving image for television and audio products for radio from preliminary stages through shooting and editing to the post-production stage | 2 |
| 11) | Being culturally and theoretically equipped to make sense of an audio-visual moving image, to approach it critically with regard to its language and narration and being able to express his/her approach in black and white | 3 |
| 12) | Having ethical values and a sense of social responsibility | 5 |