The document discusses opportunities for crossover innovation between the game and publishing sectors. It describes the Utrecht approach to applied game design and human-centered innovation across artistic, scientific, and societal domains. Key areas for future collaboration are identified as new learning instruments, tools for industry, and innovative approaches to societal challenges.

1. crossover innova+on
in the game and publishing sectors

2. about HKU and the Utrecht approach
some thoughts about applied game design
and crossover innova+on
some areas for future collabora+on
between game and publishing sectors

3. HKU largest educa+onal ins+tute for the arts
in the Netherlands
We seek to advance human-centred innova+on
through the meaningful applica+on
of the crea+ve arts
we want our ar+sts and designers to func+on
across the borders of different
ar+s+c, scien+fic and societal domains

7. founded in 2008 with support from EU Structural
Funds and from the province and town of Utrecht
the mission was to create economic impact by
s+mula+ng the growth of the Dutch game industry
currently supports 70 enterprises

8. europe is second largest games market globally,
employing 100,000+ people and contribu+ng more
than 3.5bn euro to economy
dutch game sector has 330 companies and employs
around 3,000 people with approx 200m euro
turnover
less focus on entertainment games, more on applied
games

9. almost every university across Europe has a serious
games department but there is something of a
contradic+on in terms in ‘serious games’
our approach is based around the idea of applied
games and in this way we try to retain core game
design concepts in the areas of applica+on and
contexts of use

10. applied games do more than teach or train, and
have other goals, such as persuasion, exercise, and
(physical) therapy
finding a good balance between the ‘fun’ and the
‘applied’ part of the game is oTen a major challenge
old sender-receiver models are very much alive

11. about the cross
T
TT
T

12. cultural sector
sector
crea0ve industries
the cultural and crea0ve industries
sub-sectors eg architecture, film,
music, games, cross-media etc

13. all have one thing in common
Most enterprises in the cultural and crea+ve industries
consist of SMEs, with many sole traders or micro-SMEs
employing only a handful of people (+60%)

14. defined by a system of rules
discipline
defined by a set of disciples
T

15. intra mul+ cross inter trans
disciplinarity

16. intra mul+ cross inter trans

17. all have one thing in common
they are all about how we work
with each other

19. “I had an extremely slow-
dawning insight about
crea0on.
That insight is that
context largely
determines what is
wri@en, painted,
sculpted, sung, or
performed.”

21. how can we design the right
contexts that will bring us the
outcomes we want

22. design?

24. Design 1.0 CraT design, adver+sing
Design 2.0 Industrial, products, web
Design 3.0 Organisa+onal and
ins+tu+onal
Design 4.0 Distributed social
systems, mixed stakeholders
complex problems

25. design thinking
in a strategic context
helps us to
deal with complexity

26. design thinking is ac+on oriented
design thinking is comfortable with change
design thinking is human centric
design thinking integrates foresight
design thinking is a dynamic construc+ve process
design thinking reduces risk
design thinking creates meaning

27. design thinking
in a strategic context
helps us to
achieve
crossover innova+on

29. we want our ar+sts and designers to func+on
across the borders of different
ar+s+c, scien+fic and societal domains

30. T
T - shaped people

31. intra mul+ cross inter trans
T
`````````
genera+ve outcomes

32. we need new tools to support and integrate the next
genera+on of design intensive SMEs to tackle bigger
challenges and locate crossover opportuni+es
we need to ac+vely rebalance the role of ICT
by including genera+ve outcomes and tools
from SSH in a meaningful manner
we need more transparency in crea+ve design processes
to s+mulate crossover innova+on

33. In the recent TISP survey on R&D needs in the publishing
sector 3 of the top 4 needs iden+fied covered digital
distribu+on, interac+ve content and mul+media content
produc+on. Each of these areas is also central to applied
game design.
We believe that there are three key areas for future
collabora+on between the applied game and publishing
sectors:
• new instruments for learning
• new tools for industry
• innova+ve approaches to societal challenges

34. We think that the publishing sector can learn from the
experience of the game sector and their interac+on with
sectors outside the crea+ve industries.
For example, for the healthcare sector we have used various
ini+a+ves to promote deeper co-opera+on, such as
networking lunches, joint proposals, living labs, co-crea+ng
prototypes and of course game jams.
The use of games to design new contexts as interven+ons is
already underway.
This ranges from the genera+on of awareness, cri+cal
reflec+on, to both incidental and inten+onal learning of skills,
knowledge and behaviours in all contexts.

35. Crossovers also exist between the publishing and game
sectors for making aerac+ve e-products.
Mul+modal interac+on design is a significant area and
both game design and narra+ve design offer many
opportuni+es for the publishing sector.
Narra+ve design in general and the transmedia
storytelling area in par+cular also offer huge poten+al for
new e-products and for crossover solu+ons.

36. Another area where game-design can offer poten+als for
making digital content more interac+ve and meaningful is
that of educa+on.
Games are becoming a primary tool for engaging the
imagina+on of learners.
The collabora+on between the games and publishing
sectors can lead to the development of new e-products
that meaningfully merge educa+onal content and playful
interac+on.

37. Game companies oTen use rather different produc+on
workflows then the publishing sector.
However there are several poten+al overlaps in the
overall process from composi+on to produc+on.
This applies of course to the design of new products but
less obviously to new opportuni+es to co-create and co-
design new services and then to provide them to different
sectors.
Indeed for mul+media educa+on publishers, the focus
will move away from designing the content itself to co-
designing the learning processes.

40. are education
or research organisations
43%
13%
enterprise support
policy/public sector
other
9%
living lab/cluster
4 %
networking
and 1
game organisation

41. a multi-disciplinary network
an open game jam toolkit for members
a platform for disseminating knowledge about
applied game design and game jams
a matchmaking service
education
and research
enterprise support,
games,
cluster, network
policy,
public sector,
other
ENTI
JKU
MHMK
FPM
KHLim
FHJ
GCU
CSP
ZHDK
HKU
CNAM
DGG
CITILAB
C&L
CEEI
ETIT
MATHEMA
ENOLL
ARCC
MFP
STOCKPORT
AGE
VDJ
GU
EUROKLEIS
clusters
3

42. asturias
barcelona
genk
glasgow
graz
hamburg
helsinki
linz
luxembourg
metz
milan
munich
paris
turin
sofia
utrecht

43. jamtoday.ci+lab.eu

44. crossover innova+on
in the game and publishing sectors
david.crombie@hku.nl
hku university of the arts utrecht