Journal of Games, Game Art, and Gamification https://journal.binus.ac.id/index.php/jggag <table id="table1" border="0"> <tbody> <tr> <td class="style5" valign="top"> <h4><img class="pkpFormField--uploadImage__thumbnail" src="https://journal.binus.ac.id/public/journals/17/journalThumbnail_en_US.png" alt="Preview of the currently selected image." width="132" height="187" /></h4> <p class="style8" align="justify">e-ISSN:</p> <p class="style8" align="justify"><a href="http://u.lipi.go.id/1478512338" target="_blank" rel="noopener">2548-480X</a></p> </td> <td> </td> <td> </td> <td valign="top" width="300"> <p><strong>Editor-in-Chief:</strong></p> <p><em><strong>Ida Bagus Kerthyayana Manuaba, Ph.D</strong></em> </p> <p><em><strong>N. Nurul Qomariyah, Ph.D</strong></em></p> <p>Bina Nusantara University International <br />Computer Science Program <br />Senayan, Jakarta - 10270, Indonesia</p> <p><em><strong>Co-Editor:</strong></em></p> <p><em><strong>Ardimas Andi Purwita, Ph.D</strong></em><br />Bina Nusantara University International <br />Computer Science Program <br />Senayan, Jakarta - 10270, Indonesia</p> <p><a href="https://journal.binus.ac.id/index.php/jggag/about/editorialTeam"><strong>Editorial Board</strong></a></p> </td> <td valign="top" width="40%"> <div id="journal_info" style="text-align: left; display: block; width: 90%; margin: 0px; padding: 10px 10px 0px 10px; border: 1px solid #c0c0c0; background-color: #fafbfc; color: #505050; line-height: 1.2em;"> <div style="border: 1px solid #000000; text-align: left; color: #ffffff; background-color: #0a8d07;"><span style="color: white;"> <strong>2020 Journal Metrics</strong></span></div> <br /> <table style="width: 100%;"> <tbody> <tr> <td style="width: 100%; color: blue; font-size: .9em; text-align: left;">SJR 2020: - (<a title="SCImago Journal Rank is a prestige metric based on the idea that not all citations are the same." href="https://journal.kerthyayana.site/index.php/jggag">i</a>)</td> </tr> <tr> <td style="width: 100%; color: blue; font-size: .9em; text-align: left;">SNIP 2020: - (<a title="Source Normalized Impact per Paper measures contextual citation impact by weighting citations based on the total number of citations in a subject field." href="https://journal.kerthyayana.site/index.php/jggag">i</a>)</td> </tr> <tr> <td style="width: 100%; color: blue; font-size: .9em; text-align: left;">IPP 2020: - (<a title="The Impact per Publication measures the ratio of citations per article published in the journal." href="https://journal.kerthyayana.site/index.php/jggag">i</a>)</td> </tr> <tr> <td style="width: 100%; color: blue; font-size: .9em; text-align: right;"> </td> </tr> <tr> <td style="width: 100%; color: blue; font-size: .9em; text-align: left;">SCImago Journal Rank 2020: -</td> </tr> <tr> <td style="width: 100%; color: blue; font-size: .9em; text-align: left;">___ Cites per Doc (2y): - (<a title="Cites per Doc. (2y) measures the scientific impact of an average article published in the journal, it is computed using the same formula that journal impact factor ™ (Thomson Reuters)." href="https://journal.kerthyayana.site/index.php/jggag">i</a>)</td> </tr> <tr> <td style="width: 100%; color: blue; font-size: .9em; text-align: left;">___ H Index: - (<a title="Journal's number of articles (h) that have received at least h citations over the whole period." href="https://journal.kerthyayana.site/index.php/jggag">i</a>)</td> </tr> </tbody> </table> <div style="border: 1px solid #000000; text-align: left; color: #ffffff; background-color: #0a8d07;"><span style="color: white;"><strong>Website Visitor Metrics</strong></span></div> <table style="width: 100%; color: blue; font-size: .9em; text-align: left;"> <tbody> <tr> <td class="style5"> </td> </tr> </tbody> </table> </div> </td> </tr> </tbody> </table> <p><a href="https://journal.binus.ac.id/index.php/jggag/about/submissions"> Submit Your Paper</a></p> <p><strong> </strong></p> <p><strong>Journal Aims</strong></p> <p style="text-align: justify;">The <strong>Journal of Games, Game Art, and Gamification (JGGAG)</strong> is a double blind peer-reviewed interdicipinary journal that publishes original papers on all branches of the academic areas and communities. Thematic areas include, but are not limited to: <br /><br /><em><strong>Games</strong></em> <br />AI applications for serious games, Alternate reality games, Animation for serious games and virtual worlds, Artifacts and art with purpose, Augmented reality, Case studies in serious games and virtual worlds, Experimental serious games design, Game AI and artificial life, Game-based learning, edutainment and training, Non digital games, Serious games methodologies.<br /><br /><em><strong>Game Art</strong></em> <br />Game design, Multimedia gaming, Serious game art, Serious game design, Virtual characters, Virtual environments <br /><br /><em><strong>Gamification</strong></em> <br />Gamification of Learning, Education and Training, Marketing and Promotion related with gamification, Gamification in Health and Sports.<br /><br /><strong>JGGAG</strong> publishes scholarly articles, such as original research articles and reviews, position papers and other critical and creative responses.</p> <p style="text-align: justify;">The average time between submission and final decision is 60 days and the average time between acceptance and publication is 30 days.</p> <p style="text-align: justify;"><br /><em><strong>Frequency: </strong></em>Published bi-annualy in July and December.</p> Bina Nusantara University en-US Journal of Games, Game Art, and Gamification 2548-480X <p>The author(s) assign to <em><strong>JGGAG</strong></em> licence to use this document for personal use and in courses of instruction provided that the article is used in full and this copyright statement is reproduced. The authors also grant a non-exclusive licence to JGGAG to publish this document in full on the World Wide Web within the JGGAG website. Any other usage is prohibited without the express permission of the author(s).</p> Archetype and Individuation Process in Alan Wake (2010) Video Game https://journal.binus.ac.id/index.php/jggag/article/view/8857 <p><em>This research purpose aims to demonstrate the individuation process of Alan Wake through the archetypes by finishing the last page of “Departure” manuscript. The research uses interpretative qualitative method in extending the findings. Using interpretation analysis can depict phenomenon of video game from the act, figures, sources (game items; weapons, flashlight, manuscript, etc.), situation, by applying Carl Gustav Jung’s psychoanalytic theory of archetype and individuation process in the video game. In the video game story, Alan Wake is a writer who had had a writer’s block for 2 years and experiences a nightmare. The nightmare happens when Alice Wake has lost at the Cauldron Lake. To find Alice, Alan follow the journey from his nightmare, suddenly discovers something powerful to create and change things influenced by two mythical figures, namely Thomas Zane and Barbara Jagger. Both figures come into Alan’s nightmare following the unwritten manuscript “Departure” plot story, whose Alan is guided to contain several figures to overcome darkness figures and integrate light and darkness to be actualized. The findings show that archetype depictions are associated by mythological images reflected from the collective unconscious in Alan Wake. The forms such as Barbara Jagger, Thomas Zane, Taken, Alan as The Hero, and the Bird Leg cabin are the projected images that Alan created in his dream. Alan starts his nightmare journey, experiences all the archetypes contributed, and realizes how to end the “Departure” manuscript as Alan’s individuation process. In conclusion, Alan Wake's unconscious journey by ending at the point of self-realization and writing the "Departure" script is considered as an individuation process. </em></p> Andry Garcia Copyright (c) 2022 Journal of Games, Game Art, and Gamification https://creativecommons.org/licenses/by/4.0 2023-01-03 2023-01-03 7 2 1 10 10.21512/jggag.v7i2.8857 Application of Gamification in Ethnic Excellence-Based Character Education Programs https://journal.binus.ac.id/index.php/jggag/article/view/9103 <p><strong>This paper describes how the game is a tool to support the strengthening of character education for its users. In implementing the Independent Learning Education, Merdeka Campus, Bandung State Polytechnic, collaborated with the industry to apply gamification to the concept of character education and the nation's cultural values. Some of the objectives of this gamification activity are:&nbsp;(a) Getting the ethnic group’s information; (b) Providing users inspiration to develop themselves; (c) Growing a better direction mindset. The game developed is a web-based application (online gamification), so as many students/students and lecturers as possible can use the game to support strengthening character education and the nation's cultural values. The manual version of the video game content (prototype) is available, namely the 2021 research output containing Pancasila character content based on ethnic excellence. The elements of educational content in online gamification contain the results of identifying the prominent characters of 10 ethnic groups in Indonesia with the largest population (Dayak, Madura, Jawa, Sunda, Baduy, Batak, Banjar, Minahasa, Betawi, Minang). This study used three approaches which are Qualitative-Explorative, Qualitative-Descriptive, and Evaluation. The method used to know how gamification was implemented in character education and the nation's cultural values. It is hoped that gamification can integrate into the learning process for compulsory national subjects. Thus, students can become users and a market for the gamification industry.</strong></p> Carolina M.L. Neneng Nuryati Ediana Sutjiredjeki Moh. Farid Najib Sumeru Sri N. Yuliyawati Ade Hodijah Copyright (c) 2022 Journal of Games, Game Art, and Gamification https://creativecommons.org/licenses/by/4.0 2023-01-03 2023-01-03 7 2 11 16 10.21512/jggag.v7i2.9103 User Interface Usability of Mamat Adventure https://journal.binus.ac.id/index.php/jggag/article/view/9133 <div> <p class="Abstract"><span lang="EN-US">A game is a form of entertainment determined by a rule and conflict resolution by the player. A good game can display attractive visuals, make the player get engaged, and feel the needed pleasure. Visual is a medium that only concerns the sense of sight while the other senses like the sense of hearing (sound) cannot be included in the visual use Visual in a game is a part of the user interfaces. The user interface is a medium between a system and the user. The Ministry of Education and Culture of the Republic of Indonesia has released various free website-based edugames that can be accessed and played by Indonesia especially elementary school students. Mamat Adventure is one of the edugames provided by the Indonesian Ministry of Education and Culture. This theoretical exploration has begun with a discussion about the visual appearance related to the user interface in the edugame of Mamat Adventure. This analysis uses the Heuristic Evaluation method initiated by Jakob Nielsen and Rolf Molich to measure the effectiveness of the user interface in the game Mamat Adventure</span></p> </div> Apong Suryani Alvanov Z. Mansoor Copyright (c) 2022 Journal of Games, Game Art, and Gamification https://creativecommons.org/licenses/by/4.0 2023-01-03 2023-01-03 7 2 17 20 10.21512/jggag.v7i2.9133 Adaptation of Historical Figures into Mobile Game Characters (Case Study: Hijikata Toshizo from Fate/Grand Order) https://journal.binus.ac.id/index.php/jggag/article/view/9113 <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>Movies and animations widely liked usually have good character designs. The audience often encounters elevating historical figures as one of the characters in the designed media, so it is necessary to understand what things need to be present when visualizing these characters. Hijikata Toshizo in history is a famous samurai in Japan and is a historical figure and often appointed in entertainment media such as animation, games, and comics, so Hijikata Toshizo is very popular among lovers of Japanese culture and history. The visual changes from the Hijikata Toshizo character in Japanese history to the Hijikata Toshizo character in Fate/Grand Order are analyzed so that it can be an additional reference for designers when designing characters based on historical figures. After the related data was collected, the data was later analyzed with the Manga-matrix method introduced by Hiroyoshi Tsukamoto to analyze the character design's shape, costume, and personality. According to the results of the analysis, there are similarities and variances in the character of the Hijikata Toshizo game and its historical counterpart. Each element was brought about through the use of historical evidence and the designer's creativity.</p> </div> </div> </div> Iqbal Baihaqi Hafiz Aziz Ahmad Dana Waskita Copyright (c) 2022 Journal of Games, Game Art, and Gamification https://creativecommons.org/licenses/by/4.0 2023-01-03 2023-01-03 7 2 21 28 10.21512/jggag.v7i2.9113 A mapping of the kinds of work activities and other productive uses inspired by play or games https://journal.binus.ac.id/index.php/jggag/article/view/8883 <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>This paper is about a theoretical study consisting in listing and positioning different kinds of serious uses derived or inspired by play or games. Indeed, since the beginning of the 2000s, the number of these forms has increased exponentially and it is becoming very complicated to find one's way through. In our opinion, there is currently a problem of distinction between the various serious forms derived or inspired by the practice of a playing activity and the design of a game structure. In this article, we try to bring a beginning of answer to this problem. To do this, we began by exploring the scientific literature dealing with these different forms. We started with the reference works that we reconsidered from this large variety of forms. Subsequently, we explored possible categorizations based on a limited number of variables. We were then able to draw two diagrams: one to represent graphically the categories identified according to the chosen variables, and another to present 6 combinable design process that can be followed to create any of these serious game or play categories.</p> </div> </div> </div> Stéphane Goria Copyright (c) 2022 Journal of Games, Game Art, and Gamification https://creativecommons.org/licenses/by/4.0 2023-01-03 2023-01-03 7 2 29 37 10.21512/jggag.v7i2.8883