Communicating design is in many aspects a difficult process. Game design is not only directives on look and feel, but also carries intentionality. To properly convey intentionality, a common abstract vocabulary is a well-established method for expressing design. Game design patterns are an attempt to formalize and establish such a vocabulary. Game design patterns are a debated tool and this paper aims to examine the practical application of a pattern through a quantitative study in order to strengthen the potential for a more cohesive definition of the term. This is done by first establishing a game design pattern through observation of RTS games. The pattern is then studied through implementation in three commercial RTS games. The results focus on quantitative data gathered from AI vs AI matches related to game pacing. Through testing and analysis of the AI matches it can be stated that game design patterns in a contextualized setting supports the idea of using game design patterns as a formal tool. It was further concluded that the AI also came with limitations in how the collected data is applicable to the overall design of the games. Additional studies using quantitative data in conjunction with qualitative observations could lend further support to game design patterns as a useful tool for both researchers and developers. / Kommunikation av design är i många avseenden en invecklad process. Design av spel innebär inte enbart riktlinjer för utseende och känsla, utan också intentionalitet. En beprövad metod för att uttrycka design och intentionalitet är skapandet av ett gemensamt vokabulär. Game design patterns är ett försök att upprätta och formalisera just ett sådant vokabulär inom speldesign. Game design patterns är ett debatterat verktyg och detta arbetet ämnar undersöka den praktiska tillämpningen av ett pattern genom en kvantitativ studie för att stärka potentialen för en mer sammanhängande definition av termen. Detta utförs genom att först etablera ett game design pattern med hjälp av observation av RTS-spel. Sedan studeras det genom implementation i tre kommersiella RTS-spel. Resultatet fokuseras på kvantitativ data relaterat till pacing som insamlas från matcher mellan två AI. Genom analys av AI-matcherna kan det anses att game design pattern i en kontextualiserad inramning stöder teorin att använda design patterns som ett formellt designverktyg. Vidare drogs slutsatsen att användandet av AI också innebär begränsningar i hur tillämplig den insamlade datan är i den övergripande designen av spel. Fler studier med kvantitativ data ihop med kvalitativa observationer kan ytterligare stödja idén om game design pattern som ett användbart verktyg för både forskare och utvecklare inom spel.

[pt] A presente pesquisa propõe uma análise e reflexão acerca dos jogos eletrônicos com fins pedagógicos e para isto, utiliza a metodologia do estudo de caso, tendo como objeto de pesquisa o jogo eletrônico Mansão de Quelícera, criado para apoiar o ensino de artes plásticas para o ensino médio e fundamental. Este estudo se preocupa com o projetar de um jogo eletrônico e para tal, traz questões teóricas para dar uma base a discussão entre o que foi projetado para o jogo, revelando aspectos particulares de sua elaboração, com o uso pelos alunos jogadores e a visão que estes têm deste objeto de pesquisa. Para coletar dados para analisar esta questão, foi realizada a pesquisa de campo. Nela, o jogo foi testado na prática em duas fases distintas, uma de pré-teste com até 27 estudantes e outra de análise mais profunda, de teste com 4 alunos. Participaram da pesquisa de campo, estudantes da Escola Municipal Artur Ramos, entre 10 e 11 anos, do 5º ano do Ensino Fundamental I. Das observações de uso do jogo com os alunos surgiram algumas questões que serviram de norteadoras para uma entrevista com o desenvolvedor do jogo, a qual é descrita na análise de campo desta presente pesquisa. Com a reflexão do que foi apresentado na pesquisa, foram apontados requisitos importantes para o projeto de novos jogos com fins pedagógicos. / [en] The present research proposes an analysis and reflection about digital games with pedagogical purposes. It is based on a case study methodology and has as an object of research the game Mansão de Quelicera, which was created with the purpose of helping to teach plastic arts for the fundamental and medium stage of the Brazilian school system. This study observes the project process of a videogame development. Because of this, it brings into consideration theoric topics in order to fundament the discussion about what had been projected for the game, presenting some particular aspects of its elaboration with the usage of the student players and the vision that they have about the subject of research. For collecting the analysis data for this matter, it was made a field research, which consisted on testing the game into two different stages: one as a previous test with up to 27 students and other for deeper analysis, with only 4 students. Students from the 5th grade, between 10 and 11 years old from the Arthur Ramos Municipal School participated on this field research. From the observations of the students’ usage of the game, some questions where formulated and gave the direction for an interview with the developer of the game. This interview is described at the field analysis of the present research. Based on the reflection of what is presented in the research, it is pointed important requirements for the project of new games with pedagogical purposes.

Les technologies et services mobiles font aujourd'hui partie de notre vie quotidienne grâce notamment aux ordiphones et ardoises numériques. Nous vivons actuellement la réalisation de la vision de Marc Weiser. Les fonctionnalités et les services rendus prennent le dessus sur les objets techniques. Dans cette thèse, nous nous intéressons à un type particulier d'applications informatiques: les jeux vidéo. Comme d'autres secteurs, les jeux vidéo doivent prendre en compte la révolution mobile, pour se réinventer et intéresser des joueurs. Cependant, les jeux sur support mobiles doivent faire face au problème du changement des conditions de jeu du joueur. Nous pouvons parler de contexte du joueur.L'objectif de cette thèse est de proposer un modèle pour la conception de jeu auto-adaptatif au contexte du joueur. Ce modèle doit être générique et permettre la création de jeux vidéo qui sont capables de modifier les activités et objectifs qu'ils proposent en fonction du contexte courant du joueur. Notre proposition se constitue de deux éléments clefs. Le premier consiste en un modèle générique des activités et des objectifs d'un jeu vidéo que nous avons appelé «composant de gameplay». Ce modèle est une formalisation du concept de boucle de jeu objectif, challenge, récompense. Ce modèle nous permet de représenter les objectifs et activités du jeu sous la forme d'un arbre. Le deuxième élément est un modèle de détection des arbres compatibles avec un contexte courant. Ce modèle se base sur des règles de contexte qui sont associées aux nœuds de l'arbre. Notre démarche consiste ensuite à vérifier que l'objectif représenté par la racine de l'arbre peut être atteint dans le contexte courant. Pour valider notre approche, nous avons réalisé une expérimentation en laboratoire. Nous avons également utilisé notre expérience sur l'utilisation des composants de gameplay dans un contexte industriel. / Nowadays, the technologies and mobiles services are a part of our daily life thanks to smartphones and tablet computers. Currently, we live the realisation of Weiser's vision. The features and services provided are more important than technical objects.In this thesis, we are interested in a kind of computer applications: video games. Like other sectors, video games have to deal with mobile revolution in order to reinvent themselves and to interest players. However, video games on mobiles devices have to deal with the variation of playing conditions. We can call these conditions the player's context.The main objective of this thesis is to propose a model for the design of games that are able to adapt to the player's context. This model has to be generic and allow the game to adapt the proposed activities and objectives to the current context.Our proposition has two main elements. The first one is a generic model of the activities and the objectives which are proposed by the game. We have called this model "gameplay component". It is a formalization of the objectif, challenge, reward game loop concept. It allows us to represent a game as a tree.The second element is a model for detecting game tree which are compatible with a defined context. This model is based on rules which are linked with the nodes of the game tree. Our approach consist of checking that the objective which is given by the root of the game tree can be reached in the current context.In order to valid our approach, we have conducted a laboratory experimentation. We have also used our experience about using of gameplay component in a industrial context in order to do a case study.

Submitted by Fabio Sobreira Campos da Costa (fabio.sobreira@ufpe.br) on 2017-02-21T16:35:50Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) dissertacaoFinal.compressed.pdf: 3360967 bytes, checksum: 7147f645228f50faa53b6248eccc3b78 (MD5) / Made available in DSpace on 2017-02-21T16:35:50Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) dissertacaoFinal.compressed.pdf: 3360967 bytes, checksum: 7147f645228f50faa53b6248eccc3b78 (MD5) Previous issue date: 2016-07-14 / O jogo e o ato de brincar assumem papel fundamental no desenvolvimento humano, estando presentes em todas as culturas e civilizações. Ao jogo podem estar associados aspectos lúdicos diversos que por si só são capazes de engajar os jogadores a superar obstáculos e atingir objetivos. Para Paulo Freire, a relação entre educadores e educandos deve se dar em interação constante e transformadora, onde o educador é desafiado a reconstruir criativamente o conhecimento a partir da interação com os educandos, respeitando seu conhecimento prévio, sua história e contexto social e cultural, usando como mediação o afeto, que por sua vez pode se expressar na forma de atividades lúdicas e de jogos. O design participativo é um conjunto de metodologias pelas quais os potenciais usuários são envolvidos na construção da solução, participando de determinadas etapas do projeto, da concepção à validação participativa, podendo também participar do desenvolvimento em si. Este trabalho tem como objetivo geral demonstrar que o processo de design participativo pode ser combinado às dinâmicas participativas da Educação Popular, para construir uma metodologia de construção de jogos sérios para aplicações em educação em saúde. Como estudo de caso, foi abordado o tema da educação alimentar e nutricional, a partir do jogo sério “Comer Legal: Uma aventura nutricional”, desenvolvido neste trabalho. Para a primeira versão, foram utilizadas observações e anotações de oficinas participativas realizadas no Assentamento Nova Canaã, no município de Tracunhaém, Zona da Mata Norte de Pernambuco, e o diagnóstico da situação de saúde alimentar e nutricional. Também foi construído um diagnóstico da situação de saúde alimentar e nutricional da cidade de Bissau, capital da Guiné-Bissau, a partir de entrevistas com agentes de Estado e da sociedade civil organizada. O jogo foi modificado, ajustado e validado de forma participativa junto a um grupo de nove nutricionistas e com 177 alunos do ensino fundamental de duas escolas dos municípios de Carpina e Paudalho, Zona da Mata Norte de Pernambuco. Os resultados evidenciaram que o jogo sério desenvolvido foi considerado tanto divertido quanto efetivo do ponto de vista pedagógico, tendo ajudado os alunos a identificar alimentos saudáveis e classificá-los entre energéticos, reguladores e construtores. / The game and the act of playing play a key role in human development, being present in all cultures and civilizations. Games may be associated with various play activities that are themselves able to engage players to overcome obstacles and achieve goals. For Paulo Freire, the relationship between teachers and students should give constantly and transforming interaction, where teachers are challenged to creatively rebuild knowledge from the interaction with the students, considering their prior knowledge, history, and social and cultural context, mediated by affection, which in turn can be expressed in the form of fun activities and games. Participatory design is a set of methodologies by which potential users are involved in the construction of the solution, taking part in certain stages of the project, from design to participatory validation, and can also participate in the development stage. This work has as main objective to demonstrate that participatory design process can be combined to participatory popular education dynamics, in order to build a methodology to construct serious games and software applications in health education. As a case study, we developed the serious game “Comer Legal: A nutritional adventure”, in order to pedagogically work the theme of food and nutrition education. For the first version, observations and notes were taken from the participatory workshops developed in the Settling Nova Canaã, located in the municipality of Tracunhaém, North Forest Zone of Pernambuco. The diagnosis of food and nutritional health status was also obtained. A diagnosis of the situation of food and nutritional health of the city of Bissau, capital of Guinea-Bissau, was also constructed, using information obtained from interviews and questionnaires applied to state and civil society representatives. The serious game has been modified, adjusted and validated in a participatory manner with a group of nine nutrition professionals from Recife, and 177 elementary school students from two schools located in Carpina and Paudalho, North Forest Zone of Pernambuco. The results showed that the developed serious game was considered both fun and pedagogically effective, helping students to identify healthy foods and classify them into energetics, regulators, and constructors.

Submitted by Irene Nascimento (irene.kessia@ufpe.br) on 2017-03-27T17:28:51Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Dissertação_ObjetosLúdico-DigitaisEducativos_GabrielaAlbuquerqueMaciel.pdf: 7245862 bytes, checksum: 29e42ed3396e8c7d4ad98aa3039c9f31 (MD5) / Made available in DSpace on 2017-03-27T17:28:51Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Dissertação_ObjetosLúdico-DigitaisEducativos_GabrielaAlbuquerqueMaciel.pdf: 7245862 bytes, checksum: 29e42ed3396e8c7d4ad98aa3039c9f31 (MD5) Previous issue date: 2017-07-29 / CAPES / A presente pesquisa tem um caráter exploratório, na qual tive como objetivo montar um modelo de analise para interface de Jogos Digitais e Gamificações Educativos referindo-me aos dois como Objetos Lúdico-Digitais de Educação, OLUDEs, partindo do Game Design e da Usabilidade e seus aspectos contribuintes para a educação. Antes de tudo, fiz um panorama geral do assunto abordado: o mercado de jogos, a história dos jogos educativos, a Gamificação, o aprendizado e a imersão. Ainda neste ponto comparei princípios de Usabilidade e Game Design, nas perspectivas de Rouse (2005), Schuytema (2008), Nielsen (1995) e Jordan (1998), para compreender em que pontos estas áreas coincidem e divergem e basear a fase de análise. Na pré-metodologia usei da metodologia de design de pesquisa de Lankoski & Björk (2015) e acrescida da meta-teoria de Morgan & Smircich (1980). Já na Análise, montei e apliquei um modelo de análise para OLUDEs, numa amostra de 16 sistemas, sendo 8 Gamificações e 8 Jogos educativos com questões em escala Likert (1932), seguidas de um campo de resposta subjetiva, podendo ser preenchido com pontos para comentário posterior. Para esta fase utilizei também Turkay & Adinolf (2012, p.3-4), Gee apud Klopfer, Osterweil & Salen (2009). Por fim, como principal resultado obtive que o modelo gerado parece ser eficiente na análise dos objetos da pesquisa nos moldes aqui delimitados, podendo também ser útil em análises de artefatos específicos, grupos de objetos de um determinado gênero, em análises de similares ao até em pesquisas de natureza quantitativa. Sobre os OLUDEs avaliados em si a principal informação adquirida foi a confirmação da suspeita de que a maior diferença entre as Gamificações e os Jogos voltados para a educação parece estar em seu foco, pois enquanto as gamificações estão mais focadas na educação os jogos o está na diversão. / This research has an exploratory character, in which I had intended to make an analysis model for Digital Games and Educational Gamification interface, naming the two as Ludic-Digital Educational Objects - OLUDEs, starting from Game Design and Usability and their contributing aspects to education. First of all, I did an overview of the subject matter: the gaming market, the history of educational games, the gamification, learning and immersion. At this point too, I compared principles of Usability and Game Design, by the follow authors: Rouse (2005), Schuytema (2008), Nielsen (1995) and Jordan (1998), to understand at what points these areas overlap and diverge and base the analysis phase. In the pre-methodology it was used the Lankoski & Björk (2015) research design methodology and increased Morgan & Smircich (1980) meta-theory. In the analysis, I set up and applied an analytical model for OLUDEs in a sample of 16 systems, 8 Gamifications and 8 Educational games with questions in Likert (1932) scale, followed by a subjective response field, which can be filled with points for further comment. For this phase I also used Turkay & Adinolf (2012, p.3-4), Gee cited Klopfer, Osterweil & Salen (2009). Finally, as the main result got that the generated model appears to be effective in the analysis of the research object in the manner herein defined, may also be useful in specific artifacts analysis, groups of a particular gender objects in similar analyzes, even in research of quantitative nature. About OLUDEs evaluated itself the main information acquired was to confirm the suspicion that the biggest difference between Gamifications and Educational Games seems to be in their focus because while gamificações are more focused on education, games are in fun.

Du serious game à l'Artgame, le jeu vidéo s'est détaché de l'industrie du loisir pour devenir l'un des médiums les plus attractifs de ce siècle. La gamification, notamment, traduit une aspiration au ludique qui pénètre les mentalités des individus contemporains et leur rapport au monde et à autrui. Que ce soit dans son industrie, dans les mouvements des serious games, des Games For Change et également de l'Artgame et du Game Art, l'avènement de la société du jeu total est manifeste. Comme le jeu avant lui, le jeu vidéo apparaît comme un espace de représentations, véhicule de l'esprit du temps. Perpétué ou mise en critique, celles-ci se déploient à l'intérieur des représentations formelles et structurelles de ces objets vidéoludiques. Formant des « architectures rhétoriques », les jeux vidéo doivent être considérés comme des hypermédiums afin de découvrir les discours et les tensions socio-politiques en jeux.Conçus par des sujets culturels, les jeux vidéo véhiculent les idéologèmes transmis par leurs game designers. A travers leurs créateurs, ces formes artistiques sont telles des prismes qui permettent de faire apparaître les enjeux contemporains à travers différents matériaux artistiques dont ils se font le porteur : image, musique, texte, mécanique, systèmes de gameplay, etc. Face à une gamification dont l'objectif est d'édulcorer le monde pour le rendre fonctionnel dans une société néolibérale aliénante, certaines œuvres vidéoludiques, notamment dans le domaine de l'Artgame, dévoile le potentiel émancipateur, critique et revendicateur du jeu vidéo. Chez elles, les territoires vidéoludiques sont, au contraire, saisis comme une « technique du réveil » des questions philosophiques fondamentales, des actes sociétaux nécessaires et d'un engagement politique vital chez l'individu contemporain. / From serious games to ArtGame, the video game broke away from the entertainment industry to become one of the most attractive media of this century. Gamification, in particular, reflects a desire for fun penetrating the mentality of contemporary people and their relation to the world and to others. Whether in its industry, in the serious games movement, or the Games for Change and also the ArtGame and Game Art, the advent of the society of total gaming is obvious. As with all forms of games previously, the video game appears as a space for representations, a vehicle of “l'esprit du temps”. Perpetuated or criticized, these representations unfold within the formal and structural representations of these videogames. Forming "rhetorical architectures", video games must be regarded as “hypermediums” to discover discussions and the socio-political tensions at play.Conceived by game designers, who are “cultural subjects”, video games convey their “ideologemes” transmitted from a time. Through their creators, these art forms are like prisms that can show the contemporary issues through the various artistic materials : image, music, text, mechanics, gameplay systems, etc. Faced with gamification aiming to sweeten the world to make it functional in an alienating neo-liberal society, some video games, especially in the field of ArtGame, unveil the emancipating, critical and demanding potential of video games. Among them, the video game territories are, instead, considered as an "awakening technique" for fundamental philosophical questions, necessary societal actions and vital political commitments in the contemporary individual.

[pt] A presente dissertação aborda o fenômeno retrô nos jogos eletrônicos e como o jogador se relaciona com os jogos desse estilo. Um levantamento de como os jogos eletrônicos evoluíram foi realizado, levando-se em consideração elementos fundamentais como jogabilidade, narrativa, linguagem gráfica e áudio, com a intenção de se estabelecer uma base histórica que servisse de referência para o estudo dos jogos retrô. Uma breve análise de como o fenômeno retrô surgiu em outras esferas da sociedade foi conduzida, com o intuito de situar o retrô nos jogos eletrônicos em relação a outras manifestações sociais e artísticas. Para isso, autores como Forty, Guffey e Baudrillard foram estudados. Os motivos que levaram ao surgimento desse fenômeno nos jogos eletrônicos foram analisados, considerando-se a percepção dos jogadores. Alguns jogos foram analisados e uma categorização foi elaborada, considerando-se os elementos que compõem um jogo eletrônico e como eles se comportam e se diferenciam num jogo retrô. Com base na análise de imagens em movimento de Diana Rose, uma metodologia para as análises dos jogos foi desenvolvida. Entrevistas qualitativas com o público alvo de jogadores tradicionais foram realizadas, para se compreender as relações dos jogadores com os jogos eletrônicos. O método utilizado para conduzir as entrevistas foi o Método de Explicitação do Discurso Subjacente, de Nicolaci-da-Costa. A partir do resultado das entrevistas, foi traçado um perfil detalhado do jogador. O ponto de vista do Game Designer foi utilizado ao longo da pesquisa, pois é ele quem cria o jogo tendo a experiência do jogador como seu foco principal. A pesquisa revela, para os interessados no desenvolvimento de novos jogos, informações sobre os elementos que os jogadores valorizam ao selecionar um jogo. Considerações finais são apresentadas, acerca dos motivos que levaram ao fenômeno retrô dos últimos cinco anos nos jogos eletrônicos. / [en] This dissertation discusses, in the context of games, the retro phenomenon, and the players relationship with games of this style. Authors as Forty, Guffey and Baudrillard support an overview of the context. A research on how video games have evolved was performed, using as parameters fundamental elements such as gameplay, storytelling, graphics and audio. The goal was to build a historical reference that would support the study of retro games. A brief overview of how the retro emerged in other spheres of society is presented, in order to establish the place of retrogaming in relation to other social and artistic expressions. The reasons that led to this phenomenon in video games were analyzed, considering the players perceptions. Based on Diana Rose s qualitative method of content analysis in moving images, some games were analyzed and categories were created considering the elements of those games, the way they behave and how they differentiate into a retro game. Qualitative interviews with a target audience of traditional players were performed, in order to understand their relationship with video games. The Method of Explicitness of the Subjacent Discourse, of Nicolaci-da-Costa, was used in the interviews. The whole research was guided from a Game Designer point of view, since he is who creates the game, having as main focus the player s experience. The Game Designer centralizes and coordinates all efforts for the creation of various elements of the game, exploring a convergent approach, with focus on the experience that the player will have when playing a certain game. The research reveals, for those interested in game development, information on the elements that the players take into consideration when choosing a game. Concluding remarks are made concerning the reasons that, in the last five years, led a retro phenomenon to the video games scene.

The goal of this thesis is to develop a template for turning traditional stories into role-playing games for the high school curriculum. By developing 3 sample games based on Greek mythology, Arthurian legends, and a widespread folktale type, I explored the process of creating games that fit the limits of secondary classrooms and can be used to address specific educational standards. The sample games were tested with groups of high school and college students, and the results of the testing sessions evaluated in a narrative case study format. Feedback from the testing sessions was incorporated in the template, the final product of the thesis project. By exploring tabletop role-playing as a form of emergent interactive storytelling, a connection has been created between traditional storytelling and popular culture with the hope of reaching out to new audiences and introducing a stronger interactive element into storytelling in secondary education.

The possibility of co-creation exists for all media, but game design has developed a culture that is unusually open to co-creation. This dissertation investigates significant cases of co-creation in mainstream games in order to explore how games can be co-created as alternative or critical media by their players. The core argument in the dissertation is that players co-create the design of a game only if certain conditions are met, namely: (1) player creation of a text or communication infrastructure that modifies the properties of the game and from which play emerges; (2) that this is done for a considerable group of players who share a particular practice of play; (3) that this is done not only by playing the game but by changing how others play it in a distinct creative activity, and (4), with the potential to subvert or contest the original design of the game. This situation where player creators have influence over the design of the game (but little power to enforce their interests) is problematic from the perspective of alternative or critical media, as alternative, local, production is seen as one reason for why a medium can have an alternative message. The industrial production of games as cultural commodities does limit the potential of co-creative game design for subversion because it reduces the level of participation in the creation process, thus keeping player creators relatively disempowered. Player creators do have influence on the design of the game, while at the same time having very little power to enforce their interests and design visions. The influence of player creators comes from the consumer power of millions of players who use co-created assets and who want to them to continue exiting, and this creates a mutually dependent relationship (and even partnership), between co-creators and commercial owners. The dissertation concludes that co-creative game design, despite limitations related to the industrial production of games as cultural commodities, is already happening, and shows a potential for turning games into alternative media.

In a general context, electronic games have been evolving into more complex software, as well as development cost and resources invested in them have been also increased despite the considerable technological advances and new software tools being produced and deployed. The Brazilian context regarding game development gives a picture of how it currently operates with restricted resources and still shows the clear need for improved financial support. In order to fill this gap and overcome the lack of sufficient funds, the Brazilian companies usually turn their attention to creactivity, management and strategy to reach the status of a real competitive company. This article aims to present the use of strategic planning in the process of creating game concepts so it can be applied to maximize the chance of success of a low-budget game, approching the development to a more strategic process. This work presents a case study in which strategic planning is applied to the process of creating the game concept in a game developer company. / Em um contexto geral, os jogos digitais estão cada vez mais complexos e seu custo de desenvolvimento e investimentos têm se mostrado bastante elevados apesar do avanço tecnológico e de novas ferramentas de desenvolvimento de software. A realidade Brasileira no desenvolvimento de jogos eletrônicos ainda carece de investimentos de porte e operam com recursos limitados. Para compensar esta ausência de recursos financeiros, as empresas brasileiras investem em criatividade, gerência e estratégia para alcançar o sucesso necessário para atingir a competitividade. Esse artigo propõe a utilização de Planejamento Estratégico no processo de elaboração de Game Concept, buscando maximizar a chance de sucesso de jogos de baixo custo, estabelecendo um processo estratégico que irá direcionar o desenvolvimento do projeto. Esse trabalho apresenta um estudo de caso de aplicação de Planejamento Estratégico no processo de criação de Game Concept de uma empresa de desenvolvimento de jogos.