On 24 September 2025, Senior Scientist Dr Felix Schniz held a workshop on Tarot cards for the youth centre kwadr.at in Klagenfurt. Over the course of three hours, he educated a very excited crowd on the history of the cards, their purpose for divination and self-reflection, Tarot-card-based games, and what card games have to do with modern computer games. kwadr.at is a space for young people aged about 14 to 27 to hang out, be creative, and participate in cultural or social activities

 

Kseniia, Felix, and Tom at Video Game Cultures 2025
Prague, Czech Republic, 10-12th September 2025

Kseniia, Felix, and Tom presented at the VGC 2025 in Prague. This academic research conference dealing with video games from a variety of different angles was also held in Klagenfurt two years ago, and is likely to be hosted here again in the near future.

Author: Kseniia Harshina
Title: Traces of Memory, Traces of Home: Trauma-Aware Environmental Storytelling in Games
Abstract: This presentation explores how game environments can function as emotional architectures, spaces that do not just represent trauma, but embody it. In particular, I examine how digital environments can reflect fractured relationships to memory, identity, and home. I propose a twofold approach: a critical reading of trauma in environmental storytelling, and a participatory design method grounded in co-creation and lived experience.
First, I examine how games such as Silent Hill 2 use space to externalize grief, memory, and emotional fragmentation. These environments are not just settings, they are structured by loss. They invite players to navigate emotional landscapes through movement and embodiment, instead of exposition.
Second, I reflect on my research-creation work with people who have experienced forced migration, in which we co-design adaptive environments that shift in response to memory, emotion, and identity. I would like to introduce a dual-role framework: Survivors, who shape and embed memory traces into environments; and Witnesses, who explore these spaces with limited agency. This distinction reflects different relationships to trauma: those who have lived it, and those invited to listen. This model invites reflection on authorship, the emotional labor of sharing trauma, and the ethics of game design. It also challenges dominant design assumptions, suggesting that withholding agency can be a powerful act of care. This work argues that trauma-aware environmental storytelling offers a way to reimagine home, not as a static setting, but as a shifting, layered space where pain and longing coexist.
Ultimately, this approach makes space for grief and displacement not just thematically, but architecturally. What remains are not just spaces, but traces, of memory, of home, of stories that ask us to listen more deeply to others, and to the pasts we carry with us.

 

Author: Felix Schniz
Title: In Cardboard Space, No One Can Hear Your Scream The Alien Universe Between Digital and Analogue Game Experiences
Abstract: The science-fiction horror that began with Alien (Scott 1979) has long since evolved into a transmedia universe spanning a diverse set of media artefacts (cf. Heinze 2019). Its unique selling points – dark, confined environments and the clearly defined protagonist/antagonist conflict of alien Xenomorphs and human Colonial Marines taking place within them – make the setting an especially favourable topic for game adaptations. Intense digital survival horror games, such as Alien: Isolation (Creative Assembly 2014), have received a fair share of
academic attention in game studies (cf. Švelch 2020). Analogue Alien games and their unique mechanic potential on environmental storytelling, however, yet deserve more attention. In my talk, I focus on the analogue interpretations of the Alien universe and how they differ from the digital. I identify the opportunities and demands of digital and analogue game spaces that capture the essential experience the universe provides – a storytelling world deeply laden with political, gothic, and evolutionary horrors – and illustrate their manifestation in twodimensional cardboard and table spaces.
After introducing the universe and the parameters for game design set by its pivotal spaces, I establish a dialogue between spaces of play and represented spaces. Relying on the foundational works on transmedia adaption theories (cf. Hutcheon 2006 and Rauscher 2012), cross-sectioning them with environmental storytelling concepts (cf. Rauscher 2015) and a look at horror in gaming (Perron 2018), I provide an overview of key Alien game adaptations, analysing how said parameters define game mechanics. I focus on the differences in how digital
interfaces and systems, as seen in video games such as the already mentioned Alien: Isolation or the recent Aliens: Dark Descent (Tindalos Interactive 2023), compare to the material and social interactions demanded by analogue forms. These observations include rarely discussed works such as the Aliens Predator Customizable Card Game (Ackels et al. 1997), the tabletop war game Aliens Vs Predator: The Hunt Begins (Ewertowski and Olesky 2015), and the board game Aliens: Another Glorious Day in the Corps (Haught 2020).
My outcome is a nuanced understanding of how analogue games adapt an established cinematic universe/environmental storytelling world, revealing specific design strategies employed to evoke shared yet medium-specific, universe-encapsulating space. I ultimately offer insights for debate into the mechanic translation required for cross-platform IP adaptation.

Author: Tom Tuček
Title: The Costs of Generative AI in Video Games: Using Locally-Running Models for Sustainability
Abstract: Generative AI is reshaping video game worlds by providing developers and designers with quick and easy access to assets, as well as by allowing for the dynamic creation of environments, dialogue, and narrative during gameplay. While generative AI brings increased potential for creativity and accessibility, it also brings many new issues and questions. We highlight the ethical implications and problems of AI-native games (video games using real-time generative AI as a core part of their design) by focusing on their environmental impact.
Following a short discussion on the ethics of generative AI, we frame the topic within the ongoing climate crisis and investigate the energy demands of models used for and within video games. By comparing the costs of various approaches, we highlight the potential for the use of smaller models in video games, which can run on local end-user machines, such as PCs or game consoles, while using less power. This approach also helps with other issues, such as online dependency and data privacy.
To ground these arguments, we present a case study of our game, One Spell Fits All, an AI-native video game prototype that runs offline on consumer laptops. Preliminary findings show the potential of this approach, showcasing reduced energy consumption while maintaining a high-quality game experience.
Based on these critiques and findings, we propose guidelines for more responsible AI-native video game design, such as prioritizing low-power models and client-side inference, selecting appropriate models for each task, and monitoring the energy consumption of games during the development process.
By looking at AI-native games through the lens of climate ethics, this work contributes to our understanding of the novel field of generative AI in games while also offering best practice approaches for designers, developers, and players committed to greener virtual worlds.

IEEE Conference on Games 2025

In Lisboa, Portugal, 26-29th August, 2025

 

Author: Tom Tucek

Title: Using Large Language Models to Create Meaningful and Dynamic Interactions in Serious Game Contexts

Abstract: Video games have become the most successful entertainment medium, both in terms of financial success and as a carrier of modern culture. At the same time, recent trends in generative artificial intelligence (AI), particularly large language models (LLMs), are bringing about a paradigm shift in how humans interact with games and computers in general. The unpredictability of generative AI has already been utilized to create fun experiences within games, but the same aspect makes it difficult to use in serious contexts (e.g., games dealing with minority status), where unwanted output can potentially cause harm. This doctoral research proposes to find out how LLMs can be used in video games with serious contexts to create and enhance meaningful experiences. Following design science principles, role-playing game (RPG) prototypes that utilize this new technology and deal with serious topics are created and tested for their efficacy in terms of user engagement, narrative coherence, and lasting impact (e.g., changed views or behavior after extended periods of time). Iterative development and validation, through user tests and heuristic evaluations, ensure that the created video game prototypes have the desired effects and findings are incorporated into a framework, which in turn is validated in a long-term study. Other aspects, such as data privacy and latency, are also addressed by focusing on the local deployment of AI models, instead of cloud-based services. The main contribution of this research is a framework that improves the reflected use of generative AI in video games, increasing narrative coherence and player engagement while enabling the creation of games that allow for meaningful, personalized, and dynamic experiences.

IEEE Conference on Games 2025

In Lisboa, Portugal, 26-29th August, 2025

Author: Kseniia Harshina

Title: Developing a Video Game for Empathy and Empowerment in the Context of Forced Migration Experiences

Abstract: This dissertation explores how video games can be designed to foster empathy and empowerment in the context of forced migration. While existing games often focus on raising awareness, they frequently exclude displaced individuals from the design process. To address this, the project proposes a participatory, AI-assisted storytelling system that allows people with lived migration experience to co-create and replay interactive scenes based on personal memories.

The research follows a three-phase structure: data collection through surveys and a participatory game jam; iterative development of an interview-to-game prototype using a locally run large language model (LLM); and a mixed-methods evaluation. The system includes an interview-based chatbot interface, automatic scene generation, and post-game reflection tools. The evaluation examines the system’s emotional, psychological, and representational impact across three player groups: scene authors (migrant participants), other displaced individuals, and players without migration experience.

The project contributes to generative AI research, HCI, and game studies by combining participatory design, storytelling, and technical implementation. It offers both a theoretical framework and a functional prototype to inform future practices in socially responsive game design.

 

Main Organizer: Kseniia Harshina (AAU)

Co-Organizers: Rachel Gorden (AAU), Tan Schütz, Tom Tucek (AAU)

Date: September 19-20th 2025, fully online

The Games Intersectional Symposium is being held for the first time this Friday and Saturday. It is a space for queer and other under-represented voices in video games to share their thoughts and experiences. The schedule is full of speakers from various backgrounds, who will present their talks, performances, game demos, and many other things! The event is organised by the Games Intersectional Round-table and will be held fully online, using Gather.

More information can be found here: https://gamesintersectional.github.io/gi-symposium25/

If you have any questions or would like to join, please contact Kseniia (kseniia.harshina@aau.at) or Tom (tom.tucek@aau.at)!

 

Conference Talk:

On 20 June 2025, Dr Felix Schniz held the talk “Plain Walking? Navigating Space in Trading Card Games” for the Card Game Conference at AAU, Klagenfurt (AT). The Card Game Conference was a mini conference organised by students of the master’s programme Game Studies and Engineering, intended as a low-barrier science to science and science to public event.

 

Workshop:

With „Plain Walking? The Workshop”, Dr Felix Schniz held a science-to-science workshop on 21 June 2025 as a follow-up to his presentation at the Card Game Conference.

 

Conference Accept:

With his talk “In Cardboard Space, No One Can Hear Your Scream: The Alien Universe Between Digital and Analogue Game Experiences”, Dr Felix Schniz has been accepted for the Video Game Cultures Conference 2025 at Charles University, Prague (CZ).

 

Paper Published:

Together with his colleagues Thomas Faller, Armin Lippitz, and René Reinhold Schallegger, Dr Felix Schniz has published the paper “Teaching (With) Canadian Videogames in the Classroom” in the anthology Teaching Canada II: Identities, Cultures, Regions.

 

 

 

On Monday, 16 June 2025, Sabrina Größing, BEd and Dr Felix Schniz presented the Master’s Programme Game Studies and Engineering to an audience of bachelor students from the novel Liberal Arts programme.

 

The event aimed to showcase how easily they can continue their academic career within AAU, the opportunities and support structures awaiting them by doing so, and provide a gateway into studying at the university’s technical faculty.

On Friday, 13 June 2025, The Pioneers of Game Development Austria, the game development association focused on supporting, showcasing, and accelerating Austrian games, developers, and business, visited ITEC.

 

In an event organised by Dr Felix Schniz, Martin Filipp (Mi’pu’mi Games and PGDA representative) brought a delegation of industry representatives to campus, including Michael Benda (Zeppelin Studio), Raffael Moser (reignite games), and Manuel Bonell (Immerea). They held presentations on the status quo of the Austrian games industry and entertained a developer café in the afternoon, where students could sign up for discussion slots to ask questions about how to get into the industry and how to start your own gaming studio.

 

The event was visited by over 40 visitors, most of them students of the master’s programme Game Studies and Engineering.

 

My dear colleagues,

The PGDA, the Austrian Game Developers Association, is going to visit us with a delegation

On Friday, 13 June, between 11.45am and 06.00pm in S.2.42, they are going to offer talks and opportunities for individual Developer Café chat sessions.

The schedule looks as follows:

11.45am: Room Opens
12.00pm: Introduction and PGDA session on the Austrian game industry today
12.45pm: PGDA talks on various topics, including genre
13.30pm: Break
02.00pm: Developer Café
06.00pm: Ending

You can register for a time slot to meet with and talk to one of the developers visiting us on the day of the event.

We are looking forward to seeing you there!

All the best,
Felix

On 10 June 2025, Dr Felix Schniz presented the Virtual Campus Environment, a central achievement of the UNESCO-funded project Global Campus Online (GLOCO). The project is led by the UNESCO-Chair Univ.-Prof. Dr Hans Karl Peterlini and revolves around the organisation of global meeting platforms to foster supportive environments and knowledge exchange.

The Virtual Campus Environment was fully developed and designed by ITEC staff members affiliated with Game Studies and Engineering, including Tom Tuček, Felix Schniz, and several generations of GSE students who supported the project as a part of their research internship.

Present for the public presentation were rector Ada Pellert and State Governor Peter Kaiser.