AR Game- Players discover a series of real-world digital artifacts: emails, websites, voicemails, social media posts from fictional individuals whose lives are quietly interconnected through acts of kindness, misunderstanding, and neglect.
As the game unfolds, players piece together how their actions (solving puzzles, responding to prompts, or making ethical choices online) subtly influence these characters’ lives in real time. The game blurs fiction and reality, asking players to think about how small actions affect real people.
Play as a rotating set of neighbors in the same apartment building, each with different backgrounds, stressors, and hidden struggles. The game slowly reveals how small everyday actions: noise, kindness, neglect can ripple through other people’s lives.
Players build musical compositions together, but each instrument represents an emotional state tied to a character’s life story. To keep the harmony stable, players must adapt to others’ emotional “notes,” teaching empathy through collaboration and rhythm instead of dialogue.
Players manage emotional support instead of managing money or survival resources, across a network of characters. You can’t fix everyone, so the challenge becomes deciding where empathy is placed what feelings and emotions are most important and what it costs to ignore someones emotions.
Each player is assigned a different emotional color palette that they use to reinterpret the same image or scene. When shared, the group sees radically different emotional versions of the same moment, highlighting how perception shapes empathy. Or something like each player only sees the last 10% of the previous person’s artwork and must continue it. Over time, the original emotional intent becomes distorted.
Chess/Dominion Game – Second Revision
Week 3 game reflections
Detroit Become Human
The branching narrative and constant choice under pressure moments make it engaging, and how those can affect your outcomes in the game.
The main motivation is curiosity about consequences, wanting to keep the characters safe, and wanting to see all possible story outcomes for different characters.
Yes it is. It pushes you to think about civil rights, AI consciousness, and how society defines “humanity” and empathy toward marginalized groups. Its definitely particularly interesting to see how people who have played the game feel about the androids in the game and how people are currently treating AI advances.
The game uses androids as a metaphor for oppression and civil rights struggles, with quick-time events and branching dialogue choices standing out as core mechanics.
It creates tension and moral pressure, often making you empathize with the android characters and their fight for autonomy.
It can be read as activist, again especially with the rise of AI currently, it advocates for empathy toward “the other” and critiques systems of oppression and dehumanization.
Detroit: Become Human is a game about androids gaining consciousness in a human-controlled society. Players make moral choices that shape multiple intersecting storylines. It explores freedom, identity, and what it means to be human.
Gris
The game is emotionally and visually engaging, with evolving abilities, and a nice relaxing soundtrack.
The motivation comes from emotional curiosity and wanting to progress through grief-driven visual transformations.
Yes, it encourages emotional reflection on grief, healing, and recovery rather than pushing a direct message.
The entire world represents stages of grief, and mechanics like unlocking new movement abilities symbolize emotional rebuilding.
It feels calming and reflective, and attempts to build empathy for someone processing loss internally.
Not overtly activist, but it advocates emotional awareness, mental health understanding, and the validity of grief.
Gris is a visually artistic platformer about a young woman navigating grief. As she restores color to her world, she gains new abilities that reflect emotional growth. The game focuses on healing, memory, and emotional recovery through abstract storytelling.
Week 3 questions
Mary Flanagan’s definition of a game in Critical Play is a lot broader and more socially focused than Crawford’s and Salen’s & Zimmerman’s. They stick to more formal definitions where games are structured systems with rules, goals, conflict, and some kind of measurable outcome like winning or losing. Flanagan pushes back on that a bit by treating games less like fixed systems and more like cultural tools. For her, games aren’t just about rules or competition they can also be a way to reflect on society, communicate ideas, and even critique real-world issues.
An activist game is designed to highlight social or political issues through gameplay, encouraging players to think critically, build empathy, or engage in discussion about real-world problems. Instead of just being entertainment, it uses play as a way to spark awareness or inspire change.
Games like checkers, tic-tac-toe, and Othello also have perfect information because all game states are visible to both players and nothing is hidden or random.
Ancient cultures often saw chance-based games as a way to communicate with fate, gods, or spiritual forces. Random outcomes were interpreted as divine will or guidance, making gambling and dice games part of rituals or decision-making.
One of the earliest tensions comes from medieval and early religious bans on gambling and dice games, often seen as immoral or sinful. Modern examples include bans or moral panic around games like Dungeons & Dragons and violent video games like Grand Theft Auto, (even pinball at one point).
A fox game is an asymmetrical game where one player (the “fox”) has different powers or goals than the other players. Something like Dead by Daylight, would be a modern example where one powerful player hunts multiple weaker players. Even though I can never seem to win as either the killer or the survivors.
Mansion of Happiness was one of the earliest American board games and was designed as a moral instructional tool. The goal was to teach players Christian virtues and good behavior as a path to happiness and salvation.
Fluxus and Surrealists used games to break rules, challenge logic, and explore creativity outside traditional art forms. Surrealists believed games could tap into the unconscious mind and reveal hidden thoughts, making creativity more universal and less controlled.
Changes in cultural values, politics, and technology often reshape games. During WWII, pinball was remarketed in the U.S. as a game of skill rather than gambling to avoid being banned, shifting its perception from luck-based gambling to controlled play.
By altering games like Monopoly and ping pong, Fluxus artists criticized capitalism, competition, and rigid rule systems. They turned familiar games into absurd or reflective experiences to question everyday structures and social norms.
Artists like Lillian Ball, Duchamp, Saito, Yoko Ono, Orozco, and Catlow use war or conflict-based game structures to critique violence, power systems, and political logic. Instead of promoting competition, they often subvert rules or slow gameplay down to make players reflect on the ethics and consequences of conflict.
Player agency is important because it forces players to actively participate in meaning-making rather than passively receive a message. When players make choices, the ideas of the game feel more personal, reflective, and impactful.
Week 2 game ideas
A deduction game similar to how Clue works where players are in the middle of a global pandemic, each with their own role and secret information about the outbreak. Some players may have completely false clues, hidden agendas, or reasons to spread misinformation. By questioning each other, sharing evidence, and trying to figure out who can actually be trusted, players work to uncover the real origin of the virus, how it spreads, and the correct cure hidden inside an envelope.
A strategy board game where players run political campaigns across a map of regions, trying to win the most votes before election day. Each round, players choose between safer tactics like policy campaigning and community outreach, or more aggressive moves like attack ads and misinformation, which can give quick advantages but increase national polarization. As the game progresses, division starts to affect how voters in the regions behave and how stable the election system is, forcing players to balance winning the race with not completely destabilizing the country.
A chaotic strategy and memory game where players act as both managers and employees, constantly scheduling each other’s work shifts while trying to survive their own unstable schedules. Each round, schedules are passed between players and subtly altered, forcing everyone to rely on memory, bluffing, and deduction to figure out what their actual week looks like. As the system becomes more distorted, players struggle to separate what was planned from what was changed, reflecting the unpredictability and confusion of modern shift-based work.
A cooperative city-building board game with an interactive board that you add pieces to as players make decisions throughout the game. Players work together to grow and power a city, but every factory, highway, and industrial upgrade adds pollution, causing gray cloud pieces to slowly spread across the board’s sky and cover parts of the city. As the board becomes darker and more crowded with smog, different districts begin losing resources and forcing players to balance rapid city growth with environmental sustainability before the sky goes completely gray.
A cooperative escape-room style board game where players work together to solve puzzles and escape a series of connected rooms. Each player is given different pieces of information and unique communication limitations, meaning no one person has the full answer on their own. To progress through the game, players have to figure out how to share clues, interpret each other’s information, and work together despite the communication barriers in place.
(endless game idea as a persuasive game)
Previous endless game- Librarian logging game
A librarian simulation game where players organize, stamp, and archive books in a public library. Over time new policies begin restricting certain titles, topics, and authors, forcing players to decide whether to follow censorship rules, secretly preserve banned books, or risk consequences for resisting.
“The Cards We’re Dealt” Case Study – Final Game Documentation
Short Summary
The Cards We’re Dealt is a card game that is meant to illuminate social imbalances by the abilities or disabilities of certain characters within the game. It consists of mainly one mechanic of taking and passing cards to add up the most points, but players’ actions are limited by the character that they assume.
Design Process & Thought Process:
Iterative Design:
As this is the game I chose to present as my final game, I did a lot of iterating on the design, mechanics, rule book, and flow of the game. I went through three of four rounds of rule rewording and especially over the design and wording of the cards, mini rules and game box.
I faced challenges when it came to the practical side of printing and minor design issues of color and details. This just took a lot of trial and error to work out flaws.
The first version with simple rules and a deck of classic cards:

And then I created special characters with specific abilities:

Then I made a rulebook with the design but then after that decided to consolidate the whole game into a little playing card size – so made the rulebook mini and with a special mini rule card (pictures are down in the game pieces section)




Game Mechanics:
Turns consist of taking a card from the hand passed to you to place face down in front of you.
Keep passing around the hands until the cards run out. If during the round you cannot take a card due to your players rules, still take a card and put it next to your actual hand on the table in front of you which acts as a discard pile (which does not add to your score)
each player can attempt to gain more points or decrease other players’ points by what is laid out by the rules of each Character card
- Player Goals: Players are trying to get the most points by collecting the highest value cards they can based off of their characters.
- Gameplay Sequence:

- Game Board & Components:
The cards which are the main catalysts of the game mechanics:


The custom rule book:



Rulebook & Playtesting:
- Rulebook Sample:

Game Reflections:
I learned a lot from making this game. It was a very fun process of coming up with a game concept around inequality and then creating an aesthetic for that message. Iterating all the different pieces made me think deeper about the message and how everything would work together. In the future, I would want to add more dynamic to the gameplay and continue to expand upon the illustration and design.
Chess/Dominion Game – First Draft
Extraction : Final Documentation
4D Final Critiques – Murro Gill
Lily Clifford
1 thing that works: The lighting really adds the suspense feeling to the film
1 thing I would change: The echo is a little distracting, I would try and change how the audio came out.
Gabby
1 thing that works: The angles and scenery really makes the video feel cozy.
1 thing I would change: The pacing is on the slower side, so I would try to get quicker and smaller shots to combine.
Aileena Sargeant
1 thing that works: It feels like im on the motorcycle looking around
1 thing I would change: The camera is very shaky and the quality kinda deprives the experience
Christian
1 thing that works: Battle Block Theatre really gives the game a personality
1 thing I would change: there’s 2 points with the crown square things(?) so i feel like it would be cool to only have 1 point to stay on.
Nikayla Haynes
1 thing that works: The lighting looks really good when the curtains close
1 thing I would change: Watching the laptop load got a little tiring
Toni
1 thing that works: The overlay matches with the background very smoothly (closing the door, playing the piano, etc.)
1 thing I would change There are some parts where her pants fade into the background
Ethan
1 thing that works: The lighting really works well
1 thing I would change: The camera at the beginning moves a little bit, a steadier tripod would probably fix it
Bekzod
1 thing that works: Very unique idea, plays off of the perfect human
1 thing I would change: A lot of the photos look the same/repetitive
Sara
1 thing that works: The camera focus and quality of production is really nice, the music is the cherry on top
1 thing I would change: More emotion from the actor would add more to the story
Saomi
1 thing that works: The explanations really add a whole new impact to it
1 thing I would change: Add mini blurbs to the video so you would have to explain less
Sid
1 thing that works: Zoetrope style works really well
1 thing I would change: Adding music or changing the camera angle would’ve added more to the video
Noah
1 thing that works: The mix of real life and animation was very cute
1 thing I would change: some camera movements moved the animation and it made a weird misplacement effect
Gaige
1 thing that works: The stop motion animation to video transition was cool
1 thing I would change: The audio volume was very different at times
Jana
1 thing that works: The sheet of numbers with the dice animation was neat
1 thing I would change: The rules were very confusing, but I didn’t fully understand it
Kayla
1 thing that works: The story is heartwarming
1 thing I would change: I would’ve loved to see more to the animation
Week 2 questions
“Tooth Protector” and “Escape” work because they actually make the advertising part feel connected to the gameplay instead of just throwing a logo on the screen. The games are fun enough to keep people engaged, and the mechanics help reinforce the message the company is trying to get across. Instead of feeling like a commercial, it feels more natural and interactive.
“Chase the Chuckwagon” and “Shark Bait” fail mostly because they just are not very good games. The advertising feels way too obvious, and the gameplay itself is pretty weak and repetitive. They focus more on showing off the brand than actually making something fun or memorable to play, so the whole thing feels kind of pointless.
Volvo’s “Drive for Life” does more than just advertise cars. It pushes Volvo’s image as a company focused on safety and responsible driving. The game lets players experience situations tied to driving decisions, so it helps reinforce the brand’s values in a more interactive way instead of just telling people “Volvo cars are safe.”
One company that used in-advergame advertising was Dodge for their Stow N Go game. They used games as a way to build their brand image and connect players to their message through gameplay.
One of the first home-console advergames was Kool-Aid Man for the Atari 2600, it was made to appeal to younger kids and try to sell more Kool-Aid.
The Toilet Training” game is considered sophisticated because it actually uses gameplay mechanics to make its point instead of relying only on ads or visuals. The way the player interacts with the game is what delivers the message, which is more advanced than just sticking product placement messages in front of someone. I can see why Bogost thinks it is sophisticated because he finds it more thoughtful than most advergames, but it still depends on whether someone actually finds the game engaging. This could be a male vs female perspective though because I don’t know how intrigued I would be by a game where I have to accurately pee in a bowl. Could be eye-opening though.
Advergames and anti-advergames are actually pretty similar because both are trying to persuade the player through gameplay. They both use the rules and mechanics of the game to push a message or idea. The difference is just the goal advergames are trying to promote a brand or product, while anti-advergames are usually criticizing companies, politics, or social issues.
“Roses are Red” Case Study – Refined Game Documentation
Short Summary
Roses are Red is an environmental game where players work to cultivate their gardens, collecting and maintaining resources and protecting against bad weather to successful grow beautiful flowers. This game is meant for mainly older children, perhaps teenagers, to adults of all ages due to its more complex gameplay and for anyone interested in strategy, lots of game pieces and environmental impact awareness games.
Design Process & Thought Process:
- Game Design Document (GDD):
The core of Roses are Red is collecting resources to be able to plant flowers (which are worth points) and use other various cards and tokens to also gain more points. The message is reflected in the game play. I wanted the game to make players aware of the effort and patience it takes to grow plant life. This game is split into four rounds, which are the seasons, where each round progressively requires more resources and “energy” to sustain your plant life which gains you the most points in the end.
The general mechanics involve passing hands around and collecting cards to be used to gain other cards. Cards generally “cost” other resources to obtain so it is a game of strategy in which cards you collect to gain other ones.
- Iterative Design:
Given the amount of cards and game pieces and rules, I had many trial and error attempts at making this game playable. Unfortunately, due to personal circumstances, I did not have time to fully develop the game, but went through several iterations of card design and mechanics and rulebook writing. The biggest struggle was determining the number of cards per round to make it competitive but not too short or too long. The balance of the game is something that still needs to be played out more but was interesting to experiment with.
Some cards design changes are as follow:

to

For the future, I would need to put more examples of gameplay in the rules to make it more clear how each move and round works.
I spent a lot of time iterating on the effectiveness of the Flower Beds, which are the players main game boards which they collect all their cards on.



This is more what the actual game board Flower Bed would look like. It took a lot of work to get the right size and spacing and intuitiveness of where players would place their cards once collected:

Game Mechanics:
Each round follows the drafting style:
- take one card from your hand and pass the remainder of the hand to the player next to you
- pick up the next hand, take a card, and continue these actions until no cards remain.Â
After each round the direction of passing reverses.
- Spring & Autumn → pass left
- Summer & Winter → pass right
Each player is trying to collect and maintain their resources to “grow” more flowers (gain Flower Points)
The example hand below demonstrates where cards go and how the mechanics of taking cards and passing works:

At the end of Winter:
- Add up all Flower Points from Flower Cards.
- Additional Points:
- +2 points for most remaining resources
- +1 point per token per player
- +3 points for most flowers
Player Goals: Players pass cards to try to collect resources in order to have the chance to also collect flowers based off of the resources they have and how much they are worth. Players are trying to get the most points. You can get points by collecting flower cards, winning weather “battles” (having the most weather cards) and having the most resources.
Gameplay Sequence:

- Game Board & Components:
Each player is given a Flower Bed at random to grow their flowers on and collect resources. Each Flower Bed comes with a resource built in already. Flowers are collected on the colored rectangles at the bottom, resources are stored by partially sliding them under the board where the resource sun is in the top left corner. Everything else is placed on top of the board or above it to the right.


The cards have what is required to obtain them in the top left corner. What the card is is described and displayed in the center.
Seed Cards
- Required to grow flowers.
- Some flowers require multiple seeds.
Water Cards
- Used to “activate” seeds.
- Certain flowers require a set amount of water.
Sunshine Cards
- Required along with water to grow flowers.
- Some advanced flowers require extra sunlight.
Offensive:
Weather Cards
Only introduced in Season 2 – Summer
These cards rack up over the game and are used as essentially “battling” your team mates.
- They only affect the players next to you
- Place a weather card above your Flower Bed when selected from the hand.
- Whoever has more weather cards at the end of a season gets an extra token
Main points:
Flower Cards (Points)
- Gained when you meet the requirements.
- Some higher-value flowers require combinations (ex: 2 Seeds + 2 Water + 1 Sun).
- Put these cards at the bottom of your Flower Bed when collected
An example of some cards are displayed:

Rulebook & Playtesting:
- Rulebook Sample:
- Playtesting Notes:
My family helped playlets this game for me. They said it was playable from the two rounds that I was able to fully create. They recommended working on the wording for rules and making sure all the cards were accurate and aligned with each round correctly.
I worked on wording, but while I wasn’t able to work on the design of the cards and making sure they matched the difficulty of each round correctly, that is something that I would focus on in the future.
- Game Reflections:
I learned that the development process is long and hard for a complicated game with lots of mechanics. I would have given myself more time to iterate and be able to get more player feedback, cause that really helped me be able to get a direction that I needed to be able to put this all together. There are a lot of game pieces involved and it was fun to make a game like this come to life, even if just in the beginning stages.
Week 1 questions
- Bogost uses Cow Clicker to make fun of games like FarmVille and point out what he thinks is wrong with social games. He argues that these games are less about fun or creativity and more about getting people addicted to clicking, waiting, and coming back over and over. They also pressure players into spending money and using their friends to progress in the game. Cow Clicker was basically meant to show how repetitive and manipulative social games can be.
2. Social games like FarmVille enframe friends by turning them more into useful resources rather than actual friends. In games like that, friends are mainly useful because they can send gifts, help you level up, or give you bonuses. The games encourage players to invite more people and constantly interact, but it’s mostly to help the game grow and make money rather than build real social connections.
3. Social games destroy time outside the game because they make players constantly think about the game even when they are not playing. The things developers add like timers, notifications, and limited rewards make people feel like they always need to check back in. So instead of just playing during free time, the game starts controlling your schedule and attention throughout the day.
“Limitation” Case Study – Refined Game Documentation
Short Summary
Limitation is a game that requires the players to use themselves as the game pieces and work together to help those players with weaker abilities to get across the finish line at the same time as everyone else. Each player is assigned an age category which has certain movement abilities that can be shared with certain other ages. It is a game that plays with the ideas of sacrifice and giving of yourself for “weaker”/slower people. It is for all ages and types of people.
Design Process & Thought Process:
Game Design Document (GDD):
Limitation is a physical game where players move through a race to cooperatively get to the end together. It focuses on specific “age restrictions” that each player assumes which limits their actions throughout the game. It focuses on sacrifice for others and team play.
The rules and mechanics are very simple. They consist of each player rolling a dice for how many steps they can take, while also relying on their age card to tell them if there are any restrictions to their movements.Â
For example: If someone is “The Baby” they cannot move on their own. Only The Teenager or The Boomer can help them move by giving up one of their moves.
Iterative Design:
Since this game is dependent on the players as the game pieces and your environment as the “gameboard”, I chose to focus on iterating the game rules and mechanics, seeing how tweaking certain mechanics would impact player dynamics.
Changes in the Rules:
Rulebook Version 1
“ Objective:
To complete a “relay race” and make it back across the starting line together
Materials:
4-6 players
6 age cards (with rules for movement and limitations)
6 dice of different
Your body, mind, and creativity
Setup:
Each player randomly chooses an age card and a dice
Players choose a space to line up (like at a race starting line)
Gameplay:
Each movement is determined by individual dice rolls (in front of each person on the floor or any flat space near you)
Follow the instructions on your age card to see how many steps you can take. Players all roll dice at the same time but don’t roll again until everyone has moved at least one movement.
Continue rolling dice and making movements until you have made it to a determined end point and then turn around and make it back to your starting position. The starting position becomes the finish line.
This is essentially a relay race but with limitations
The catch is you must all cross the finish line together to win
Work together to help slower players and give up your movements so you can all successfully make it across the finishing line
Winning/Losing:
When all the players complete the “relay” together they win
If more than one player crosses the finish line before the others, you all lose and the player who went alone can be shamed and booed for leaving their fellows behind
- In version 2, I clarified the gameplay and materials sections to make it more straightforward and clear.
Rulebook (Version 2)
Objective:
This is essentially a relay race but with limitations.
The catch is you must all cross the finish line together to win
Materials:
4-6 players
6 age cards (with rules for movement and limitations)
1 dice per player
Open space for movement
Optional: Tape, cones, markers for start/end line
Setup:
Each player randomly chooses an age card and a dice
This game can be played in any environment that allows you space to walk.
Choose a space to line up like at the start of a race and mark an end line.
Gameplay:
At the start of every round:
- Players all roll their dice
- Players move according to
- The dice number
- Their age card limitations
don’t roll again until everyone has moved at least one movement.
The team must:
- Reach the Turning Point
- Reverse direction
- Return together across the Starting Line
The Starting Line becomes the Finish Line on the return trip.
Work together to help slower players and give up your movements so you can all successfully make it across the finishing line
Winning/Losing:
The game is won when all the players complete the relay together.
If more than one player crosses the finish line before the others, you all lose and the player who went alone can be shamed and booed for leaving their fellows behind.
Version 1 is shown below:

For version 2, I kept with the same cards since I unfortunately ran out of time to improve them, but wish to do so in the future of developing the game.
Game Mechanics:
The game mechanics consist of rolling dice and moving according to what you are allowed based on your age card. There is an additional mechanic of giving up your own movements to help that of others.
Example of gameplay below:

Player Goals: The players goals are simple – get to the end together. They are all trying to finish a race, but not to win individually but as a team. They achieve that by completing their actions but making selfless choices to give to others who can’t.
- Game Board & Components:

The dice are what determines the number of movements that players can move. The people themselves are the player pieces and move on the “game board” of whatever environment they’re in. The age cards guide the characters in their specific limitations and how they can help other players.
Rulebook & Playtesting:
- Rulebook Sample:
Playtesting Notes:
One player found it pretty easy to play with little difficulty in achieving the end result. However, she thought that adding obstacles as an outdoor game could make it more difficult and intriguing.
Another player honestly enjoyed it and understood the narrative but thought adding obstacles again could be intriguing OR the ability to be “hurt” and move backward. I thought it was interesting that he thought being the “ancient” character was unimportant cause you couldn’t do anything – which was exactly the point.
Someone else said it made them happy and I think that’s kinda fun.
I took away adding an element of difficulty and moving backward for version 2.
- Game Reflections:
Like what I said above, I would add more difficulty initially and then pair back in later versions so people can give more constructive feedback that I can take and develop more specifics better in making it intriguing enough in its strategy and not too easy.
I want to expand upon the age cards as well and give more specific direction. Adding the “consequences” that would come with helping someone else would also be added on the cards and design aesthetic would also be something I would work on for this game in the future.
Final Project


This game is about choice and luck. Players choose which numbers will have positive cards and which numbers will have negative cards. After placing the cards on the table, the player starts the dice video and stops it at any moment.
The number the dice lands on decides their final result. The player can control some choices, but they cannot control the final outcome.
I used Blender
Imported a high-quality 3D dice and a sleek table surface.
Tilted the dice on its corner to give it a more artistic and balanced aesthetic.
Animated the dice to spin at high speed in a perfect, never-ending loop.
Lighting: Used cinematic lighting and shadows to create a deep atmosphere.
Added “Motion Blur” to make the fast spinning look smooth and realistic.
Set the animation so that every time you pause the video, you get a clear, random number.
