Giáo án Những kỹ thuật gia tăng giá trị thương hiệu Chapter 9 DOI: 10.40189781799849308.ch009 ABSTRACT Educational game applications’ production considers technical, pedagogical, and aesthetic resources guided by the type of device used, interfaces, and themes. In addition, it considers users’ tastes and preferences, trends in society, and the environment. However, no evidence in the recent literature allows developers to identify entire patterns or structures in serious games production. This chapter analyzes university experiences and research related to the design, development, and use of ludic games applica tion for mobile devices’ MIDIAM model series games as tested in local environments. These games are aimed at children in their first years of primary school education. The MIDIAM model is proposed as a methodology that considers a technical and aesthetic platform to guide serious game applications’ production and monitoring. These are suggested as supporting tools for the traditional teachinglearning process. MIDIAM Model to Identify a Methodology for the Creation of Innovative Educational Digital Games: A Proposed Serious Game Methodology Based on University Research Experiences Educational game applications’ production considers technical, pedagogical, and aesthetic resources guided by the type of device used, interfaces, and themes. In addition, it considers users’ tastes and preferences, trends in society, and the environment.
133 Chapter MIDI-AM Model to Identify a Methodology for the Creation of Innovative Educational Digital Games: A Proposed Serious Game Methodology Based on University Research Experiences Nayeth Idalid Solorzano Alcivar Escuela Superior Politécnica del Litoral, Ecuador Elizabeth Stefania Elizalde Rios Escuela Superior Politécnica del Litoral, Ecuador Diego Alejandro Carrera Gallego Universidad Politécnica de Madrid, Spain Da Hee Park Kim Escuela Superior Politécnica del Litoral, Ecuador Lissenia Isabel Sornoza Quijije Escuela Superior Politécnica del Litoral, Ecuador ABSTRACT Educational game applications’ production considers technical, pedagogical, and aesthetic resources guided by the type of device used, interfaces, and themes In addition, it considers users’ tastes and preferences, trends in society, and the environment However, no evidence in the recent literature allows developers to identify entire patterns or structures in serious games production This chapter analyzes university experiences and research related to the design, development, and use of ludic games application for mobile devices’ MIDI-AM model series games as tested in local environments These games are aimed at children in their first years of primary school education The MIDI-AM model is proposed as a methodology that considers a technical and aesthetic platform to guide serious game applications’ production and monitoring These are suggested as supporting tools for the traditional teaching-learning process DOI: 10.4018/978-1-7998-4930-8.ch009 Copyright © 2021, IGI Global Copying or distributing in print or electronic forms without written permission of IGI Global is prohibited MIDI-AM Model to Identify a Methodology for the Creation of Innovative Educational Digital Games INTRODUCTION This chapter describes the background, concepts, and techniques used as part of a methodology for designing and developing animated stories and mobile educational games aimed at children in their first levels of schooling The method is based on the application of research experiences and transfer technologies at the university-level in Ecuador Game applications are based on active learning strategies and application of innovations in areas of graphic design, digital animation, and use of information and communication technologies (ICTs), such as cloud services, databases, mobile technologies, system architectures, and artificial intelligence (AI) UNICEF (2017) indicated that: if it is used in the right way and is accessible on a universal scale, digital technology can change the situation of children left behind—be it due to poverty, race, ethnicity, gender, disability, displacement, or geographic isolation—by connecting them to numerous opportunities and providing them with the skills they need to succeed in a digital world (p 1) Regarding global education for children beginning in their first years of schooling, there is research that supports and challenges the use of digital games as technological support complementary to conventional learning systems Among the enthusiasts in using these applications, some authors discuss serious games or training games as powerful tools in education (Gallego-Durán et al., 2014; Michael & Chen, 2005) An unquestionable influence of games is alleged in developing children’s competencies (De Troyer & Janssens, 2014) These studies currently focus on digital natives, termed “technological generation” or “Z generation.” This new alpha generation or technological generation is accustomed to technological resources and Internet browsing (Ospina, Mayorga, & Villota, 2017) Benites and Rosales (2016) are among the studies that not support digital games applications for education These authors believe smartphones and tablets consume time and childcare Both lack adequate control, causing addiction to games, videos, and social networks Antony Lake, executive director of UNICEF (2017, p 8), argued that “children should be protected against the worst that digital technology can offer them.” He also argued in favour of using technology to access information for higher quality experiences Ecuador’s central government, when developing the 2017-2021 National Development Plan (PND), set its main objective to “guarantee a decent life with equal opportunities for all people” (CNP, 2017) The government seeks to generate educational foundations within this goal focused on building knowledge, personality, autonomy, and respect (Sanchez, 2019) They believe their technologies, when used correctly, have a positive impact on education Therefore, training and education programs or projects have been implemented, such as the Early Childhood Family Service (SAFPI) program (El-Universo, 2019; Ministerio-de-Educación, 2020) They have also linked programs between universities and the community to support the education of the most vulnerable sectors of the country For example, for more than a decade, the Polytechnic Superior School of the Littoral (ESPOL) has ventured research projects and educational materials development for children using technology These projects include the creation of interactive didactic children’s multimedia projects (MIDI), using educational materials and animated games on platforms for personal computers (Solorzano, 2006) Subsequently, an updated series of MIDI games for mobile applications (MIDI-AM), like cell phones and tablets, focused on content for the development of the necessary skills of children aged four to seven For testing and usability analysis 134 MIDI-AM Model to Identify a Methodology for the Creation of Innovative Educational Digital Games of these applications, primary schools in the slums of Guayaquil worked through an ESPOL project related to community links (UVS) identified as “mobile applications for the development of basic skills of children in the first year of basic general education” (Carrera et al., 2019, p 139) Despite the controversies, it is possible to identify the importance given to the use of digital recreational applications or serious games as a way of “learning by playing” in early childhood education However, the design and development of educational digital games involve little information at national and international levels regarding models, methods, or guidelines for the generation of games aimed at children of early schooling Also, no methodology connects developers, creatives, and educators in the production of serious games in primary education Therefore, it is imperative to establish guidelines within a model whose purpose is to build new methods, tools, and paradigms that contribute to developing relevant skills in children from an early age In doing so, new programs can focus on building new knowledge and improved interaction with the environment A research and technology transfer project are proposed to solve the problem The proposal focuses on determining new paradigms, methods, methodologies, or tools that incorporate technological innovations within the learning process The initiative is aimed at children of the new technological generation who attend the first levels of scholarship This mixed-methods case study’s importance is related to the creation of a model for the design, development, and monitored control of serious educational games presented as animated stories and video games This model is proposed as a methodology that, based on games, promotes new knowledge and its incorporation through ICTs These efforts will improve learning processes aimed at children of this new generation This model is based on adequate active learning structures, resources and components of multidisciplinary areas related to ICTs, the use of contemporary communication techniques, and the application of graphic design strategies and audio-visual production to achieve the creation of animated stories It also includes other components like creating a platform for the applications of controlled ludic games in the cloud and the production of entertaining pedagogical contents that facilitate the development of skills in children in an objective, entertaining manner The monitored control of the use of these games will aid in creating development guides for the correct use of the resources In doing so, they can support primary education in teaching different disciplines relevant to those in early childhood education like teachers, tutors, parents, and local governments This chapter aims to describe the background of a proposed methodology, identified as the MIDI-AM model, based on research and development practices by academic and university researchers The study begins with comparative evaluations of the behavioral use of educational games by children It follows a proposed method to design, produce, and measure the impact of new technology, graphic design trends, and educational content to improve the adoption of innovative ludic digital games applications produced as tools for the classroom learning process Technology is promoted through monitored and guided teaching processes related to culture, and natural and social science The technology favors primary school children with technology disadvantages who live in marginal areas of developing countries Case study testing results are from local schools of Guayaquil, Ecuador BACKGROUND This section provides specific content related to the topic and presented within the extant and current scholarship It incorporates a literature review to identify concepts, definitions, and theories that support the current study It also includes information on the background of MIDI games 135 MIDI-AM Model to Identify a Methodology for the Creation of Innovative Educational Digital Games Literature Reviews of Video Games and Serious Games Methodologies Several researchers and enthusiast producers identify serious games or educational video games as robust education tools (Gallego-Durán et al., 2014; Michael & Chen, 2005) This sentiment promotes digital games that use innovative technologies to support the development of generations of digital and technological natives (Ospina et al., 2017) However, it is argued that these resources and their characteristics, still scare teachers and parents (the digital migrants) Teachers and parents may not have the skills to handle mobile devices’ applications compared to digital natives (Belda, Morant, & Rodríguez, 2018; Ospina et al., 2017; Padilla-Zea, 2011) These arguments explain why there are several target audiences for video games, different themes, and methods proposed to develop digital games Besides, some authors have developed methods and methodologies for animated productions or serious game playability (González & Gutiérrez, 2014; Guzmán, 2016) However, no literature was found that proposes or describes a methodology connecting technical developers and creative designers for the growth of serious monitored games in primary education according to the types of users and topics to be covered No defined, comprehensive methodology has been found for the design and construction of games that follow creative perspectives or use control approaches and guides for the development of multidisciplinary, technical, and aesthetic educational content Espinoza (2011) proposed developing a methodology to generate characters and scenarios that reflect a personality, character, and temperament according to the tastes and preferences of the user The author does not discuss criteria for the development of comprehensive technical platforms that include, for example, system architectures that support games, collection and control of data in the cloud that contribute to the evaluation of results of use, and adaptability of games according to their specific teaching objectives Also, there is limited literature on proven methodologies regarding the process of design, implementation, and evaluation of digital educational applications for mobile devices, focusing on children and teacher guides in local contexts Children’s Learning Process and Digital Visual Resources Natives and digital immigrants are the two groups of identified users of technology Children up to seven years of age make up the first group Children in the range of four to seven years of age (school age) are surrounded by digital tools, including hardware and software, with various, sometimes custom, applications at their fingertips The second group of users, digital migrants, comprises those who have not grown up surrounded by devices However, at some point, this group began to contact the devices This group includes parents and, often, teachers (Belda et al., 2018; Padilla-Zea, 2011) Therefore, within the design process, game creators must consider conceptual aspects and empathy in the game and its characters regarding the audience’s needs and characteristics (Espinoza, 2011) Researchers have found that one hour of video game use positively affects short-term care in the general population (Jiménez & Araya, 2012) However, that effect disappears when the results are analyzed among children with and without psychiatric problems Likewise, this positive effect is evident in children who play the game for the first time vs those who frequently play the game Therefore, these authors concluded that attention improves when learning to play a video game (a learning curve) Regarding tablets, multimedia, and continuous streaming in children, overstimulation can cause an imbalance in the cerebral cortex (basal ganglion) The excessive use of these resources causes a lack of attention in critical tasks and eliminates distractions, creating problems in their later life regarding lack of attention, memory, and impulsivity (Solon, 2016) Therefore, these resources must be controlled with 136 MIDI-AM Model to Identify a Methodology for the Creation of Innovative Educational Digital Games the moderation of use In this sense, Ruan (2016) explained that it is not about preventing new technologies because children absorb many ways to learn, play, explore, and have fun On the contrary, we should aim to avoid the gap that separates parents from their children’s excessive use of certain technologies (like television, tablets, or mobile phones) In turn, they should impart a system of values and beliefs, encouraging their children to face their future As noted, a lack of the development of necessary skills in children can cause low cognitive progress Parents and teachers should be aware that children need a balance in activities, such as using instructional games, exploring their environment, playing with physical toys, and socializing with other children Experts recommend reducing the excessive consumption of screens and control their content to improve the development of the children (Solon, 2016) Active Learning During active learning, students are responsible for constructing personal knowledge and helping in the construction of knowledge of other team members (Contreras, López, & Franco, 2019) This type of learning is strategic in community action projects in which the university plays a leading role (Hernández, Guerrero, & Quiñonez, 2016) An example is university collaborative and research projects to support education in marginal areas where technology is used to apply active learning strategies for children in low-income schools (Solorzano, Sornoza, & Carrera, 2019) New generations prefer active learning styles based on knowledge construction through entertaining activities like educational digital games or educational video games identified as serious games Researchers affirm that serious games are support instruments in active teaching strategies that influence variables in the learning process (Martín & Aznar, 2015) Video Games, Serious Games, and Design Process ludic and challenge games used as an interactive digital application or video game can be “a symbolic experience of confronting the subject with the environment, encapsulated concerning the flow of daily life and usually conceived as a form of entertainment” (Pérez, 2010) These types of games require various resources, including audiovisual devices, with an interface for developing its theme Many video games, given their popularity and degrees of acceptance, have proliferated in their concept as a digital game based on playful elements or discourse (Manassero-Mas & Vázquez–Alonso, 2017; Pérez, 2010) As audiovisual products in mobile devices, several aspects should be considered during the design process and creation of video games and learning Aspects to consider when designing for a device’s management of technical characteristics include the definition of archetypes in the development of characters, environments for theme selection, and screen dimensions for image resolution (Espinoza, 2011) This author argued that the planning process should consider the game and character characteristics, modes of production, context research, needs, and users However, there are no updated references on defined patterns or structures to guide these productions’ planning and design As a result, developers not have a clear picture of aspects (i.e., characteristics, technical content, or artistic and didactic content) that motivate learning The creation of applications of digital games or video games, independent of their purpose, is a symbolic experience Creation considers the interaction of the subject with the environment in the flow of daily life Besides, it must be viewed as a regular form of entertainment Regardless if these games 137 MIDI-AM Model to Identify a Methodology for the Creation of Innovative Educational Digital Games are appropriate, their production requires the consideration of various technical and aesthetic concepts and resources These considerations are guided by trends in the use of devices, interfaces, and themes Besides, it considers the analysis of tastes, preferences, and trends in society Regarding game design, there is limited current literature that identifies defined patterns or structures to guide production However, conceptual bases are analysed to create a methodology for developing animated educational games, including MIDI and MIDI-AM, as educational games development models Early Childhood Education and Serious Games in Ecuador The Government of Ecuador’s priorities for developing primary and basic education indicates that “around 70% of children in the Ecuadorian territory not participate in any initial education program” (Hermida, Barragán, & Rodríguez, 2017) Therefore, the children not benefit from formal training, which is necessary for critical learning years Considering these needs, the Faculty of Art, Design, and Audiovisual Communication (FADCOM) of the ESPOL have been implementing research and development projects for over a decade These projects have resulted in the creation of a series of stories and digital games with a didactic approach Their structured educational content appears in video games initially aimed at use in personal computers (PCs) for children in primary and primary school stages (Monserrate & Fuentes, 2019) This research, which has been carried out in several stages since 2001, has identified MIDI as a guide for developing serious games or games supporting children’s education (Solorzano, 2002, 2006) MIDI applications were first identified in 2018 as models for the development of educational digital games These educational and production innovations were adapted to new mobile applications (AM) The new games, designed and developed within MIDI-AM projects, were aimed at children in their first primary education years The MIDI-AM mobile applications were created as part of an innovative platform that captures and generates data in the cloud, linking dashboards, and evaluating factor metrics to influence their adoption These metrics include, for example, data for usability and playability measurements (Solorzano, Carrera, Sornoza, & Mendoza, 2019; Solorzano, Sornoza, et al., 2019) Several research stages on the design and implementation of these applications were defined in a longitudinal research project related to education and technology The current MIDI-AM proposal is a formal model for the design and development of controlled ludic games platforms The MIDI-AM model within the environment of projects to support early childhood education is identified locally as a methodological structure that guides the design and development of animated stories and educational games linked to control platforms to guide parents and teachers about their use by children MIDI-AM is beginning to be identified as a brand for developing local environment games within ESPOL university research and in the Ecuadorian territory (El-Universo, 2019; Monserrate & Fuentes, 2019) Some versions of these applications (design and creation processes) have included the development of an analytical component of data stored in the cloud and dashboards for evaluation of metrics to interpret data generated on usability and playability levels quickly (Solorzano, Carrera, et al., 2019; Solorzano, Sornoza, et al., 2019) This type of research has built a reputation at the university in which it is undertaken MIDI-AM has been identified as a research and development brand of digital educational games, allowing the successes achieved in these productions, particularly in recent years, serve as a referent for other studies and activities related to graphics, animation, and data analytics topics, executed inside and outside the institution 138 MIDI-AM Model to Identify a Methodology for the Creation of Innovative Educational Digital Games EDUCATIONAL VIDEO GAME DESIGN, CONCEPTS, AND PROCESSES Concepts of Design and Creation of a Product as a Model for Game Production Design refers to the process of creating a product The user experience takes bases on validation, consisting of their real experience or interaction with a product This experience includes sensations and values toward the product Designers ensure that the final experience is pleasant and positive, aiming to earn high satisfaction rates and user loyalty (Galeano, 2017) According to the design process, the designer’s role implies planning characteristics and modes of production, meeting the requirements defined by the client and characteristics of the context, and studying the needs and characteristics of the user (Espinoza, 2011) Visual rhetoric in the design process provides the principles governing the creation of a speech or message but visually (Ruiz-Collantes, 2000) This technique is used to persuade, influence, or please a specific audience with images The creation of the message is a domain of individual codes and grammar rules (Espinoza, 2011; Wong, 1991) Experts recommend a clear and convincing concept when branding a product According to GisBrands (2020), this includes five stages: (1) understanding and discovery (personality and potential story to be told); (2) articulation and clarity; (3) positioning and differentiation; (4) identity and creation (the identity and creativity of visual resources); and (5) application and extension (how to show the world your brand or model) Cartoons and Animation: Concepts and Evolution The cartoon is the distorted presentation of a person, type, or action (the “original” on which they are based) Commonly, an outstanding characteristic is exploited and exaggerated, parts of the human being replace the characteristics of animals, birds, or vegetables, or an analogy is made with the animals’ actions Generally, the cartoon is thought of as a drawing line intended for publication For entertainment, the personal trait given by the illustrator is usually present (Britannica, 2019) The cartoon’s importance as a source of knowledge and history has also been exposed (Borregales, 2017) The animated cartoon, or cartoon, is a representation embodied in a full-size sketch or drawing used as a pattern for a tapestry, painting, mosaic, or another form of graphic art According to Britannica (2019), the word “cartoon” derives from the Italian verb caricare (“load” or “reload” with exaggerated details) Some authors argue that cartoony drawings are frequently used in educational materials thanks to their graphic synthesis These drawings allow children to interpret the character’s personality and their role in the didactic dynamics (Espinoza, 2011) Ontological Scheme of Design, Semiotics, and Graphic Line According to (Fragoso, 2008), the ontological scheme of the Gui Bonsiepe design has been proposed using four elements: a user or social agent; a task to accomplish; a tool or artifact to accomplish that task (action); and an interface that connects the three previous domains to the human body The domain of design is the domain of the graphical interface that allows the message to be more understandable to the user To visually express this distinct and understandable reality, the stroke acquires a logical, intuitive sense expressed in semiotic concepts Semiotics is the theory of signs and symbols with which people 139 MIDI-AM Model to Identify a Methodology for the Creation of Innovative Educational Digital Games relate objects to their own experiences This intuitive sense requires an approximation to the object of study capable of distinguishing between message, text, speech, and code It is also capable of a fair interpretation of the relations between text and society (Iglesias & Zamora, 2013) These criteria are related to the ontological elements of the design, which can be identified as integral elements in creating animated productions There is also talk of a graphic line to understand the underlying conceptual elements (or morphological elements) of graphic design, including point, line, plane, and volume These elements begin to create original paths in a graphic scheme According to Wong (1991), the essential elements will always be present, regardless of whether the illustration and animation process is two- or three-dimensional (also known as dimensional elements) This process develops a graphic style favouring the images’ creation of designers and illustrators of the project, regardless of each person’s graphic styles Chromatic elements, including colours, are critical aspects of the development of graphic lines These elements include the psychology of colour and perceptions related to one’s feelings about colour Heller (2004) states that it demonstrated that these mental associations are not just matters of taste in addressing the relationship between colour and feelings Instead, they are universal experiences rooted in context, language, and thought Rhetoric Bases Applied in the Design Process Visual rhetoric uses the same principles that govern the creation of written or spoken discourse However, visual rhetoric also uses images to persuade Through this, we can create visual speeches whose purpose is to persuade, influence, or please a specific audience To generate a visual discourse, the designer must follow a series of steps to guide them through the design process Four concepts inherited from ancient rhetoric are summarized as the process: (1) intellectio, (2) inventio, (3) dispositio, and (4) elocutio (Espinoza, 2011) These words are taken from Latin, intellectio (thinking or understanding), inventio (Invention or inventing), dispositio (disposition or arrangement), and elocutio (expression or oratorial delivery) The type of audience and their age range are essential factors in designing a visual discourse For example, age dictates what is admissible in each game Also, age is relevant to know the audience’s volume at each phase (Espinoza, 2011) For children, a game is a “magic circle,” or a desire to enjoy the pleasures they experience However, the information provided by the game must align with the “real world.” This information includes how the concepts, situations, and events are incorporated into the theme and script Video Game Classification and Role of Players Critical aspects of video games include the player’s participation and role in developing the story (Intriago, 2019) In this type of project, the receiver is the child, and their role is a student in search of entertainment (Espinoza, 2011) highlighted the importance of studying player empathy by identifying with character objectives and establishing an emotional bond The agency of the character (conceptual aspect or use) describes its practical function, referring to the ability to represent the player in the game’s dynamics In other words, the character is used through persuasion Therefore, the designer must choose the style or “mode of an appeal” to seduce or engage the user (Escribano, 2006) The mode of an appeal is related to the visual and conceptual way of the character The visual level involves elements like shapes, 140 MIDI-AM Model to Identify a Methodology for the Creation of Innovative Educational Digital Games colors, textures, clothing, and accessories The conceptual level relates to the character’s background, objectives, and link to the game’s narrative (Russi, 2008) According to Pérez (2010), the video game’s classification includes three dimensions of experience These consider three types of games that respond to experiences designed (implicit) for the player Analyzing the game’s implicit experience allows the “model player” to be analyzed in strictly playful terms Analyzing the implicit narrative experience of the game studies the “implicit player/narrator of the game” and the “model player/spectator” (Intriago, 2019; Pérez, 2010) When developing an educational video game, it is essential to consider the morphosyntactic and aesthetic dimensions The dimensions study includes users’ interface from parameters like the assembly of the story and the narrative structure Besides, these studies include visual communications on the screen, such as two-dimensional (2D) elements, to have an appropriate graphic and visual quality when using electronic devices (del Moral Pérez, Martínez, Tosina, & Esnaola, 2012) MIDI AND MIDI-AM MODEL DEVELOPMENT The importance of this study is related to the creation of a multidisciplinary model for the design, development, and monitoring of educational games These are presented as animated stories and video games The use and preferences of these games and their characters are continually tested by children and adults related to children The proposed methodology will allow a generation of new knowledge as designers begin to incorporate ICTs to improve learning processes aimed at children of the technological generation This model takes bases on appropriate active learning structures, contemporary audiovisual communication technologies and techniques, graphic design, and audio-visual production using entertaining pedagogical contents to facilitate the development of skills in children in an objective, entertaining manner Application and Production of Content in Serious Games: MIDI Case The trend of serious games production leads us to the realization and selection of topics related to educational content in the different disciplines taught in schools (considering the ages of children for this study) In the case of Ecuador, the main areas of knowledge in which the child should be initiated as a priority in their preparatory and primary education are described in the curriculum of the compulsory education levels of the country’s ministry of education (Ministerio-de-Educación-Ecuador, 2019) These areas are broken down into the primary basic general education programs In 2019, these programs were developed from the following subjects: language and literature, mathematics; social studies; natural sciences; cultural and artistic education; physical education, and English These subjects vary in name and content over the years Hence, the importance of continuously validating a story’s contents with specialists and experts in early childhood education The study of science in schools is usually linked to theoretical content and practice The curriculum also indicates that children’s activities should be organized into learning experiences that comprehensively stimulate skills with performance criteria from different areas of development and learning (Ministeriode-Educación-Ecuador, 2019) Thus, the first topic chosen as the theme to develop games was natural and social science This topic allows for work on games based on natural and social environments, developing a structure through playful history 141 MIDI-AM Model to Identify a Methodology for the Creation of Innovative Educational Digital Games Children between and 10 years of age require a guide to help them mold for the future Within this period, children require more quality time for the process of learning and development At the same time, busy parents often find excuses to delegate parenting to electronic devices Young learners miss the necessary skills to feel accepted and protected as they create individual resources to face the world These skills can decrease with the use of tablets and smartphones Infants are exposed to several types of technological resources, particularly tablets and smartphones Therefore, it is common for six-year-old children to have a cell phone At first glance, this exposure and stimulation may seem beneficial to the development of motor skills However, the lack of control in the first years causes an absence of digital use limits, creating a habit and addiction to “being always connected.” This habit begins with video games and progresses to social networks Besides, users are alienated from exploring other activities that could complement this development (Benites & Rosales, 2016) The Scope of MIDI Model Issues and Controversies There is no comprehensive methodology for the design and construction of games that define creative perspectives, use control, and guidelines for the development of multidisciplinary, technical, and aesthetic educational content Espinoza (2011) proposes the development of a methodology to generate characters and scenarios that reflect the personality, character, and temperament according to the tastes and preferences of the user However, this author does not discuss criteria for the development of comprehensive technical platforms that include, for example, the collection and control of data that contribute to the evaluation of results of use and adaptability of games according to specific teaching objectives Also, there is limited literature on proven methodologies regarding the process of design, implementation, and evaluation of digital educational applications for mobile devices with a focus on children and teacher guides in local contexts These aspects are relevant to achieve a unified, agile development of serious games that can be assisted by evaluation metrics and AI supervised through parental controls and interpreted by teachers and parents as support tools to traditional education The need for tools that contribute to the development of children’s skills motivates the search for educational projects in Ecuador The idea of contents’ production for the MIDI games’ model for “Learning by Playing” began in 2001 The first product developed as a game series titled “4 Aventuras Interactivas #1 En mi Entorno Social” was initiated in a pilot research project at the university level This production focused on designing and creating digital games series for PCs (Solorzano, 2002, 2006) The games were structured on the academic curriculum proposed by the Ministry of Education in Ecuador for natural and social environment axes at that time However, new content related to the topic needs to be developed due to the academic curriculum changes (Ministerio-de-Educación-Ecuador, 2019) Based on the MIDI model for PCs, a new research and technology transfer project were proposed, titled MIDI-AM, to seek a solution to these problems The project aimed to determine new paradigms, tools, or methodologies that incorporate technological innovations within the learning process It was aimed at new generations that attend the first levels of scholarship The MIDI Research Methodology Mixed methods and research tools were applied using a pragmatic case study approach (not committed to any research design) (Solorzano, Sanzogni, & Houghton, 2014) These were considered practical for obtaining results related to the objective of the study The MIDI study took bases on ubiquitous design 142 MIDI-AM Model to Identify a Methodology for the Creation of Innovative Educational Digital Games Figure 11 Color palettes for characters of Gaby and Kike, example graphic line (LG3) Source: MIDI-AM projects Gestures and Movements For decades, designers such as Medina (1992) and Espinoza (2011) argued that the eyes, eyebrows, and mouth are the most important elements of facial drawing because the representation allows users to identify the character’s emotion The size and relationship of these elements give a personality to the face On the other hand, static elements (the nose and ears) have little value to express emotions There are cultural differences in the expression of emotions However, theorists and researchers agree on the universality of at least four basic emotions: (1) anger, (2) fear; (3) happiness; and (4) sadness (Atarama-Rojas et al., 2017) According to Suárez (2016) and (Sarrió, 2013), in 1972, psychologist Paul Ekam defined six basic emotions: (1) anger; (2) disgust; (3) fear; (4) joy; (5) sadness; and (6) surprise Sarrió, in her article, Universal Emotions and Facial Expressions (2013, p.1), argued that “… indeed, there are universal gestures: people around the world laugh when they are happy or want to look like it, and they frown when they are angry or pretend to be.” In the case of MIDI-AM games, the design- 153 MIDI-AM Model to Identify a Methodology for the Creation of Innovative Educational Digital Games ers illustrated a variety of emotional expressions for each of the main characters on the graphic lines proposed (see the example, Figure 8) Also, emotional responses should be justified and convincing There are three levels of emotional behaviour: (1) momentary, (2) moods, and (3) personality (Gómez et al., 2000), which can be applied to express emotional responses These allow the story’s narration to be exciting and attractive because they can identify with expressions and emotions Figure and Figure 10 are examples of MIDI-AM characters’ gestures and expressions according to the illustration of the graphic lines LG1 to LG5 Color Palettes of the Characters For the colour palette, the designers used the archetypes and phenotypes They also used a “colouring” process in which children from several schools were asked to share their appreciation of the characters’ colours After defining the colours, designers transformed the selections into a digital colour system for cataloguing The HTML system represents a hexadecimal number, with values from to and A to F (Herrador, 2010) This system can express an RGB colour in one code The colours used in Web page design are specified using RGB The colour palette for the Web consists of 216 combinations of red, green, and blue; each colour can have one of six values in the hexadecimal (Krikelas, Xydas, & Bonnefoi, 2013) See Figure 11 Scenarios for Fund Development For some authors, the game environment is nothing more than a scenario for the action that will take place The scenarios should offer spaces and atmosphere for interaction (Espinoza, 2011) MIDI-AM products recreate environments and backgrounds from Ecuadorian geography A tool photographed the elements of nature to observe details and obtain colours and shapes for the flora For example, some versions of the games referenced Guayacán trees The rest of the vegetation take bases on the dry forest climate and an ecosystem of dense, wooded vegetation that alternates with brief rains The development of palettes for all the graphic lines’ backgrounds proposed characteristics based on Ecuador’s nature, mainly the coast The data obtained in student discussion groups contributed to the colour palette development and execution of the versions that follow the MIDI-AM model The trees were leafy like the Guayacán tree There are a lot of greens and a combination of brown It refers to the coast’s dry forest environment Like the character colours, the tones are described in the HTML colour code (see Figure 12) 154 MIDI-AM Model to Identify a Methodology for the Creation of Innovative Educational Digital Games Figure 12 HTML color codes/range for backgrounds and environments, MIDI-AM examples of the graphic lines proposed (LG1and LG2) Source: MIDI-AM projects Character Animation Digitally animated objects must be based on the 12 animation principles developed by the first Disney animators (Johnston & Thomas, 1981) These come from the observation of the real environment and an object’s physical properties, flexibility, trajectory, and influence of gravity The process of animation of the characters takes bases on the concept of puppets It considered the planning of the character by pieces, process scope, and limitations of articulation Besides, the character’s physical and psychological dimensions consider allowing the designer to capture and understand the mechanics of movement for the character The rotation of the limbs, for example, needs a maximum degree to look natural while responding to the study of the character and its morphology (Tillman, 2019) Besides, for the animated games developed, preproduction, production, and postproduction stages were determined as indicated in the methodology The script and storyboard are prepared in the preproduction stage The production included the execution of characters in different positions per the model sheet In this stage, the characters are animated in 2D using computer applications like Adobe After Effects or Adobe Animate The animation applies the concept of puppets by sectioning (trimming) the 155 MIDI-AM Model to Identify a Methodology for the Creation of Innovative Educational Digital Games character into limbs and elements These are altered in position, rotation, and scale to generate the apparent movement In the postproduction stage, the development testing process uses a base framework of a social project It included three educational units and a foundation (total audience of 390 children ages to years, 780 parents, and 30 teachers) Children, teachers, and parents should understand the development of this project Therefore, it facilitates the use of applications and tools Surveys became essential tools to analyse application usage trends from the data collection The results obtained are quantitatively assessed on preferences of graphic lines among children in schools TEST PROCESSES AND DATA ANALYSIS Changes required an investigation to ensure that the new proposals met the planned objectives Thus, focus groups and real tests were carried out in local primary schools selected for the case study to test the application and use of the games in the classrooms The primary schools chosen for the case study were the Sagrada Familia de Nazareth educational units in Nueva Prosperina and the Fermín Vera Rojas in Flor de Bastión in the Guayaquil city The survey link was initially given to fathers, mothers, and teachers via WhatsApp and showing them how to access the survey questionnaire online Online survey distribution responds to a non-probabilistic sampling technique, adding a snowball process expecting to increase the sample size This technique helps to analyse the object of investigation accomplishment In snowball processes, a subject gives the researcher the name of another person who provides another name, and so on (Atkinson & Flint, 2001) This online application helped to obtain information regarding the design of characters It is often applied in health and psychology areas, demonstrating that it facilitates access to hidden populations and expands the sample size (Baltar & Gorjup, 2012) In the case of MIDI-AM characters, their design of each character created was validated by the Fermín Vera Rojas and Sagrada Familia Nazareth school children Each physical feature of the characters was based on archetypes from the surroundings of the children For example, the archetypes drawing of each character took bases on the physical features of the children’s indigenous and mestizo cultures Sketches, illustrations, strokes, and construction were made by hand and transferred to their final version via digital software like Adobe Illustrator To stylize the characters, the stroke of the digital illustrations can be variable in thickness In cases like LG3, this is a variation of a previous graphic line, in which the stroke, the shapes, and details of the characters’ factions were stylized This variation was based on criteria and tests of character preferences, without harming the graphic style Tests on the Evolution of Characters This MIDI project for PC’s educational games began in 2001 (Solorzano, 2002) Therefore, several generations of children have been included since the model’s development In the current generations, for the MIDI-AM series, focus groups have been undertaken to determine the preferences and relevance of physical and cultural elements and characters’ features This process allows the children to feel integrated into the illustration Each character’s design applies concept design based on the archetype, contemplating the character’s formal representation with descriptive particularities They were analysed by the designer or illustrator, who paid close attention to the context of the character (Guzmán, 2016) Also, then the characters were 156 MIDI-AM Model to Identify a Methodology for the Creation of Innovative Educational Digital Games validated with the help of experts and criteria of children, who must be able to recognize or identify with them Some of the features that characterize the graph take bases outlining concise sentences, synthesis in the construction of the image, the evocative capacity of the images, and suggestions However, the answer takes bases in artistic intent to be finally found (Calvera, 2012) Application of Surveys Instruments The analysis of MIDI-AM games and visual character preferences looked to be validated by adults and children For children in different ways of validation were applied: through the painting of the character contours or digitally selecting the illustration of characters they want to colour, using a survey application designed for children monitored by a dashboard (titled Lethos), and applying a colourful survey short guided questionnaire online For adults, interviews took place with designers, teachers, parents, and directors of the educational units selected for the case study Then, surveys were carried out with parents to validate the graphic lines, demographic characteristics, social characteristics, and knowledge level of mobile device use within the study population The development of adults’ and children’s questionnaires for the online survey applications used Google Forms platform The assessment instruments included the four characters using five graphic lines By using the surveys, a total of 20 characters and five graphics were evaluated The adult’s respondents were asked to weigh each graph according to their visual appreciation using a designed questionnaire in Google Forms with evaluation scales, as shown in Table For the initial selection of the main characters, the Children were guided, showing illustrations of the graphic lines, used to weight the character preferences Secondly, the characters digitally illustrated were included in the Lethos game application designed This application allows children to select and paints their favorite characters helping the researchers to identify the graphic line of the beta games preferences for their inclusion in future games Thirdly, a colourful questionnaire was designed within the illustration to select the characters’ preferences from Children in the Google Scholar forms This questionnaire uses similar evaluation scales shown in Table linked to the characters’ illustration to be selected Table Character evaluation scale Levels of Acceptance Less Attractive More Attractive Source: Self-made Based on the scale, weights were categorized and established as follows: (1) Nothing Attractive; (2) Unattractive; (3) Indifferent; (4) Attractive; and (5) Most Attractive The use of this scale helped to measure each character’s acceptance level, considering the opinion of the public 157 MIDI-AM Model to Identify a Methodology for the Creation of Innovative Educational Digital Games Figure 13 Outcome example of survey application tools to evaluate children’s character preferences Source: Self-made Tables in the survey questionnaires use illustrations of the characters and scales (such as Table 2) to represent the different graphic lines designed for playful mobile applications (see Figure to Figure 7) The surveys can be open or downloaded from the MIDI Website at www.midi.espol.edu.ec/ to perform the analysis of adults’ and children’s visual preferences In addition, dashboards application tools access data stored in the cloud from the MIDI-AM games used for content evaluation Metrics for playability, usability, and other relevant adoption technology factors applied to the games helped analyse the game user’s behaviour These tools took information from data that is collected for real-time analysis from children while they are using the games, as is detailed explained in Solorzano, Carrera, et al (2019), and Solorzano, Sornoza, et al (2019) The use of the dashboard also helps to identify the most preferred MIDI-AM games used by children Results Discussion Through the different ways of validation applied at this stage of the current research, the following insights during the analysis process were identified: Children like to learn while they play Children consider tablets as a reward Parents fully support the implementation of technologies within the classroom Primary education teachers are afraid to adopt these mobile technologies in the classroom However, they strive to receive training in using current MIDI-AM games as a tool to be incorporated into the classroom Using the data collected from the research tools designed, quantitative results also were obtained regarding graphic lines’ preferences among children, parents, and teachers from the schools selected for the study Overall, this study uses preliminary results about children’s graphic line characters’ preferences, a pilot sample size of 57 children In this example, it is noted that children prefer the shape of Loly’s graphic line LG2, followed by Loly’s graphic line LG3, then LG5 (see Figure 13) Nonetheless, the sample size is not representative; it was used only as a test of the research tool developed for further and ongoing analysis of children’s preferences of games and characters to be used in further games aimed to be developed 158 MIDI-AM Model to Identify a Methodology for the Creation of Innovative Educational Digital Games In the case of adults’ outcomes, a pilot sample size group of 103 parents and teachers was surveyed to extract visual preference of the character’s graphic line, using a Google form questionnaire Figure 14, is noted from analysing the absolute frequencies that the adults selected as more attractive the Loly’s character of graphic line LG2, followed by graphic line LG5, then LG3 In the statistic results analysis, from examples of Figure 13 and Figure 14, despite the tendency to select graphic Lines LG2, LG3, and LG5 are the preferred ones for both groups It was noted that there is not necessarily a coincidence between adults’ and children’s graphic lines order of preferences However, the significant sample size needs to be undertaken from the case study applying in schools to continue evaluating adults’ and children’s insights and preferences about MIDI-AM characters and games Besides, focus group and observational techniques were applied in the schools selected for the case study, with the help of a related community project of UVS-ESPOL, which included the use of MIDI-AM games (Carrera et al., 2019) The results achieved with the MIDI-AM model proposes as a methodology for the use and development of educational games, are as follows: • • One hundred percent of the children participated in using ludic games in the classroom to learn about natural science and nutrition Sixty percent of the parents attended talks on nutrition, healthy digital habits, and the use of Figure 14 Outcome example of survey application tools to evaluate adults’ character preferences Source: Self-made • • • • MIDI-AM games Ninety percent of the parents volunteered to collect funds and donations of equipment for the classroom’s educational units One hundred percent of the teachers participated in the training (trainer of trainers) on mobile application use of games in the classroom Their work also focused on supporting parents when children used the games as a complementary guide to homework Sixty percent of parents collaborate, answering the survey instruments for testing results to evaluate the MIDI model Authorities of School and parents signed to allow the children to be tested about preferences of MIDI-AM characters and game preferences for further games applications developments 159 MIDI-AM Model to Identify a Methodology for the Creation of Innovative Educational Digital Games At the time of the current chapter, the manuscript showing progressive results and presenting the contribution of MIDI-AM research is relevant (see Table 3) Table Contribution and Beneficiaries of MIDI research linked to UVS_ESPOL projects 2019 Target group(s) of the program / Groupe(s) Marginalized low-income population, children as a vulnerable population/minority population, children in primary education Particularly children aged to years Age range or grade level of the target group(s) / Level of education per group Primary school Number of beneficiaries (2019) 510 direct beneficiaries and 1,540 indirect beneficiaries (2018) 282 direct beneficiaries and 564 indirect beneficiaries Funding for project Funding from the social community unit (UVS-ESPOL) and the Art Design and Audiovisual Communication Faculty (FADCOM) Number of staff and stakeholders (2019) 52 persons - 40 students, 12 tutors, seven researchers (2018) 44 persons - 34 students, ten tutors, five researchers Source: Self-made Also, it was evidenced that, during the creation of the different graphic lines, it was essential to design the archetypes based on the target audience’s characteristics, for example, children from to years old of the coastal region of Ecuador A significant group for the execution and decision in the development of mobile applications was the same or similar group that later tested the games at different moments in time and the project’s evolution They help to confirm the acceptance and preferences of some LG and characters Among the results aiming to document MIDI-AM Model development processes as a methodology to complement children’s education as a way of learning by playing, several indexed scientific publications were carried out These publications presented the initial finding obtained from the data collected in the cloud platform and the metric analysed in the dashboards and survey results applying the different research tools designed for testing the MIDI-AM series Furthermore, within this research, ten undergraduate theses were undertaken as components regarding applying this mixed-method study These components studies and publications enclose multidisciplinary academic areas such as ICT, education, arts, design, and audio-visual communication FUTURE RESEARCH DIRECTIONS Videogames, which have traditionally been considered objects of entertainment, are becoming powerful teaching tools There are many studies on illustration styles; however, references are limited regarding a methodology or guiding processes of animated productions with an educational approach across grade levels, including the use of metrics and dashboards to evaluate the games’ adoption factors Therefore, ludic video games or serious games break the traditional classroom’s learning model that needs a call for a continued inquiry According to developed productions, MIDI-AM models are presented as a guiding methodology for the development of serious gaming platforms Understanding the importance of curricular content is essential when developing teaching tools At this stage of the MIDI-AM Model study, results are not 160 MIDI-AM Model to Identify a Methodology for the Creation of Innovative Educational Digital Games concluding due to the need for a more significant sample size to test the game’s outcome application Therefore, further studies need to be undertaken Future studies should involve implementations and usability tests related to improving the series of gaming platforms The tests need to be applied in real environments with significant sample size, including continued research experiences Further studies will allow researchers to evaluate how they benefit ongoing improvement in children’s learning Thus, they can continue to create innovative technology as a way of “learning by playing.” CONCLUSION The MIDI-AM model’s proposed methodology allows for creating new educational content for mobile devices equivalent to the generation of new digital books used to favour the active learning of new technological generations This chapter shows the preliminary outcomes, starting with explaining concepts, strategies of design processes for games, and their character productions, using the university’s research experiences of the MIDI-AM model developed as a methodology It is then shown how to use designed research tools to analyse and evaluate characters and game preferences from children and adults as children’s guardians The MIDI-AM series applications were used in a case study to favour education in marginal areas, contributing to a new way of active learning by using technology in an entertained manner The creation of the MIDI-AM Model proposes a technical and aesthetic platform that serves as a guiding methodology for creating scenarios and characters in a digital game These consider empathy and foster reflections based on trends, user preferences, and social context These factors are necessary for the creation of animated stories and children’s educational games Each mobile game’s design within the case study was complemented by components that include preproduction, production, and postproduction For the development of MIDI-AM game applications, visual rhetoric bases and images were used to persuade Mobile games produced were tested and adapted using real experiences These applications have been monitored in educational environments less contaminated with technological resources such as primary schools in marginal areas of low socioeconomic status The design of a game development methodology with monitored usage controls and preferences also were tested The series game platforms have been progressively created based on experiences in the environment, considering the intervention of their stakeholders and the environment in which they operate For testing the games and character preferences, research strategies from mix-method were applied to collect and analyse data such as observation, focus group, metrics in dashboards and survey online questionnaires and applications for children and adults Regarding education oriented to children in their first years of schooling, studies support and oppose digital games as a complementary tool in conventional learning systems This study states the advantages and disadvantages of using controlled technologies linked to serious games This research includes analysing the applicability, design, and development of games as digital books for the new generation of children Educational technologies in mobile applications (for example, serious games) must promote good digital habits These are primarily provided from the Google app store, as a repository, given by the popularity of its digital tools This chapter began with the literary analysis of trends in educational games, concepts, and other methods of developing games’ animations, and the evolution and justification of the proposed methodology 161 MIDI-AM Model to Identify a Methodology for the Creation of Innovative Educational Digital Games Relevant aesthetic aspects related to the evolution of main characters based on determined archetypes were analysed according to their role, environment, colours, shapes, textures, and their justification within the development of games as a 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The Independent Solorzano, N I (2002) Comercialización y Desarrollo de Multimedios Interactivos Didácticos Infantiles CD-MIDI Paper presented at the ESPOLCIENCIA 2002, Guayaquil, Ecuador Solorzano, N I (2006) Metodologías de Ensanza para la Educación Infantil Apoyada en el Uso de Herramientas Tecnológicas Interactivas Paper presented at the Espolciencia 2006, Campus ESPOL goo.gl/7Uw8mz 165 MIDI-AM Model to Identify a Methodology for the Creation of Innovative Educational Digital Games Solorzano, N I., Carrera, D A., Sornoza, L I., & Mendoza, M (2019) Developing a Dashboard for Monitoring Usability of Educational Games Apps for Children Proceedings of the 2019 2nd International Conference on Computers in Management and Business Solorzano, N I., Sanzogni, L., & Houghton, L (2014) Effectiveness of using Pluralist Methodology in Information System Adoption Studies Paper presented at the Computer Science and Engineering (APWC on CSE), 2014 Asia-Pacific World Congress on, Plantation Island, Fiji Solorzano, N I., Sornoza, L I., & Carrera, D A (2019) Adoption of children’s educational video games monitored with dashboards in the cloud RISTI - Revista Iberica de Sistemas e Tecnologias de Informacao, 2019(19), 146-160 Suárez, M L R (2016) La influencia de las emociones en las expresiones faciales según Paul Ekman Academic Press Tillman, B (2019) Creative Character Design 2e CRC Press doi:10.1201/9781351261685 UNICEF (2017) The State of the World’s Children 2017: Children in a Digital World UNICEF for every child Retrieved from https://www.unicef.org/publications/index_101992.html Vega, S (2015) Evolución histórica y contexto social del videojuego en el sector audiovisual Preproducción, producción y postproducción de un videojuego a través de software libre profesional Academic Press Wong, W (1991) Fundamentos del diseño bi y tridimensional Barcelona: Gustavo Gili S.A ADDITIONAL READING Hooshyar, D., Yousefi, M., & Lim, H (2019) A systematic review of data-driven approaches in player modeling of educational games Artificial Intelligence Review, 52(3), 1997–2017 doi:10.100710462017-9609-8 Sánchez-Morales, L N., Alor-Hernández, G., Rosales-Morales, V Y., Cortes-Camarillo, C A., & SánchezCervantes, J L (2020) Generating mobile educational applications using UIDPs identified by artificial intelligence techniques Computer Standards & Interfaces, 70, 103407 doi:10.1016/j.csi.2019.103407 166 MIDI-AM Model to Identify a Methodology for the Creation of Innovative Educational Digital Games KEY TERMS AND DEFINITIONS Cloud Services: A set of tools that allow connecting mobile applications with advanced services hosted on the server, because they require a lot of computing power, such as learning recommendations, intelligence-based analysis artificial Communicational Concept: What the company transmits to the end-user in the long term is what they want the receiver to interpret It is like the promise they are going to make For example, Coca-Cola uses the creative concept “live a happy life” (concept is happiness) Consumer Insights: the revelation of human truths that allow to understand the profoundly emotional, symbolic, and deep relationship between a consumer and a product Creative Concept: It has more to with aesthetics; it is how it will look It is what accompanies the campaign It is like a short-term goal For example, Coca-Cola has a communicational concept of happiness So, when they show the concept, it must be consistent Dashboard: It is a tool that allows for managing data as useful information—the data obtained came from different sources such as mobile or web applications MIDI Games: The creation of interactive didactic children’s multimedia projects (MIDI), using both educational materials and animated games on platforms for personal computers The extended acronym of MIDI-AM is an updated series of the MIDI games for mobile applications MIDI-AM Model: Proposed as a methodology that considers a technical and aesthetic platform to guide the production and monitoring of serious game applications suggested as supporting tools for the traditional teaching-learning process Semiotic: The study of symbols and signs and how they are applied in a social context using criteria selection for creating graphic elements, characters, and environments in digital applications Serious Games: They are gaming whose purpose is to entertain and teach different disciplines 167