Las características de los videojuegos educativos desarrollados en España

Design and Planning of the Empirical Research Process

To carry out the empirical research, the work was structured around the following general stages:

Materials that Complement the Video Game

This section specifies the materials (if any) that complement the video games.

A written synopsis was included in 40 % of the video games in the sample, either on the packaging or the websites. These texts often use colloquial language to describe the main character and encourage the user to start the game. Only 10 % of the games include a didactic guide for teachers, 15 % include general pedagogical information, and 10 % provide specific educational guidelines for the use of these resources in environments for which they were designed.

It is worth noting that previous studies have also highlighted the need to develop and provide appropriate guides for the didactic use of video games. For example, a group of experts in video games and education who participated in a study on the use of video games in teaching, conducted by the GfK agency (2011) for aDeSe (now AEVI: Spanish association of video games), also emphasized the need to develop such didactic guidelines.

Another significant fact is that 35 % of video games include short tutorials. Furthermore, 35 % also feature technical specifications that are mostly included in the CD packaging.

This collection of data highlights the scarcity of materials that complement video games or provide information about their characteristics, whether to play them or to use them as teaching resources. This supports the point that Gaydos (2013) raised about the limitations faced by teachers in developing educational tools based on digital games and other technologies. Such limitations arise from the need for guides or other complementary materials that provide guidance for the use of video games as resources to improve teaching and learning processes. These findings reinforce the idea that the pedagogical potential of video games is often limited not by the games themselves, but by the lack of supporting educational frameworks that enable their effective integration into teaching practice.

Instructional Design

This section aims to assess the suitability of the objectives and pedagogical content that motivated the development of the video games in relation to their target group, genre, theme, etc. The pedagogical principles that sustain the game and the characteristics of the challenges that compose them were also analysed.

Regarding the suitability of the educational objectives, our evidence suggests that in more than half of the sample (75 % of the cases) the educational objectives are entirely appropriate. Furthermore, no examples in which the educational objectives were not adapted in some way were found. Nevertheless, the educational purposes of video games are considered too ambitious, as the descriptions that accompany some of these resources can generate high expectations that are difficult to achieve or attain fully, given the scarce number of challenges that they contain and considering their characteristics.

Regarding the suitability, structure and origin of the contents, the sample deals with topics of a different nature, predominantly those related to cultural or transversal areas, such as health education, healthy eating, risk prevention and tolerance. They do not cover curricular subjects of a specific educational level, in contrast to the games validated, for example, in the studies by Holmes (2012) about sciences; by Magnussen et al. (2014) on physics; or by Annetta et al. (2009) on biology. In other words, they are not games that correspond to a specific subject in the school curriculum.

As for the structure and representation of content, 80 % of video games does not organise their content into hierarchical series of challenges, puzzles, minigames or levels. In general, the contents of the games are presented in an explanatory way, by means of texts with conceptual information that are displayed on the screen. However, taking the challenges does not test the comprehension of the content. For this reason, it was determined that, in general, the educational contents are not correctly integrated into the game structures.

Multiculturalism is not reflected in 95 % of the games, as only one of them featured characters from different cultures. Furthermore, in terms of promoting values, in general there are no political, racial, sexual, cultural or religious prejudices, or aggressive or violent connotations, although in some instances this may be perceived otherwise. For example, there are cases where it is necessary to fight and eliminate characters to progress. There is also a game in the sample in which a character is hit with a mallet every time the player does not answer the question correctly before the time runs out.

In some of the video games the promotion of healthy habits is neglected. For example, in one video game there are characters smoking, while in another, an alcoholic drink must be consumed to overcome a certain situation.

Most of the video games from the sample contain no factual or conceptual errors. However, errors or outdated information have been detected in some of them, such as cases where incorrect answers are in fact marked as correct.

Overall, 75 % of video games have scenarios, elements or objects that largely integrate content considered relevant to the achievement of educational objectives.

For the most part, the predominant impact areas in video games are conceptual and procedural. However, the process required to overcome many of the game's challenges mainly relates to mouse and keyboard skills. Therefore, it is not about using strategies and techniques to overcome challenges, such as relating concepts, analysing information, demonstrating knowledge, building, managing, etc. In short, to encourage the application of what has been learnt and to promote meaningful learning, there are aspects that should be prioritised in the design and use of video games, such as the inclusion of challenges that encourage the application and transfer of acquired knowledge to solve new situations or problems, the creation of solutions or products within the game itself, informed decision-making, and greater integration between educational content and game mechanics.

Regarding the characteristics and pedagogical suitability of the challenges, most videogames test agility (such as quickly clicking on objects, moving them, etc.) and identification skills (such as recognising objects to catch or avoid). The subsequent most common tasks are about answering challenges that are generally presented as a question with three possible choices, one of which is correct.

In 80 % of the games, the challenges do not incorporate different levels of difficulty. Furthermore, in 100 % of the sample, the challenges are predefined in the game and repeated every time a game is played. In general, classic formats of digital activities considered easy to program are used, such as selection tasks, memory games, drag activities, puzzles, questions and answer tasks, etc.

The videogames do not present different challenges associated with the same content in order to facilitate memorisation and understanding. The skills or knowledge learned in one challenge or level of difficulty are not applied in another level whilst learning new skills or knowledge.

In addition, challenges are not presented in a gradual, progressive manner, with appropriate incremental steps and smooth transitions. Difficulty levels remain uniform throughout the video games and do not fully test one's ability, thus the possibility of overcoming the tasks is almost guaranteed.

When playing the game, feedback is generally received as correct and/or incorrect actions or answers. This feedback can be provided through success or error sounds, but also (in 55 % of the cases) in the form of positive scoring, i.e. adding points to the score. Only 10 % of video games deduct points for incorrect actions.

A very low percentage of the video games is seen to provide relevant clues to progress, whilst a similarly low percentage provide knowledge and encourage users to expand on the content, skills or values that are addressed in the game. In conversational games, this kind of help is offered through dialogues that the characters maintain whilst the user progresses through in the story.

As far as learning theories are concerned, the video games in the sample have a strong linear and behavioural character, using trial-and-error processes guided by means of positive reinforcement. There are no open-environment video games with open endings in the sample. Within the evolution in video game design and learning principles that Etxeberria (2008) shows from the contributions of Egenfeldt-Nielsen (2005) and Gros (2008), the video games analysed in this study are classified as first-generation games, characterised by a behavioural model, in which progress or the established resolution of problems according to guidelines with constant feedback prevails.

Although our study focuses on video games, the results bear parallels with the findings of Digón-Regueiro and Iglesias-Amorín (2022) on educational apps: both cases show closed designs, repetitive activities and trial-and-error learning, without progressive levels of difficulty or explanatory feedback, which reinforces a behaviourist and linear approach more oriented to memorisation than to meaningful learning. This convergence across different types of digital resources suggests a broader trend in the design of educational technology, where innovation in format is not always accompanied by innovation in pedagogical approach.

Didactic Application

In this section of the analysis, the aim is to determine whether the video games in the sample are appropriate for the environment for which they were developed, focusing mainly on the school setting. Furthermore, the study established whether the video games considered the figure of the mediator between the video game and the player (teacher, mother/father, etc.) and the student's learning model. The approach is based on the idea of understanding the video game as a device that must be analysed from educational and cultural perspectives (Massa, 2017). First, it should be pointed out that with respect to the estimated time to complete the games and considering the structure of the Spanish educational system (organised by subjects and timetables), 85 % of the cases analysed can be adapted to the current educational system. The primary reasons are the short duration and the fact that they include an option that allows the user to save their progress, leave the game and resume it later.

Regarding the model of the mediating figure between video games and players, only 10 % of the sample refers to this person, while the rest of the games ignore the role of the teacher, parents, guardians or tutors. One of the games includes a specific section for adults in which, albeit briefly, a series of recommendations for using the game at home is advised. In another game, the role of the teaching staff is suggested as an expert guide and energiser for the students. However, this is indicated on the website that hosts the game, i.e. the game does not allow the mediating figure to configure the game. In fact, none of the video games analysed can be configured by the mediator thus preventing intervention in their structures. In addition, the potential difficulties of their implementation, a key aspect in the design processes of these resources (Gómez-Gonzalvo et al. , 2018), are not mentioned in either the video games or in the complementary materials, nor do they explicitly request the opinion of the mediator on the use of these resources. It is important to note that, as Conde et al. (2023) indicate, video games can be an effective educational tool only when integrated into a structured pedagogical design and with the active participation of learning partners such as teachers and families. Their indiscriminate and unguided use can limit learning. This idea coincides with that put forward by Garbanzo-Rodríguez et al. (2017) and Fernández-Lanza (2022), who indicate that the use of video games as teaching tools must be planned and included within an educational strategy. All this reinforces the findings, which show that the games analysed rarely consider the teacher (or other mediator) and do not offer tools to adapt the experience to specific educational needs.

As for the players' learning model, none of the video games include challenges in which it is necessary to resort to alternative sources of information. Furthermore, they also do not suggest tasks to be carried out in a team, or allow configurations or changes in the content, which means it is not possible to modify the challenges or activities to adapt the game to the player's needs; nor is the player's opinion on the use of the video game requested.

With reference to the involvement in organisational tasks, none of the video games include tasks that allow communicative interaction, for example between students at different educational levels or educational centres. Nor do they include functionalities that relate the teaching teams from different centres, or that connect the centre with the community or the family with the community.

Usability and Interactivity

This section analyses the ease of use of video games, their control and interface systems, and the suitability of their audio-visual aspects.

The technical functionality, graphic interfaces and audio-visual aspects of the games are considered intuitive and easy to use. It should also be noted that the implementation of these video games does not present difficulties, as those that require installation usually include a setup wizard.

One aspect identified in the analysis is the use of the masculine form in Spanish instead of gender-inclusive language. The adoption of language that avoids the generic masculine is recommended to promote gender equality, as also highlighted in previous studies (Díez Gutiérrez, 2009; Salas Guzmán, 2018). About the combination of audio-visual aspects, the results are largely positive and comply with the dimensions identified by Cabero (2001) in relation to technical and aesthetic aspects for the evaluation of audio-visual and computer media. This includes, for example, the adequacy of the sizes of the graphics, the correct mix of music and speech, and the synchronisation of image and sound, among other factors.

As far as accessibility is concerned, most video games do not allow any type of configuration. Furthermore, none of them allow the user to adjust the font size, activate or deactivate subtitles, configure peripherals, change colours, etc. Only five of the twenty video games give the user the option to deactivate the sounds or music.

Recent research on educational video games (Gulzar & Ansari, 2025; Martinez et al. , 2024) warns that the lack of customisation options, not very intuitive interfaces and limited feedback provided by video games themselves are an obstacle to effective learning. They also highlight that the absence of adaptive difficulty levels and accessibility settings restricts the participation of people with different abilities and experiences and makes it difficult to move towards a truly inclusive design. Our results strongly support these claims, showing that accessibility and customisation remain largely underdeveloped, which reinforces the need to prioritise inclusive design principles in future developments.

In fact, accessibility in video games, whether developed in Spain or elsewhere, whether didactic or commercial, is a work in progress. According to Mangiron (2011), most successful commercial video games are barely accessible or not at all, which contributes to the exclusion of minorities.

The video games analysed are primarily addressed to the user as an individual, without considering other figures, such as teachers. In general, they do not offer options for modification or adaptation, and they mainly consist of a linear and guided software, with few options for exploration. This individualised and closed design contrasts with current pedagogical approaches that emphasise collaboration, adaptability and active learning, suggesting a misalignment between educational theory and the design of these digital resources.

One of the most highly valued aspects of video games are their graphics and designs, especially in the early conversational video games and adventure games developed between 2000 and 2006. The realistic recreations of the environments offered by some games are also positively valued, because they enable, among other aspects, the exploration of additional content, such as the landscape and story. However, the sample also includes poor graphic designs and inadequate interfaces that prevent the implementation of programmed actions as placing some elements on top of others.

Some of the video games avoid gender discrimination by portraying female and male characters in similar roles. However, there is generally a lack of characters representing different ideologies, social backgrounds, cultures, and identities. In addition, as previously indicated, the texts predominantly use the generic masculine, which is generally considered a sexist use of language. It should be noted that most of the video games analysed do not explain their educational aims. Likewise, most of the games do not state their educational objectives, nor do they establish a connection between the challenges and the content. Furthermore, they lack sufficient information to facilitate the study of their suitability, and, in fact, there are cases in which the year of publication is not indicated.

Most educational video games do not meet some of the characteristics or attributes that educational games should have in order to be considered effective learning tools. The video games analysed do not meet some of the characteristics contained in those considered as good video games by Malone (1981) and Gee (2004). In general, video games designed with educational intentions do not require collaboration to be completed, they do not offer multiple alternatives or learning routes, nor do they adapt to the player according to their ability.

The results of this research show the relationship between video games and education, as well as the importance of developing attractive and effective video games for teaching and learning processes. There is no doubt that well-designed video games are powerful digital resources. However, in order for the activity carried out with them to be successful, the weight must also fall on teachers as they must design and carry out the educational strategies or methodologies in which to integrate such media as a teaching resource.

Table 1 summarises the main findings of the study, providing an integrated overview of the key pedagogical, instructional, and functional characteristics identified in the video games analysed.