Visual Concept of Game Heroic Education Based on Player-Centered Design

doi:10.21203/rs.3.rs-1724639/v2

A national hero represents a nation as a role model with heroic values that need to be introduced to Z-generation as students. The case study of this research is Himayatuddin Muhammad Saidi as, the 185th national hero from Indonesia, November 2019. The design process is carried out using the Player-Centered Design method, which is explained in terms of Mission Understanding Human Motivation, Implementing Game Mechanics, Manage, and Measure in usability testing. The visual concept of the game is sourced from Gen-Z responses by 73 respondents by assessing four-game designs, which ANOVA analyzed. The dominant preference is the strategy game genre with an average score (71.25), Action (69.94), RPG (67.09), and Adventure (63.87). Through research and experimentation, it was found that ten components make up a heroic game. Then usability testing was carried out with measurement results using a Likert scale and Nielsen's model by 25 students. The heroic game design has an average response of 4.45, i.e., 89% success, ready to be used by Gen-Z in Indonesia and on the International scale.

visual hero

game concept

national hero

heroic game

Gen-Z

The hero is the personification of the values of a nation's struggle from the previous people who sacrificed their lives for their country. Granting the title of the national hero is a policy of uniting different nations, as is the case in Indonesia, which has diversity (Marpap, 2019). Himayatuddin is a figure who opposes the invaders openly and guerrillas (Muliadin Iwan, 2014). These heroic profiles and values are useful and need to be introduced to today's young generation because the character of youth is currently experiencing a cultural shift due to modernization and the prevalence of deviant behaviour.

There is still a lack of media to introduce national heroes to Generation Z according to their preferences in the current situation. The emergence of a massive trend of playing games among the younger generation, while the production of educational games and heroic national heroes in Indonesia is still lacking. Meanwhile, Gen-Z has the characteristic of holding gadgets in their lives (Fredy, J., & Saragih, 2012). Game interest is increasing drastically due to trends; the State of Indonesia is in 3rd place globally, with 94.5% of internet users aged 16-64 years of video games as of January 2022 (Dihni Azkia, 2022). However, it is not balanced with the production of hero educational games. At the same time, educational games can improve memory and communicate concepts, making them suitable for students and the younger generation.

One of the difficulties of game developers is the concept and gamification process, and this research is based on research and exploration of game design that focuses on national heroes. In comparison, the leading media is Android-based smartphones, following the most users in the world, around 73% of 66 million TB in the first quarter of 2021 (Nistanto, 2021).

Through the Playstore platform, there is the potential for the spread of educational games that can access the lives of Gen-Z and provide an opportunity to convey the educational value of the story of the national hero Himayatuddin according to their preferences a national and international scale.

The Role of Game in Education

Game-Based Learning (GBL) is a learning method that involves technology as a medium for delivering Learning material in-game media (Maulidina et al., 2018). Designing this game is devoted to solving a challenge for the player in the form of a quiz question as an evaluation of the material entered in the game so that the user understands it.

Games with learning from learning by doing create an atmosphere and challenges whose consequences are failures that can increase the player's motivation to repeat the game and proceed to the next stage, learning through a game approach through real stories and combined with an imaginary world and the design of conflict or problem plots can give the impression which is more interesting to solve and reduces boredom in learning and can involve students' attention so that they can survive playing games with a long duration of time (Wibawa et al., 2021).

Games that involve stages or journeys are adventure games so that they can increase the player's enthusiasm, while games that sharpen brain sharpness are puzzle games to find answers. The important thing in playing games is challenge and risk, then experience. The main aspects of playing are a fantasy that guides students to play games and learning efficiency, curiosity in the form of new information (Pivec et al., 2003), and various challenges as a trigger for players to continue playing and control a particular task for players. The design of this game intends to convey the heroic story of Himayatuddin and his profile so that players can find out because this hero is still not recognized by the younger generation.

Purpose

The purpose of this article is to be able to introduce national heroes in the form of educational game designs. In terms of research, the heroic game design provides benefits to students, students and game developers to design and conceptualize heroic games according to Gen-Z preferences. Then able to provide analysis of gameplay design to introduce national heroes. The results of the study of heroic games related to game preferences contain experiences and values of heroism in the form of educational games in the form of a game design process through the Player-Centered Design method with players as students being the main object so that they become insights for developers as Heroic game development.

The Participants

There are 73 respondents as Gen-Z students who participate in determining the type of heroic game according to their dominant preferences. They assessed four prototype game designs with the theme of national heroes. Then the Usability Testing was carried out on 25 junior high school students, Kendari, Southeast Sulawesi, Indonesia. as the target audience for the potential hero game. The testing process uses a Likert scale questionnaire with five categories as the feasibility of assessing game applications.

In this case, the quantitative analysis of variance (ANOVA) method is used to determine the dominant preference (Senoprabowo et al., 2017), applied to find the heroic game genre favoured by gen-z in Indonesia. The game design process uses the Player-Centered Design method, which contains five important processes, namely Understanding the Player, Understanding the Mission, Understanding Human Motivation, Implementing Game Mechanics, Manage, Monitor, and Measure (Atmani et al., 2020). The goal is to identify preferences. The greatest impact on game mechanics and game motivation is from the player's experience perspective (Sweetser & Johnson, 2004).

Furthermore, research was carried out regarding the types of hero-themed games used by Generation Z and then conducted a comparative study by analyzing game elements such as formal systems, formal elements and dramatic elements from prototype references, and game development, whose output became four game design prototypes, and using the theory of Gibson and Tracy Fullerton, to get game components mechanically and game motivation (Nugraha et al., 2021). More detail focuses on player interactions, missions, procedures, rules, resources, conflicts, limitations, and in-game achievements. Usability Testing Process with Nielsen's Model to measure effectiveness, efficiency satisfaction, learning ability and function (Usability 101, 2012) to get extensive from the software design that has been designed (Mifsud, J. 2015), with a Likert scale with five categories of assessment by 25 students Junior High School.

Theoretical Framework Supporting Game Design

Story Telling Game Roles and Location

Games that involve the location or characteristics of the geographical location of an area will give the value of a game, namely strong interaction, presence, and extrinsic motivation that can give more attention to players (Procyk & Neustaedter, 2014). Humans have interactions at locations in the form of memories, familiar and iconic locations that have a historical story, will give strong attention, and someone will try to tell others because humans are social creatures called extrinsic motivation.

From previous research related to game design based on location and storytelling, game design that involves location and storytelling results in curiosity for players and gives players experience to feel in the form of memory, presence, and attention. Meanwhile, the game has its Storyworld, such as characters, projects, institutions, events, relationships, and impressions that become the in-game database (Kreminski et al., 2020). A game with locations and characters in it, which are translated into gamification, forms the Storyworld in the form of space in the game, which becomes its database and information. The purpose of Storyworld involves the player investigating and finding the location information.

Educational Game Design Narrative

Games with metaphorical storytelling can help designers design games that focus on stories to support better educational goals in games (Kiili, 2005). The game design aspect can help immerse and engage game players. One form of narrative in the game is an adventure game involving the main character designed in the form of an avatar; in-game events are events in the form of a win or lose conditions that create intrinsic fantastic so that the game design is more exciting and instructional (Marchiori et al., 2012).

Dickey (2006) explains comprehensively as a guide that can support the arrangement and systematic approach to developing educational games, namely, raising the initial challenge in a narrative climax that becomes the problem and purpose of designing educational games. Next, identify potential barriers, develop puzzles, tiny challenges, and resources, and identify and assign roles. Establish the physical, temporal, environmental, emotional, and ethical dimensions of the environment. Then, the making of the backstory and the cut scenes in such a way as to support the development of the narrative storyline.

Achievement and Heroic Value

Most games are designed to reward players for efforts or tasks as missions completed. Games with many tasks will give players a unique experience, namely achievement in the cognitive domain. Players feel the flow, namely entering the game world in the form of immersive (Csikszentmihalyi, 1990 (Tsai et al., 2016)). To create flow playing games, there are several important factors; according to Kiilii (2005), the game design pays attention to balance in challenges, clear goals, has good control to create player concentration to deal with events in the game, and transformation of time to play the game until it is finished. Balance in the game means that the game is designed to start at easy, average, challenging, and very difficult levelling conditions. Players are willing to complete challenges and get rewards at the end of the game.

A fighter will get an award as an appreciation for his efforts. Like a hero who fights to defend the country, is willing to sacrifice, loves the homeland, and is nationalist (ArsipNasionalRI, 2014). The results of the hero appreciation are applied to game design as a form of achievement. Previous research focuses on visual behaviour, flow, and achievement based on playing games. To create achievement, it takes a lot of visuals and a little explanation information to attract more attention to players in the form of icons. A graphic is a conceptual label representing the player's struggles (Tsai et al., 2016). Therefore, game design with heroic values is needed to become a design concept in the form of an iconic symbol in the form of a medal as a struggling label as a tribute to the experience of completing the game.

Broadly speaking, the game design focuses on the hero Himayatuddin Muhammad Saidi and his heroic values, whose stories are visualized through educational games. Heroic values in the form of unyielding love for the homeland, struggle, and nationalism. The target intended for usability testing is Gen-Z student age. The structure of the game is in the form of storytelling. The location tells the story of Himayatuddin in his sultanate era and the struggle against and repelling the invaders with the site of the island area, the Buton Fort, Southeast Sulawesi. The game design narrative is in the form of illustrative visualization and iconic graphics so that the storytelling is well conveyed to gamers. The end of the game design is an achievement as a player's appreciation for the victory. It completes Himayatuddin's heroic story in an educational game so that Gen-Z can play and learn.

Heroic Game Visual Concept

There are four types of games that represent heroism that has been designed with stories, assets, games, and users with a similar interface (UI). From the results of the VAS (Visual Analogue Scale) questionnaire, the four types of games will be explained sequentially based on the largest to the smallest preferences in the form of statistical data containing eight categories that 70 respondents have assessed for preference assessment, there are four variables such as Entertainment-Education, Boring-Fun, Spend-Use, Ordinary-Interested, and for motivation, there are four variables such as Relax-Fight, Mediocre-Nationalism, No Sacrifice-Sacrifice, and Ordinary-Love Motherland. These parameters were tested on respondents in the form of visual impressions of four types of games, namely Action, Strategy, RPG, and Adventure; here is the result of the design.

From the average results for the four types of games, we can sort the types of hero-themed games based on the dominant preferences of Generation Z in Indonesia. The first order is game Strategy, with an average of 71.25 as the strongest impression. The second order is the game Action with an average of 69.94, RPG Games (67.09), and last in line are games Adventure of Hero (63.87) with the lowest game preference (Muminin et al., 2022). Through this insight, strategy genre games become the main object in designing heroic games.

Design Mechanic and Motivation Heroic Game

Educational value relates to game content design applications. The content will be adapted into gameplay. Meanwhile, game motivation is related to game mechanics, both tangible and intangible. Several game components appear to be a heroic game design, namely heroes, locations, award medals, and Gold. Meanwhile, intangible designs such as stories, intrinsic motivation, playing experience, and several other components.

Table 1

Design mechanic heroic game.
Mechanic Games	Description
Onboarding	Bringing up an introduction system and tutorials as a start in playing the game and its content.
Level	Provides levels up to 12 levels with different difficulties to create flow and playing experience so that the game can be completed to the end.
Gold	In the context of this game, Gold is Kampua as a legal medium of exchange and currency in the era of the Sultanate of Buton.
Hero Medal	Provides four medals of heroic value as an appreciation to users who have completed missions in the game.
Challenge	Provides a challenge that is completing 12 levels of 4 defence sectors by setting a war strategy—complete four questions as a challenge to test Player insight.
Quizzes	Complete four questions as a challenge to test player insight.
Emotion	The relationship between the game and the user is by entering the voices of Gen-Z girls in informal Indonesian and instructions and dubbing so that players can listen and play the game until it's finished.
Strategy Sets	Game difficulty with troop, weapon, and fort upgrades.
Share to Public	Provide a menu to share experiences in the form of hero medals that have been achieved through Twitter and Facebook posts.

Table 2

Design motivation heroic game
Motivational Games	Description
Recognize	Presenting the latest National Hero from Southeast Sulawesi As game content on Android-based smartphone media to be recognized by Gen-Z.
Collection	Brings up an item in the form of Buton Fortress, which can be upgraded. Features collectable troops of up to 3 troops. Collect items to help with challenging battle levels.
Achievements	Showing awards from the results of efforts in the form of Medals of Heroism.
Answer the question	As a challenge on several levels that have been passed by asking for the results of player insights, there are praises and pleasant sound effects (sfx) when you succeed in answering them.
Playing Experience	There are traces of struggle in the form of hero medals that were obtained and displayed in the form of a map. In addition, the results of the victory can be shared on social media.
Culture	Features cultural and regional content of Buton, Southeast Sulawesi, and the story of the sultanate of heroes told in the game.
Adventure	Shows the hero's journey and territory in defending the territory along with four defence sectors.
Experience as Hero	The hero tells the story, and the player gets involved in helping the war and defending the Fortress, then repelling the invaders.

Heroic Game Design Concept As Game Component

Based on the results of previous research and the design process using the player method as the centre of the design, followed by the usability testing process for the hero game Himayatuddin Muhammad Saidi, a hero game design was found. The explanation is as follows:

A story is a story of heroism from written and oral sources that have been valid based on true stories and accepted by the community. Then from that story, the input process is carried out to become Storyworld, which is a story designed to become an in-game story. This story is in the form of pieces of the storyline that are considered essential, such as the climax of the story, or pieces of moments that should be turned into in-game stories that can be learned and become educational values to convey from heroic stories. In this design, the story adopted is the story of Himayatuddin Muhammad Saidi, specifically in the 21st and 23rd eras of the Buton sultanate, with the climax of the story when the moment of defending the Buton region in Bukit Siontapina, Southeast Sulawesi, succeeded in repelling the invaders.

After determining the story, the following process is the design of characters and roles in the game as the primary mission that the player must carry out. In this design, the main character, namely the national hero Himayatuddin, and the supporting characters are troops or soldiers who have a mission to defend four defence sectors on the island of Buton from invaders. Then the design of the guide character is a Butonese woman who tells the content in the game that does not have a mission to be carried out by the player. Next is the enemy character, namely the invaders who have a mission to capture the hero Himayatuddin and destroy the Buton fort, Southeast Sulawesi.

Furthermore, from the stories and stories of heroism in the game, there is a journey or plot from the heroic story that is a component of the Adventure game. The Adventure is designed to illustrate the extent to which the hero struggles and is told in the game. In this design, the Adventure is visualized from the hero's journey to defend the castle from 4 defence sectors and two-game maps, and 12 levels. The first map contains the defence sector I Sampolawa with 3 points of travel as level 1–3 and defence sector II Lasalimu with 3 points of travel as level 4–6. Then continued the second map containing the defence sector III Gentara with three travel points for levels 7–9 and the defence sector IV Liya Togo with three travel points for levels 10–12.

The following process is the design of the level of difficulty or Leveling. The goal is to create a good flow of play and experience to complete the game. From the game testing results, players are not too interested in repetitive or monotonous gameplay and need surprises. Then a punishment was designed as a challenge to players if they failed in carrying out the mission in the game.

In this game design, there are 12 levels with two periods of difficulty, namely levels 1–6 and 7–12. Then the next difficulty is the addition of Quizzes on each map so that players don't just focus on playing but on the learning process, which evaluates the success of conveying messages in the game. Difficulty increases due to punishment, and there are two types of punishment. In the first penalty, if the player does not complete the mission or fails to defend the fort, the player will lose the Gold (Kampua) obtained during the war, and the player must repeat it because he cannot continue the level. Second, in the quiz section, players will get punished if they answer wrongly, but in each option, there are interesting facts so that even though the player is wrong, their knowledge increases. Then the player will be returned to the level he has completed and has the opportunity to repeat the game and get additional Gold/Kampua and hero medals to the max.

After the player struggles, he gets an achievement as an appreciation for carrying out the mission. The award design for players is intended to motivate them to complete the entire game to completion. In this design, there are three types of awards, namely Gold income, hero medals, and congratulations. As a result of the achievement, the player can open the next level and continue the game. Players get medals that can be shared via social media, and players get appreciation from the guiding character in the game in the form of a woman with a beautiful impression from the island of Buton.

Gold and Boost are essential features of the achievement of interrelated playing games. Gold is a term for a point or coin as income earned when completing missions, and in this game, Gold is Kampua as a legal exchange currency in the era of the Sultanate of Buton. Then Boost is a function of Gold obtained in improvements that support players and balancers to complete the game. Boosts are used to upgrade or purchase items in preparation for continuing a level. In this game, the improvements that can be made are strengthening the fort, adding troops, and strengthening the effects of weapons; the goal is for players to complete increasingly difficult levels.

The environment is a game component in the form of location and environment designs that are adapted from the real world into a special display in the game world. Each game has a characteristic visualization of the location in the game, both in the original and imaginative form. Especially in-hero games, involving real locations can increase the engagement of players. As is the case in this game design involving the Buton fortress, it makes players enthusiastic about playing the Himayatuddin game.

Players, both tangible and intangible, obtain two outputs. What is visible is the Share to public feature, where players can share their gaming experience and achievements. The things that can be shared are getting heroic medals, correctly answering quizzes, completing missions at certain levels, and completing the game. At the same time, the invisible output is the insight that the player gains from his experience of correctly answering questions, recognizing the hero Himayatuddin in the game, knowing the location, and how this hero drove out the invaders and succeeded in becoming a national hero.

Game design with ten components as game content can be applied to hero games. Starting from the original story that is made into Storyworld and the content can be not rigid, following the story and characteristics of the hero and following the preferences of Gen-Z. Then the end of the game component is Share to Public which can be shared on social media so that other players can obtain the message.

Punishment Design Games

The level of this game increases with various difficulties. This type of game is a Base Learning Game, so the punishment in this game is made easier in the form of repetition when the player cannot complete the level so that the player gets more gold. Each level that has been passed will be unlocked and saved. So, with the ease of punishment, players are expected to be able to complete the game and gain experience from the story of Himayatuddin Muhammad Saidi.

There is an additional game component in the form of punishment in the gameplay in the form of a quiz as player insight, the design of the punishment is as follows:

The punishment design in the quiz gameplay has three questions, one option is correct, and the other two are wrong. An option is designed with the same theme as the other answer choices and has facts in it so that players can learn from mistakes.

When the correct answer, then the player can continue the level. Meanwhile, if the player is wrong, it will move the scene to the wrong option, but the player gets additional explanations to add insight. In addition, the game will be repeated at the level that the player has previously completed to keep fighting and get more Kampua. From these errors, the experience of playing is getting more and more, and it is easier to play at the next level after upgrading items.

The punishment quiz design is applied to the Himayatuddin game after completing level 2; here is the explanation.

At the end of level 2, there is a question about who is the national hero fighting in this game. There are three options with the same theme, namely heroes from the island of Sulawesi.

The correct option is the hero Himayatuddin, as the main character in this game. After the player is correct, the map open button will appear, and the player can continue with level 3. However, if the player is wrong, a Butonese female character will appear to tell him, and an explanation regarding these options will appear.

Heroic Game Level Monitoring

After testing seven players, there are game design constraints experienced by players, namely level balance, and some players only reach level 5; for that level, improvements are made with the following explanation.

Players experience several difficult and unbalanced levels. Therefore made a method to balance the levels. Three main components complement each other. Gold income can spur Boosters as items increase, namely fort strength, troop addition, and weapon strengthening. The results of the Booster can make it easier for players to complete increasingly difficult levels. While the addition of levels is also able to increase the amount of Gold income from the rewards that players get for completing missions. This can also be done to make it more difficult for players, namely by reducing the amount of gold income, the Booster will be more difficult, and players have to play many times to get more Gold and can increase items to get through increasingly difficult levels. In the design of this game, the balancing process is carried out by reducing item prices and increasing enemy troops in the middle of the game so that players get more Gold at the beginning to increase items and win the game.

Measurement Games Himayatuddin Heroic

Himayatuddin's game measurement process uses Nielsen's models with five categories of assessment, including effectivity, efficiency, satisfaction, learnability, and function. The evaluation uses a Likert scale with five categories, namely Strongly disagree, disagree, hesitate, agree, and strongly agree, by game testers on Gen-Z as junior high school students.

Process usability testing by providing four smartphones on the table equipped with earphones and the Himayatuddin strategy game that has been installed, then given information about the game in the form of a guide to using the Himayatuddin game. The student holds the smartphone and operates the game with the tester playing the game for a minimum of 40 minutes. Students are advised to complete the game with at least eight levels and 12 levels available in the game. Students fill out a questionnaire and fill in insights and suggestions for game development for 10 minutes. The last stage is to carry out the documentation process and record game test points for each question.

Usability testing was carried out on representatives of each class by students of SMPN 17 Kendari, Southeast Sulawesi, with the criteria being students who were interested in the game who were chosen directly by the teacher as a research companion. As a result, there were 25 participants, namely 11 male students and 14 female students aged 12–14 years and from different ethnic groups and regions.

Each player has a different gaming experience; in this usability testing, the tester has the fastest time of around 45 minutes to complete 12 levels and interact with the game in an average of 49:36 minutes. However, not all students managed to complete the game and the game level, one of which was a player named Vita, who was only able to complete 9 levels with the longest duration of up to 65 minutes. Then for the achievement in the form of a hero's medal, no player has been able to get a maximum medal, namely 36 hero medals. Players get a minimum of 16 medals and a maximum of 32 hero medals, with an average of 20.2 medals per person.

There are five categories of assessment, namely effectiveness, efficiency, satisfaction, learning ability, and Himayatuddin game function, which are explained as follows:

From the five elements of the Himayatuddin Muhammad Saidi game evaluation based on Gen-Z assessment as a junior high school student, based on Nielsen Model's evaluation elements, it can be concluded as follows:

Table 3

Game usability testing results from 5 evaluation elements.
Factor	Number of Samples (student)	Standard Deviation	Usability Test Results (Scale 1–5)
Effectiveness	25	0.1675974	4,466666667
Efficiency	25	0.06110101	4.37333333
Satisfaction	25	0.14805404	4,552
Learnability	25	0.21756225	4.27
Function	25	0.09481812	4.58285714
		Average	4,448971427

From the overall assessment carried out by 25 testers, namely Gen-Z as students, they gave a good impression with a rating range of 4–5 (Strongly Agree) with an overall average of 4.45, namely 89% successful in terms of effectiveness, efficiency, satisfaction, learning ability, and function.

However, several components become recommendations for improving the Himayatuiddin Muhammad Saidi game, clarifying the story in the game, adding variations to the share feature, adding descriptions and clarity of locations and regions in the game, and making UI variations in the game, and adding two quizzes. The repair process will be carried out later in the third Iteration, followed by the release process on the Playstore platform so that the national hero story of Himayatuddin Muhammad Saidi can be conveyed to Gen Z through their smartphones.

Game design centred on the player Generation Z has various improvisations according to Gen-Z preferences, and the results of each Iteration are effective for better game development. In the prototype, before designing the game, there are ANOVA test results from the Action, Strategy, Adventure, and RPG genre games with the object of the national hero game. Strategy games are games with the greatest preferences chosen by them with an average of 71.25, then in second place is game Action with an average of 69.94. RPG games (67.09) in the third and last place are games Adventure of Hero (63.87) as the lowest game preference by Gen-Z with the main character in the game is the national hero Himayatuddin Muhammad Saidi who they have not widely recognized.

Game genre and the process of telling the strategy story of the national hero Himayatuddin, in Iteration I, seven respondents indicated that this game was playable in terms of game mechanics such as gameplay, story, and user interface usability. Meanwhile, in terms of game motivation, players have been able to feel the struggle of the hero Himayatuddin in the form of GBL. However, it still needs improvement in terms of level balance, explanation in the form of sound, additional gameplay in the form of quizzes to add player insight, additional user interface text game, and item information which is the player's insight in iteration-1. Insights from several testers are very influential on the design of Player-Centered Design-based games and make the design work better and provide a great opportunity to convey messages through the game.

After carrying out the repair process, the results of the 2nd Iteration, which have been tested on 25 Gen-Z testers as students of SMP 17 Kendari, are measured with five evaluation elements; namely, they can function well (91.6%), players are satisfied with the Himayatuddin game. (90.6%), this game is effective for them (89.4%), efficient to use (87.4%), and able to provide learning skills through games (85.4%). Overall, the Himayatuddin Muhammad Saidi game has an average of 4.45, i.e., 89%, ready to be used by Gen Z in Indonesia and internationally.

Acknowledgements

Thanks to Indonesia Endowment Fund Education Sector (LPDP) from the Ministry of Finance

Republic of Indonesia as a scholarship provider and support this research.

Author’s Contributions

Amirul Muminin, As the first researcher as a Master of Design student at the Bandung Institute of Technology majoring in design projects with a heroic game thesis. Apart from being a researcher, he is also the designer of the Heroic game and all its gamification content.

Then the second author, Intan Rizki Mutiaz, as a supervisor for the development of heroic games at the master of design at the Bandung Institute of Technology. Assisting in the writing process, improving and guiding the research process and the creative process so that an experimental study of making heroic games is made.

Funding

The Endowment Fund Management Institute for Education (LPDP) is a non-echelon work unit at the Ministry of Finance. This puts the Public Service Agency (BLU) Financial Management Pattern into real practice and manages the Education Endowment Fund (DAP). Each Master Receives research funding as a component of the scholarship.

Data Availability

The data that support the findings of this study are available from the corresponding author upon reasonable request.

Conflict of interest

The authors have no relevant financial or non-financial interests to disclose.

Ethics approval and consent to participate

Not applicable

Consent for publication

Not applicable

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Competing interest reported. The Endowment Fund Management Institute for Education (LPDP) is a non-echelon work unit at the Ministry of Finance. This puts the Public Service Agency (BLU) Financial Management Pattern into real practice and manages the Education Endowment Fund (DAP). Each Master Receives research funding as a component of the scholarship.

Visual Concept of Game Heroic Education Based on Player-Centered Design

Status:

Version 2

Abstract

Figures

Introduction

Purpose

Methodology

Result And Discussion

Heroic Game Visual Concept

Design Mechanic and Motivation Heroic Game

Heroic Game Design Concept As Game Component

Punishment Design Games

Heroic Game Level Monitoring

Measurement Games Himayatuddin Heroic

Conclusion

Declarations

References

Additional Declarations

Status:

Version 2