Given that cancer is a challenging disease that plagues millions of individuals of all age groups and socioeconomic statuses globally, developmentally appropriate education is often lacking for young people, particularly adolescents. Increasing cancer awareness and prevention education among adolescents using innovative strategies, such as game-based learning, is critical in reducing the burden of this disease. Adolescents are understudied in the field of cancer prevention and control, yet vulnerable as they tackle creating life-long health behavior patterns. Targeting cancer prevention education for adolescents has the potential to support long-term healthy behavior and reduce their risk of cancer. This paper provides an overview of the Collaborative Research on MEdication use and family health (CRoME) Lab\'s novel game-based cancer prevention education tool. OutSMART Cancer is an innovative, novel educational intervention in the form of a serious game. Serious games are educational tools that seek to impart knowledge and improve behaviors in their players. This game covers information related to breast cancer, colon cancer, and lung cancer. This viewpoint is a summary of the developmental process for the OutSMART Cancer game. We describe in detail the work preceding initial game development, the current version of the game, future directions for the game, and its educational potential. The long-term goal of OutSMART Cancer is to improve cancer awareness and knowledge regarding prevention behaviors in adolescents and support a lifetime of health and wellness.

Many people with harmful addictive behaviors may not meet formal diagnostic thresholds for a disorder. A dimensional approach, by contrast, including clinical and community samples, is potentially key to early detection, prevention, and intervention. Importantly, while neurocognitive dysfunction underpins addictive behaviors, established assessment tools for neurocognitive assessment are lengthy and unengaging, difficult to administer at scale, and not suited to clinical or community needs. The BrainPark Assessment of Cognition (BrainPAC) Project sought to develop and validate an engaging and user-friendly digital assessment tool purpose-built to comprehensively assess the main consensus-driven constructs underpinning addictive behaviors.
The purpose of this study was to psychometrically validate a gamified battery of consensus-based neurocognitive tasks against standard laboratory paradigms, ascertain test-retest reliability, and determine their sensitivity to addictive behaviors (eg, alcohol use) and other risk factors (eg, trait impulsivity).
Gold standard laboratory paradigms were selected to measure key neurocognitive constructs (Balloon Analogue Risk Task [BART], Stop Signal Task [SST], Delay Discounting Task [DDT], Value-Modulated Attentional Capture [VMAC] Task, and Sequential Decision-Making Task [SDT]), as endorsed by an international panel of addiction experts; namely, response selection and inhibition, reward valuation, action selection, reward learning, expectancy and reward prediction error, habit, and compulsivity. Working with game developers, BrainPAC tasks were developed and validated in 3 successive cohorts (total N=600) and a separate test-retest cohort (N=50) via Mechanical Turk using a cross-sectional design.
BrainPAC tasks were significantly correlated with the original laboratory paradigms on most metrics (r=0.18-0.63, P<.05). With the exception of the DDT k function and VMAC total points, all other task metrics across the 5 tasks did not differ between the gamified and nongamified versions (P>.05). Out of 5 tasks, 4 demonstrated adequate to excellent test-retest reliability (intraclass correlation coefficient 0.72-0.91, P<.001; except SDT). Gamified metrics were significantly associated with addictive behaviors on behavioral inventories, though largely independent of trait-based scales known to predict addiction risk.
A purpose-built battery of digitally gamified tasks is sufficiently valid for the scalable assessment of key neurocognitive processes underpinning addictive behaviors. This validation provides evidence that a novel approach, purported to enhance task engagement, in the assessment of addiction-related neurocognition is feasible and empirically defensible. These findings have significant implications for risk detection and the successful deployment of next-generation assessment tools for substance use or misuse and other mental disorders characterized by neurocognitive anomalies related to motivation and self-regulation. Future development and validation of the BrainPAC tool should consider further enhancing convergence with established measures as well as collecting population-representative data to use clinically as normative comparisons.

The digital game industry has embraced servitization - a strategic orientation toward customer centricity in production-based firms - to deeply monetize digital games. Though some note the resource-intensive nature of delivering services and suggest inherent risks in its adoption, extant literature is uncritical. This article draws on labour process theory to critique the impact of servitization on workers at the point of production. We conducted in-depth interviews at a large North American game development studio. The results show the human cost of servitization, generally overshadowed by financial considerations. Specifically, we theorize that servitization increases the indeterminacy of labour and this must be compensated for if servitization is to realize its cost-benefit potential. The result is an intensification of labour through additional control imperatives which make workers accountable to consumers through deterministic success metrics, impact the creative process and direct creative outputs in real time.

BACKGROUND: User involvement is widely accepted as key for designing effective applied games for health. This especially holds true for children and young people as target audiences, whose abilities, needs, and preferences can diverge substantially from those of adult designers and players. Nevertheless, there is little shared knowledge about how concretely children and young people have been involved in the design of applied games, let alone consensus guidance on how to do so effectively.
OBJECTIVE: The aim of this scoping review was to describe which user involvement methods have been used in the design of applied games with children and young people, how these methods were implemented, and in what roles children and young people were involved as well as what factors affected their involvement.
METHODS: We conducted a systematic literature search and selection across the ACM Digital Library, IEEE Xplore, Scopus, and Web of Science databases using State of the Art through Systematic Review software for screening, selection, and data extraction. We then conducted a qualitative content analysis on the extracted data using NVivo.
RESULTS: We retrieved 1085 records, of which 47 (4.33%) met the eligibility criteria. The chief involvement methods were participatory design (20/47, 43%) and co-design (16/47, 37%), spanning a wide range of 45 concrete activities with paper prototyping, group discussions, and playtesting being the most frequent. In only half of the studies (24/47, 51%), children and young people participated as true design partners. Our qualitative content analysis suggested 5 factors that affect their successful involvement: comprehension, cohesion, confidence, accessibility, and time constraints.
CONCLUSIONS: Co-design, participatory design, and similar high-level labels that are currently used in the field gloss over very uneven degrees of participation in design and a wide variety of implementations that greatly affect actual user involvement. This field would benefit from more careful consideration and documentation of the reason of user involvement. Future research should explore concrete activities and configurations that can address the common challenges of involving children and young people, such as comprehension, cohesion, confidence, and accessibility.

Game development is a collective process in which a variety of different professionals from different backgrounds collaborate together not only by means of conversational interaction but also collaborative participation, one of which is programming. While collaborative and pair programming solutions exist for text-based programming languages, visual programming has not enjoyed as much attention. These solutions would not only address advanced forms of business communication among team members but could find their use in distance learning, which would have been useful during the pandemic. In our work, we propose a solution for collaborative behavioral animation of NPCs using behavior trees through synchronous and asynchronous modes of collaboration. We conducted a user study with 12 moderately skilled game development university students who were placed in groups of two and engaged in joint fixed behavior tree development tasks using the synchronous and asynchronous modes and auxiliary features of live preview, access and restoration of previous states from behavior tree history, conflict resolution, and instant messaging. Participants also completed a control task where no collaboration was involved and auxiliary features were not available. Feedback form Creativity Support Index, a self-developed questionnaire, and a semi-structured interview were collected. Additionally, task completion times were logged. The results indicate that the two collaborative modes provide expected improvement over the control condition. No significant differences were found between the two collaborative modes. However, the semi-structed interview revealed that the synchronous mode could be useful for quick prototyping, while the asynchronous mode - for most other situations.
UNASSIGNED: The online version contains supplementary material available at 10.1007/s11042-022-12307-2.

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Commercial game makers at all scales of production have increasingly come to incorporate livestreaming into every stage of the game development cycle. Mainstream hits like Fortnite and League of Legends owe their ongoing success in no small part to their massive uptake by streamers, and triple-A releases from major publishers can reliably expect significant attention on streaming platforms. But what about smaller, lower budget games? For independent game developers, the costs and benefits of streaming are less clear. Based on interviews with small commercial indie developers in Toronto and Montréal, this article critically examines different discourses around streaming and commercial indie games, focusing on developer perceptions of the benefits and risks of streaming and its impacts on indie game-making practices, including production, promotion, and community-building. Contrary to persistent popular myths about streaming as the key to \'discoverability\', commercial indie game development remains a precarious form of cultural work, and indie games collectively attract only a tiny fraction of the overall audience on streaming platforms. There is a high level of uncertainty about the factors that led to a given game\'s success, leaving many indie developers ambivalent about leveraging influencer attention and even as they commit significant time and energy trying to doing so.

The game development industry is growing, and training new developers in game development-specific abilities is essential to satisfying its need for skilled game developers. These developers require effective learning resources to acquire the information they need and improve their game development skills. Question and Answer (Q&A) websites stand out as some of the most used online learning resources in software development. Many studies have investigated how Q&A websites help software developers become more experienced. However, no studies have explored Q&A websites aimed at game development, and there is little information about how game developers use and interact with these websites. In this paper, we study four Q&A communities by analyzing game development data we collected from their websites and the 347 responses received on a survey we ran with game developers. We observe that the communities have declined over the past few years and identify factors that correlate to these changes. Using a Latent Dirichlet Allocation (LDA) model, we characterize the topics discussed in the communities. We also analyze how topics differ across communities and identify the most discussed topics. Furthermore, we find that survey respondents have a mostly negative view of the communities and tended to stop using the websites once they became more experienced. Finally, we provide recommendations on where game developers should post their questions, which can help mitigate the websites\' declines and improve their effectiveness.

BACKGROUND: On the basis of ethical and methodological arguments, numerous calls have been made to increase the involvement of end users in the development of serious games (SGs). Involving end users in the development process is considered a way to give them power and control over educational software that is designed for them. It can also help identify areas for improvement in the design of SGs and improve their efficacy in targeted learning outcomes. However, no recognized guidelines or frameworks exist to guide end users\' involvement in SG development.
OBJECTIVE: The aim of this study is to describe how end users are involved in the development of SGs for health care professions education.
METHODS: We examined the literature presenting the development of 45 SGs that had reached the stage of efficacy evaluation in randomized trials. One author performed data extraction using an ad hoc form based on a design and development framework for SGs. Data were then coded and synthesized on the basis of similarities. The coding scheme was refined iteratively with the involvement of a second author. Results are presented using frequencies and percentages.
RESULTS: End users\' involvement was mentioned in the development of 21 of 45 SGs. The number of end users involved ranged from 12 to 36. End users were often involved in answering specific concerns that arose during the SG design (n=6) or in testing a prototype (n=12). In many cases, researchers solicited input from end users regarding the goals to reach (n=10) or the functional esthetics of the SGs (n=7). Most researchers used self-reported questionnaires (n=7).
CONCLUSIONS: Researchers mentioned end users\' involvement in the development of less than half of the identified SGs, and this involvement was also poorly described. These findings represent significant limitations to evaluating the impact of the involvement of end users on the efficacy of SGs and in making recommendations regarding their involvement.

This article draws on over 60 interviews and 120 surveys with indie game developers to illustrate relational labour and entrepreneurship practices in cultural industries and their relationship to \'good work\'. We first outline the changing organization of games work, the shift towards so-called indie production, and the associated rejection of creatively constrained, hierarchically managed production models. In the move towards small-scale games making, indies jettisoned producers because producers represented industry modes of work, values and creative constraints. But indies are now struggling to manage production processes without producers. We use developer narratives to highlight how this \'missing producer\' work is redistributed in the form of cultural entrepreneurship, cultural intermediation and relational labour. This relational labour simultaneously supports and undermines sustainable production practices, as developers take on impossible workloads associated with networking and connecting with others. We next illustrate how the inherent valorization of growth and expansion in cultural entrepreneurship discourses may force developers to mimic industry practices and organization in order to find funding, but these practices inherently conflict with their desire to focus on making games as small, sustainable and creatively autonomous teams. Ultimately, we want to demonstrate how interviews and time spent with indie developers help us account for otherwise invisible and ambiguous cultural labour practices and discourses, thus allowing us to make sense of the larger context of cultural production and its possible futures.