Relevant bibliographies by topics / Computer games in fiction

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Computer games in fiction'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 January 2023

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Journal articles on the topic "Computer games in fiction"

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Mosselaer, Nele Van de. "How Can We Be Moved to Shoot Zombies? A Paradox of Fictional Emotions and Actions in Interactive Fiction." Journal of Literary Theory 12, no. 2 (September 3, 2018): 279–99. http://dx.doi.org/10.1515/jlt-2018-0016.

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Abstract How can we be moved by the fate of Anna Karenina? By asking this question, Colin Radford introduced the paradox of fiction, or the problem that we are often emotionally moved by characters and events which we know don’t really exist (1975). A puzzling element of these emotions that always resurfaced within discussions on the paradox is the fact that, although these emotions feel real to the people who have them, their difference from ›real‹ emotions is that they cannot motivate us to perform any actions. The idea that actions towards fictional particulars are impossible still underlies recent work within the philosophy of fiction (cf. Matravers 2014, 26 sqq.; Friend 2017, 220; Stock 2017, 168). In the past decennia, however, the medium of interactive fiction has challenged this crystallized idea. Videogames, especially augmented and virtual reality games, offer us agency in their fictional worlds: players of computer games can interact with fictional objects, save characters that are invented, and kill monsters that are clearly non-existent within worlds that are mere representations on a screen. In a parallel to Radford’s original question, we might ask: how can we be moved to shoot zombies, when we know they aren’t real? The purpose of this article is to examine the new paradox of interactive fiction, which questions how we can be moved to act on objects we know to be fictional, its possible solutions, and its connection to the traditional paradox of fictional emotions. Videogames differ from traditional fictional media in that they let their appreciators enter their fictional worlds in the guise of a fictional proxy, and grant their players agency within this world. As interactive fictions, videogames reveal new elements of the relationship between fiction, emotions, and actions that have been previously neglected because of the focus on non-interactive fiction such as literature, theatre, and film. They show us that fictional objects can not only cause actions, but can also be the intentional object of these actions. Moreover, they show us that emotions towards fictions can motivate us to act, and that conversely, the possibility of undertaking actions within the fictional world makes a wider array of emotions towards fictional objects possible. Since the player is involved in the fictional world and responsible for his actions therein, self-reflexive emotions such as guilt and shame are common reactions to the interactive fiction experience. As such, videogames point out a very close connection between emotions and actions towards fictions and introduce the paradox of interactive fiction: a paradox of fictional actions. This paradox of fictional actions that is connected to our experiences of interactive fiction consists of three premises that cannot be true at the same time, as this would result in a contradiction: 1. Players act on videogame objects. 2. Videogame objects are fictional. 3. It is impossible to act on fictional objects. The first premise seems to be obviously true: gamers manipulate game objects when playing. The second one is true for at least some videogame objects we act upon, such as zombies. The third premise is a consequence of the ontological gap between the real world and fictional worlds. So which one needs to be rejected? Although the paradox of interactive fiction is never discussed as such within videogame philosophy, there seem to be two strategies at hand to solve this paradox, both of which are examined in this article. The first strategy is to deny that the game objects we can act on are fictional at all. Espen Aarseth, for example, argues that they are virtual objects (cf. 2007), while other philosophers argue that players interact with real, computer-generated graphical representations (cf. Juul 2005; Sageng 2012). However, Aarseth’s concept of the virtual seems to be ad hoc and unhelpful, and describing videogame objects and characters as real, computer-generated graphical representations does not account for the emotional way in which we often relate to them. The second solution is based on Kendall Walton’s make-believe theory, and, similar to Walton’s solution to the original paradox of fictional emotions, says that the actions we perform towards fictional game objects are not real actions, but fictional actions. A Waltonian description of fictional actions can explain our paradoxical actions on fictional objects in videogames, although it does raise questions about the validity of Walton’s concept of quasi-emotions. Indeed, the way players’ emotions can motivate them to act in a certain manner seems to be a strong argument against the concept of quasi-emotions, which Walton introduced to explain the alleged non-motivationality of emotions towards fiction (cf. 1990, 201 sq.). Although both strategies to solve the paradox of interactive fiction might ultimately not be entirely satisfactory, the presentation of these strategies in this paper not only introduces a starting point for discussing this paradox, but also usefully supplements and clarifies existing discussions on the paradoxical emotions we feel towards fictions. I argue that if we wish to solve the paradox of actions towards (interactive) fiction, we should treat it in close conjunction with the traditional paradox of emotional responses to fiction.
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Raessens, Joost. "Reality Play: Documentary Computer Games Beyond Fact and Fiction." Popular Communication 4, no. 3 (August 2006): 213–24. http://dx.doi.org/10.1207/s15405710pc0403_5.

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Korolev, Cyril. "“Tell it to Harry Potter, would you suddenly meet him”: Sf&F Fan Fiction as a Post-Folklore Genre of the WWW Age." Children's Readings: Studies in Children's Literature 19, no. 1 (2021): 281–300. http://dx.doi.org/10.31860/2304-5817-2021-1-19-281-300.

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The article examines the current situation in the modern Russian net-literature, where, along with the predominance of romantic fantasy and theso-called Lit-RPG (stories based on computer role-playing games), there is a rise of fan fiction, i. e. amateur fiction based on milestones (literary and cinematic — books, films, TV series, anime, computer games, etc.) of popular culture. As a special subgenre of amateur creativity, fan fiction has emerged in the English-speaking culture in the 1930s, then the emergence of the Internet has contributed to its spread and further development, and in the 1999-2000s a Russian-speaking segment of fan fiction has been formed, significant in volume and diverse in topics. This work examines the genesis of this kind of neterature and reveals the post-folklore nature of modern fan fiction, defines fan fiction as a specific phenomenon of modern popular culture, characterizes the peculiarities of fan fiction as a subject of scientific research, and provides some quantitative characteristics of the corpus of Russian-language fan fiction. The article presents outlines and prospects for further study.
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Fomin, Andrei G., and Vladislav I. Chobotar. "Anthroponyms in Fantasy Fiction and Computer Games: Approaches to Translation." Bulletin of Kemerovo State University 21, no. 2 (July 8, 2019): 558–64. http://dx.doi.org/10.21603/2078-8975-2019-21-2-558-564.

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The following article examines the ways of translation of anthroponyms from English to Russian in fantasy fiction and computer games. The purpose of the study is to analyze and compare the anthroponyms translation variants in the literary text. In the following article works of Russian and foreign scientists in the context of anthroponimics were used, the usage of classification models was taken up, comparative analysis and functional analysis were used. The following study can be used in textbooks, in the process of translation and localization of fantasy fiction and computer games. The research material involves translations of anthroponyms of fantasy literature cycles (Harry Potter, The Song of Ice and Fire, The Lord of the Rings) and fantasy role-playing computer game "World of Warcraft". Particular patterns of anthroponyms translation were shown in terms of early and modern translations.
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Milburn, Colin, Katherine Buse, Ranjodh Singh Dhaliwal, Melissa Wills, Raida Aldosari, Patrick Camarador, Josh Aaron Miller, and Justin Siegel. "Join the Fold: Video Games, Science Fiction, and the Refolding of Citizen Science." Design Issues 39, no. 1 (January 1, 2023): 70–87. http://dx.doi.org/10.1162/desi_a_00707.

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Abstract This article explores the value of science fiction narratives in games for citizen science. Focusing on the protein-folding game Foldit, it describes the process of modifying and redesigning the game to feature a framing narrative and other alterations to the main tutorial campaign. The campaign narrative, Foldit: First Contact, situates the practices of citizen science in an expanded context of meanings and ethical implications, promoting critical self-reflection on the relations of science and civic values. A study of player responses to Foldit: First Contact suggests the significance of science fiction and critical game design for attuning citizen scientists to the collective responsibilities of experimentation and innovation, drawing attention to the intersecting social, technical, and environmental domains in which gamers may contribute to scientific research.
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Valls-Vargas, Josep. "Narrative Extraction, Processing and Generation for Interactive Fiction and Computer Games." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 9, no. 6 (June 30, 2021): 37–40. http://dx.doi.org/10.1609/aiide.v9i6.12600.

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Often, computer games require meaningful stories and complex worlds in order to successfully engage players. Developing a high-quality story and rich characters can be one of the hardest tasks in the game development process. Narrative is a key element in building game worlds for interactive digital entertainment. I am particularly interested in computational narrative algorithms that can analyze stories, model narrative, and generate plots to be used in various forms and game domains.
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Kokonis, Michalis. "Intermediality between Games and Fiction: The “Ludology vs. Narratology” Debate in Computer Game Studies: A Response to Gonzalo Frasca." Acta Universitatis Sapientiae, Film and Media Studies 9, no. 1 (December 1, 2014): 171–88. http://dx.doi.org/10.1515/ausfm-2015-0009.

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Abstract In the last ten or fourteen years there has been a debate among the so called ludologists and narratologists in Computer Games Studies as to what is the best methodological approach for the academic study of electronic games. The aim of this paper is to propose a way out of the dilemma, suggesting that both ludology and narratology can be helpful methodologically. However, there is need for a wider theoretical perspective, that of semiotics, in which both approaches can be operative. The semiotic perspective proposed allows research in the field to focus on the similarities between games and traditional narrative forms (since they share narrativity to a greater or lesser extent) as well as on their difference (they have different degrees of interaction); it will facilitate communication among theorists if we want to understand each other when talking about games and stories, and it will lead to a better understanding of the hybrid nature of the medium of game. In this sense the present paper aims to complement Gonzalo Frasca’s reconciliatory attempt made a few years back and expand on his proposal.
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Clasen, Mathias. "Monsters Evolve: A Biocultural Approach to Horror Stories." Review of General Psychology 16, no. 2 (June 2012): 222–29. http://dx.doi.org/10.1037/a0027918.

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Horror fiction is a thriving industry. Many consumers pay hard-earned money to be scared witless by films, books, and computer games. The well-told horror story can affect even the most obstinate skeptic. How and why does horror fiction work? Why are people so fascinated with monsters? Why do horror stories generally travel well across cultural borders, if all they do is encode salient culturally contingent anxieties, as some horror scholars have claimed? I argue that an evolutionary perspective is useful in explaining the appeal of horror, but also that this perspective cannot stand alone. An exhaustive, vertically integrated theory of horror fiction incorporates the cultural dimension. I make the case for a biocultural approach, one that recognizes evolutionary underpinnings and cultural variation.
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Mosca, Ivan. "From Fiction to Reality and Back." International Journal of Gaming and Computer-Mediated Simulations 5, no. 1 (January 2013): 13–31. http://dx.doi.org/10.4018/jgcms.2013010102.

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The relation between games and simulations can be profitably investigated by combining ontological tools and recent neurological findings. Neurology shows that simulations are connected to fiction or to reality by a suspension of disbelief or alternatively a suspension of belief, and ontological categories of Mimesis (simulation of an event or an object) and Catharsis (simulation of the experience of an event or object) lead to a classification of ludic simulations, which allow to discover some of their hidden properties. This paper raises some new issues for the field, like Embodied Simulation, Simulations of Depth and of Surface, the Ontological and the Epistemological Barrier, the Simulation Story, and the K-Rule. Finally, some wittgensteinian tools (semantic, syntactic, infra-semantic, and super-syntactic) are used in order to suggest how to transform a simulation into a ludic simulation.
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Andersen, Tore Rye. "Staggered transmissions." Convergence: The International Journal of Research into New Media Technologies 23, no. 1 (January 24, 2017): 34–48. http://dx.doi.org/10.1177/1354856516675256.

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The final part of the recent anthology Serialization in Popular Culture (2014) is called ‘Digital serialization’ and is devoted to ‘the influence of digital technologies on serial form’. The chapters throughout the anthology focus on modern serial phenomena such as TV series and computer games, but apart from a chapter on serial fiction in the 19th century, literature is conspicuously absent. However, the digital revolution has also left its mark on literature and given rise to new publishing strategies, including a resurgence of different forms of serialization. Some of the most notable examples of digital serial fiction are published via Twitter, and through analyses of recent Twitter stories by Jennifer Egan and David Mitchell, the article discusses how the micro-serialization of Twitter fiction both differs from and draws on the pre-digital tradition of serial fiction. In order to address these differences and similarities, the analyses focus on two interrelated aspects of serialization, temporality and interaction. Furthermore, they discuss the promotional dimension of Twitter fiction that arises as the financial dictates of legacy publishing intersect with fiction distributed via digital social media.
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Dissertations / Theses on the topic "Computer games in fiction"

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Buckles, Mary Ann. "Interactive fiction : the computer storygame adventure /." Diss., Connect to 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1985. http://wwwlib.umi.com/cr/ucsd/fullcit?p8517895.

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Ode, Jon. "Religion in computer games : Religious themes conveyed through an unorthodox medium." Thesis, Karlstads universitet, Avdelningen för humaniora och genusvetenskap, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-12064.

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The purpose of this essay is an attempt to create a “first basis” of reliability for religious content in computes games, and its value in academic studies. While not researching it in depth, this essay will also give a suggestion of computer games’ potential as a didactic medium. A quantitative comparative analysis has been performed, to present several common religious themes and their occurrence in the computer game respectively. While researching the game, an abundance of religious themes have been found, documented and presented. Through this, it is concluded that computer games not only have the capability of presenting religious themes; they are found to be capable mediums of presentation. The content itself is of high varsity and of great interest to any religious scholar.
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Nilsson, Jakob. "Berättelsens labyrinter : Interaktiv fiktion och dess narrativa aspekter." Thesis, Södertörns högskola, Institutionen för genus, kultur och historia, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-15297.

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This essay examines the narrative aspect of interactive fiction. The study uses Janet H. Murrays analysis of the digital environment and the properties of it as procedural, participatory, spatial and encyclopedic. From this, her three characteristic pleasures in digital narratives - immersion, agency and transformation - are examined from the perspective of interactive fiction. The study also examines Nick Montforts analysis of interactive fiction as a potential narrative and a simulated world or environment. His comparison of interactive fiction with the literary riddle is also used in regards to puzzles and other game-related aspects in interactive fiction as a part of storytelling. Furthermore, the essay uses Espen J. Aarseths analysis on ergodic text and non-linearity to place interactive fiction in a tradition of participatory texts not necessarily bound to the computer. The essay show how the repeated and sudden nature of death in interactive fiction poses a potential problem in its aspiration to create a cohesive storytelling experience. Death can however be used as an aid in other narrative aspirations, such as humour. Furthermore, the participatory aspect of interactive fiction can create a meaningful and strong emotional response to the death of non-player characters. The essay also show how interactive fiction may use puzzles and other challenges as a method to create suspense and drama. The quality of interactive fiction as a simulated world enables it to create mazes and related experiences based on spatial navigation. Especially it underlines its capacity to in this manner portrait abstract concepts such as bureaucracy in a convincing and literal way. Finally the essay proposes that interactive fiction can be viewed as a bridge between traditional literary texts and the new digital texts of computer based entertainment. The essay therefore suggests that interactive fiction, with its expressed literary ambitions, is especially qualified as a starting point for understanding computer games as a capable storytelling tool. Further studies on interactive fiction may help reach a deeper understanding of the narrative qualities of computer games.
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Magnuson, Markus Amalthea. "The Dig : De grafiska äventyrsspelen som flyktigt medium." Thesis, Stockholms universitet, Filmvetenskapliga institutionen, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-179044.

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Ali, Ahmad, and Svensson Marcus. "Animation through Body Language : A study using the fictional character Mokhtar." Thesis, Uppsala universitet, Institutionen för speldesign, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-297660.

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Learning to read body language is something we do throughout our whole life. It is a complex non-verbal language that can express more than words. In this study we investigate the possibility to use only body language to portray emotions to the viewer. In a background of a game project we have used a character that has his face covered, therefore, facial expression is not visible during the online survey, which we used as a method for our investigation. As a foundation we have created four character animations to portray anger, frustration, exhaustion and hurt. To find the answer if it is possible to recognize those five emotions in the character animations survey, participants were obligated to name the emotion expressed on each of the video clips. The results of this study show that the characters body language could be sufficient to portray those five emotions. However, it was concluded that body language could be enough to represent the character's emotional state to the viewer; but by including facial expressions we could help to portray the emotion even further.
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Nilsson, Christian. "Berättande simuleringar : Om datorspel och lärande i GY11:s litteraturundervisning." Thesis, Högskolan för lärande och kommunikation, Högskolan i Jönköping, Medie-, litteratur- och språkdidaktik, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-15343.

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Uppsatsen försöker kartlägga hur och om datorspel kan användas i samma syfte som skönlitteratur i den litteraturundervisning som GY11 föreskriver. Fokus ligger på beröringsytor mellan skönlitteratur och datorspel gällande lärande; främst identitetsskapande, moral och etik men också stilistiska drag och litteraturvetenskapliga begrepp. Med två exempel, Fallout: New Vegas och Grand Theft Auto IV, visas hur berättandet i datorspel kan ge mediet en plats i gymnasieskolans litteraturundervisning, samt hur immersion, perspektiv och interaktivitet kan ge spelare något som inte skönlitteratur kan ge läsare.
The purpose of this thesis is to discuss whether and how computer games can be used as fiction in literature education in accordance with the new Swedish gymnasium curriculums, GY11. The focus is on the contact points between computer games and fiction regarding learning; foremost building identities, morality and ethics, but also stylistics and concepts in literary science. It is show that, using two examples (Fallout: New Vegas and Grand Theft Auto IV), the narrative elements in computer games can give them room and literary education, and also that immersion, perspective and interactivity can give players something that fiction can’t give its readers.
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Stenberg, Peder. "Den allvarsamma leken : Om World of Warcraft och läckaget." Doctoral thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-42073.

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Through more than five years of extensive, participatory research the writer became a fully integrated member of the World of Warcraft community he set out to study. By actually living the grounded practices that constitute the everyday life he concludes that the mundane, often repetitive practice has very little to do with the cyber-utopian claim that one can flee the body and become who they want on the Internet. Instead this doctoral thesis argues that the constant transitions of the borders between offline and online, virtual and real, body and avatar, play and work, player and producer are best described with the concept of leakage. Using leakage to describe the perforated borders that surrounds the game not only allows an understanding of World of Warcraft as a powerful site for production of meaning and culture but also places it far from the traditional understandings of separated fun, play and games. Play as an activity has traditionally been described with three intrinsic features: it is separable from everyday life, in particular from work; it is safe, meaning that it isn’t productive nor does it carry consequence and finally that play is pleasurable or fun. World of Warcraft doesn’t easily admit to these features and should not be understood as neither innocent utopia nor as a devoured mimesis, but rather as an expansion of the life space where players repeatedly and deliberately stretch beyond the producer’s intentions and create a world consisting of work, unwritten social norms, creativity and friendship. Players are social laborers that produce the core of what makes World of Warcraft what it is: a serious game.
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Papargyriou, Eleni. "Reading games in twentieth-century Greek fiction." Thesis, University of Oxford, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.433282.

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Goggin, Joyce. "The big deal, card games in 20th-century fiction." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0006/NQ35594.pdf.

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Vedrashko, Ilya. "Advertising in computer games." Thesis, Massachusetts Institute of Technology, 2006. http://hdl.handle.net/1721.1/39144.

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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2006.
Includes bibliographical references (leaves [67]-[74]).
This paper suggests advertisers should experiment with in-game advertising to gain skills that could become vital in the near future. It compiles, arranges and analyzes the existing body of academic and industry knowledge on advertising and product placement in computer game environments. The medium's characteristics are compared to other channels' in terms of their attractiveness to marketers, and the business environment is analyzed to offer recommendations on the relative advantages of in-game advertising. The paper also contains a brief historical review of in-game advertising, and descriptions of currently available and emerging advertising formats. Keywords: Advertising, marketing, branding, product placement, branded entertainment, networks, computer games, video games, virtual worlds.
by Ilya Vedrashko.
S.M.
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Books on the topic "Computer games in fiction"

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Terminal games. New York: Bantam Books, 1994.

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Terminal games. New York: Bantam Books, 1994.

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Copyright Paperback Collection (Library of Congress), ed. Deadly games. New York, NY: Signet Book, 2003.

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Deadly games. Long Preston, North Yorkshire, Eng: Magna Large Print Books, 2001.

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Brudner, Alan. Mind games. Bend, Or: Salvo Press, 2001.

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The skeletons strike back: An unofficial gamer's adventure book five. New York: Sky Pony Press, 2015.

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Expressive processing: Digital fictions, computer games, and software studies. Cambridge, Mass: MIT Press, 2012.

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Morgan, Winter. Treasure hunters in trouble: An unofficial minecrafter's novel. London: Bloomsbury, 2015.

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Lueders, Raymond. Compute's adventure game player's handbook: Science fiction and fantasy. Greensboro, N.C: Compute Books, 1994.

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Black, J. R. Revenge of the computer phantoms. New York: Random House, 1993.

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Book chapters on the topic "Computer games in fiction"

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Meskin, Aaron, and Jon Robson. "Fiction and Fictional Worlds in Videogames." In The Philosophy of Computer Games, 201–17. Dordrecht: Springer Netherlands, 2012. http://dx.doi.org/10.1007/978-94-007-4249-9_14.

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Rusch, Doris C. "Emotional Design of Computer Games and Fiction Films." In Computer Games as a Sociocultural Phenomenon, 22–31. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230583306_3.

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Klevjer, Rune. "Chapter 3: Computer game fiction." In Game Studies, 49–80. Bielefeld, Germany: transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839445792-005.

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Lamas, Néstor Jaimen. "Game Based Learning in Science Fiction." In Communications in Computer and Information Science, 59–71. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-95305-8_5.

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Schatten, Markus, Bogdan Okreša Đurić, and Tomislav Peharda. "An Agent-Based Game Engine Layer for Interactive Fiction." In Lecture Notes in Computer Science, 385–89. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-85739-4_38.

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McGill, Kirsty Michelle. "The Digital Lineage of Narrative: Analyzing Interactive Fiction to Further Understand Game Narrative." In International Series on Computer Entertainment and Media Technology, 77–90. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-81538-7_5.

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Drumwright, Evan. "Games, Computer." In Encyclopedia of Sciences and Religions, 924–26. Dordrecht: Springer Netherlands, 2013. http://dx.doi.org/10.1007/978-1-4020-8265-8_1221.

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Seiwald, Regina. "Games Within Games." In Communications in Computer and Information Science, 18–31. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-37983-4_2.

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Closa, Daniel, Alex Gardiner, Falk Giemsa, and Jörg Machek. "Games." In Patent Law for Computer Scientists, 129–42. Berlin, Heidelberg: Springer Berlin Heidelberg, 2009. http://dx.doi.org/10.1007/978-3-642-05078-7_9.

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Baillot, Patrick, Vincent Danos, Thomas Ehrhard, and Laurent Regnier. "Timeless games." In Computer Science Logic, 56–77. Berlin, Heidelberg: Springer Berlin Heidelberg, 1998. http://dx.doi.org/10.1007/bfb0028007.

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Conference papers on the topic "Computer games in fiction"

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Berkland, Ross, and Shaun Bangay. "Identifying annotations for adventure game generation from fiction text." In the 2010 Annual Research Conference of the South African Institute of Computer Scientists and Information Technologists. New York, New York, USA: ACM Press, 2010. http://dx.doi.org/10.1145/1899503.1899506.

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Rapp, Amon, Federica Cena, Frank Hopfgartner, Juho Hamari, and Conor Linehan. "Fictional Game Elements." In CHI PLAY '16: The annual symposium on Computer-Human Interaction in Play. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/2968120.2968125.

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Olarescu, Dumitru. "Ethnological motifs in the non-fiction film." In Ethnology Symposium "Ethnic traditions and processes", Edition II. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975333788.07.

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The possibilities of the documentary film to fix ethnological and ethnographic phenomena in all their audiovisual integrity contributed to the realization of this category of films right from the beginnings of non-fiction cinema. At the «Moldova-film» studio, despite the very vigilant ideological conditions of the totalitarian regime, especially when it came to the cultural heritage of the native people, our filmmakers released a series of films, dedicated to customs, rituals and traditions – important components of our national identity. This category of films has been talked about and written in some specialized studies. The cinematographic works “Trânta/Wrestling” (director Anatol Codru) and “Jocurile copilăriei noastre/The Games of our Childhood” (directors Vlad Druc, Mircea Chistrugă) serve as research topic for us. They are dedicated to popular sports games, which, besides being captivating manifestations that have survived through centuries until the present, are imposed in the context of national identity, but, through this prism, the respective works have not been researched yet.
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Bates, Rebecca, Judy Goldsmith, Rosalyn Berne, Valerie Summet, and Nanette Veilleux. "Science fiction in computer science education." In the 43rd ACM technical symposium. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2157136.2157184.

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Milkes Espinosa, Sara, and Carl Disalvo. "Trash Work Futures: A Design Fiction." In CHIWORK 2022: 2022 Symposium on Human-Computer Interaction for Work. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3533406.3533422.

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Cai, Ning, and Jian Zhou. "On Skopos Theory: An Exemplification of Fiction." In International Conference on Education, Management, Computer and Society. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/emcs-16.2016.17.

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Bates, Rebecca. "Session details: Science fiction in computer science education." In SIGCSE '12: The 43rd ACM Technical Symposium on Computer Science Education. New York, NY, USA: ACM, 2012. http://dx.doi.org/10.1145/3248097.

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García Ferrari, Tomás, Annika Hinze, and Judy Bowen. "An IoT for Everyone: Fact or Fiction?" In Proceedings of the 32nd International BCS Human Computer Interaction Conference. BCS Learning & Development, 2018. http://dx.doi.org/10.14236/ewic/hci2018.97.

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Mubin, Omar, Mohammad Obaid, Wolmet Barendregt, Simeon Simoff, and Morten Fjeld. "Science Fiction and the Reality of HCI." In OzCHI '15: The Annual Meeting of the Australian Special Interest Group for Computer Human Interaction. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2838739.2838835.

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Lyckvi, Sus, Virpi Roto, Elizabeth Buie, and Yiying Wu. "The role of design fiction in participatory design processes." In NordiCHI'18: Nordic Conference on Human-Computer Interaction. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3240167.3240258.

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Reports on the topic "Computer games in fiction"

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Lily Gullion, Lily Gullion. Understanding Teamwork Using Computer Games. Experiment, March 2015. http://dx.doi.org/10.18258/4913.

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Jane Hornickel, Jane Hornickel. Educational computer games: How long do benefits last? Experiment, June 2014. http://dx.doi.org/10.18258/2780.

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May, John W., and Jr. Computer Simulations and the Army War College, Where Are the Games. Fort Belvoir, VA: Defense Technical Information Center, April 1990. http://dx.doi.org/10.21236/ada223289.

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Zimmerman, Daniel M., Brian Rothstein, Yevgeniy Kaganovich, and Khai Pahm. Constructing Client-Server Multi-Player Asynchronous Networked Games Using a Single-Computer Model. Fort Belvoir, VA: Defense Technical Information Center, August 1997. http://dx.doi.org/10.21236/ada446104.

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Lewis, Jeremy R. Using Commercial-off-the-Shelf Computer Games to Train and Educate Complexity and Complex Decision-Making. Fort Belvoir, VA: Defense Technical Information Center, September 2008. http://dx.doi.org/10.21236/ada510008.

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Haylock, Stuart. Limbs Alive: Use of computer games to provide motivating, child centred therapy to improve bimanual skills for children with hemiplegic cerebral palsy. National Institute for Health Research, July 2021. http://dx.doi.org/10.3310/nihropenres.1115160.1.

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Gautier-Downes, Catherine. Final Report: Computer Games to Teach Geography: El Nino: Mysteries of the Pacific and Mysteries of the Antarctic, August 15, 1994 - June 20, 1998. Office of Scientific and Technical Information (OSTI), September 1998. http://dx.doi.org/10.2172/765700.

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Makhachashvili, Rusudan K., Svetlana I. Kovpik, Anna O. Bakhtina, and Ekaterina O. Shmeltser. Technology of presentation of literature on the Emoji Maker platform: pedagogical function of graphic mimesis. [б. в.], July 2020. http://dx.doi.org/10.31812/123456789/3864.

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The article deals with the technology of visualizing fictional text (poetry) with the help of emoji symbols in the Emoji Maker platform that not only activates students’ thinking, but also develops creative attention, makes it possible to reproduce the meaning of poetry in a succinct way. The application of this technology has yielded the significance of introducing a computer being emoji in the study and mastering of literature is absolutely logical: an emoji, phenomenologically, logically and eidologically installed in the digital continuum, is separated from the natural language provided by (ethno)logy, and is implicitly embedded into (cosmo)logy. The technology application object is the text of the twentieth century Cuban poet José Ángel Buesa. The choice of poetry was dictated by the appeal to the most important function of emoji – the expression of feelings, emotions, and mood. It has been discovered that sensuality can reconstructed with the help of this type of meta-linguistic digital continuum. It is noted that during the emoji design in the Emoji Maker program, due to the technical limitations of the platform, it is possible to phenomenologize one’s own essential-empirical reconstruction of the lyrical image. Creating the image of the lyrical protagonist sign, it was sensible to apply knowledge in linguistics, philosophy of language, psychology, psycholinguistics, literary criticism. By constructing the sign, a special emphasis was placed on the facial emogram, which also plays an essential role in the transmission of a wide range of emotions, moods, feelings of the lyrical protagonist. Consequently, the Emoji Maker digital platform allowed to create a new model of digital presentation of fiction, especially considering the psychophysiological characteristics of the lyrical protagonist. Thus, the interpreting reader, using a specific digital toolkit – a visual iconic sign (smile) – reproduces the polylaterial metalinguistic multimodality of the sign meaning in fiction. The effectiveness of this approach is verified by the poly-functional emoji ousia, tested on texts of fiction.
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Соловйов, Володимир Миколайович, Наталя Володимирівна Моісеєнко, and Олена Юріївна Тарасова. Complexity theory and dynamic characteristics of cognitive processes. Springer, January 2020. http://dx.doi.org/10.31812/123456789/4143.

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The features of modeling of the cognitive component of social and humanitarian systems have been considered. An example of using entropy multiscale, multifractal, recurrence and network complexity measures has shown that these and other synergetic models and methods allow us to correctly describe the quantitative differences of cognitive systems. The cognitive process is proposed to be regarded as a separate implementation of an individual cognitive trajectory, which can be represented as a time series and to investigate its static and dynamic features by the methods of complexity theory. Prognostic possibilities of the complex systems theory will allow to correct the corresponding pedagogical technologies. It has been proposed to track and quantitatively describe the cognitive trajectory using specially transformed computer games which can be used to test the processual characteristics of thinking.
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