To see the other types of publications on this topic, follow the link: Computer games in fiction.
Journal articles on the topic 'Computer games in fiction'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Computer games in fiction.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
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.
Full textAbstract:
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.
2
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.
Full text
3
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.
Full textAbstract:
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.
4
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.
Full textAbstract:
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.
5
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.
Full textAbstract:
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.
6
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.
Full textAbstract:
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.
7
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.
Full textAbstract:
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.
8
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.
Full textAbstract:
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.
9
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.
Full textAbstract:
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.
10
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.
Full textAbstract:
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.
11
Kouratoras, Michail. "Interactive Fiction Video Games as Cyborg Theatre. A Postphenomenological Approach." International Journal of Arts and Technology 12, no. 3 (2020): 1. http://dx.doi.org/10.1504/ijart.2020.10030375.
Full text
12
Kouratoras, Michail. "Interactive fiction video games as cyborg theatre. A postphenomenological approach." International Journal of Arts and Technology 12, no. 3 (2020): 197. http://dx.doi.org/10.1504/ijart.2020.109802.
Full text
13
Liu 3, Guangquan, Azhari Md Hashim, and Norman Yusoff. "VISUAL PRESENTATION OF CYBERSPACE: ANALYZING THE PRODUCTION DESIGN OF THE FILM, FREE GUY." Journal of Information System and Technology Management 7, no. 29 (December 31, 2022): 136–43. http://dx.doi.org/10.35631/jistm.729012.
Full textAbstract:
Cyberspace is a virtual world in a computer network. With the continuous development of information technology and the continuous expansion of the boundary of art, more and more artists and designers focus their exploration on the visual presentation of cyberspace. Video games and sci-fi movies have become the testing ground for the visual image of cyberspace. The film Free Guy is a science fiction film based on video games. The film production designers designed a fantasy and colourful cyberspace for Free Guy, which has been widely praised for its visual presentation. Therefore, this study mainly analyzes the visual representation of cyberspace from the production design of the film Free Guy.
14
Osborne, Philip, Heido Nõmm, and André Freitas. "A Survey of Text Games for Reinforcement Learning Informed by Natural Language." Transactions of the Association for Computational Linguistics 10 (2022): 873–87. http://dx.doi.org/10.1162/tacl_a_00495.
Full textAbstract:
Abstract Reinforcement Learning has shown success in a number of complex virtual environments. However, many challenges still exist towards solving problems with natural language as a core component. Interactive Fiction Games (or Text Games) are one such problem type that offer a set of safe, partially observable environments where natural language is required as part of the Reinforcement Learning solution. Therefore, this survey’s aim is to assist in the development of new Text Game problem settings and solutions for Reinforcement Learning informed by natural language. Specifically, this survey: 1) introduces the challenges in Text Game Reinforcement Learning problems, 2) outlines the generation tools for rendering Text Games and the subsequent environments generated, and 3) compares the agent architectures currently applied to provide a systematic review of benchmark methodologies and opportunities for future researchers.
15
Lepeshkin, I. A., S. M. Kruglov, and A. V. Lepeshkin. "Evolution of concept art and design concepts in automotive design of the XX century." Izvestiya MGTU MAMI 8, no. 3-1 (February 10, 2014): 34–44. http://dx.doi.org/10.17816/2074-0530-67654.
Full textAbstract:
The evolution of conceptual developments in the field of transport is considered in the paper. It is possible to clearly trace the significance of these developments and the impact of various spheres of human life on their forming. Conceptual transport finds its application not only in the field of entertainment such as science-fiction films or computer games, but is crucial in the design of new industrial objects in the automotive industry and in the choice of strategic directions of development of industry and each brand in particular.
16
Scacchi, Walt. "Autonomous eMotorsports racing games: Emerging practices as speculative fictions." Journal of Gaming & Virtual Worlds 10, no. 3 (October 1, 2018): 261–85. http://dx.doi.org/10.1386/jgvw.10.3.261_1.
Full textAbstract:
Motorsports games and simulated automobile racing occupy a dynamic genre of computer games for entertaining play, critical game studies and ‘auto-play’. This article utilizes the lens of speculative design to present six scenarios that seek to motivate the design of autonomous eMotorsports games and play experiences through alternative design fictions. These fictions serve to help identify and tease out how different socio-technical configurations emerging around autonomous vehicles, motorsports games, sim racing user interfaces and user experiences, embrace or exclude different stakeholders. These stakeholders can shape how autonomous eMotorsports games, game play and game viewing will emerge and prosper. These fictions also serve as a narrative web of possible socio-technical configurations open to critical review through: (1) transhumanist spectacle and spectating; (2) technofeminist and gendered framings of these configurations; and (3) whether digital artefacts configured to realize autonomous eMotorsports games have politics.
17
Sergeyeva, Olga, Anna Tsareva, Nadezhda Zinoveva, and Olga Kononova. "Social Skills Amongst MMORPG-Gamers: Empirical Study." SHS Web of Conferences 50 (2018): 01008. http://dx.doi.org/10.1051/shsconf/20185001008.
Full textAbstract:
The research paper addresses the issue of the impact of MMORPGs on social culture and communication skills of individuals. The mainstream discourse about computer games which take individuals away from reality and substitute the real life by the fictional one is complemented by brand new ideas, which affirm that computer games do not substitute but supplement the real life and expand its possibilities. To confirm the presented point of view we use diagnostic questionnaire of interpersonal relations by A.A. Rukavishnikov. This questionnaire is aimed to evaluate typical ways of respondent’s attitude towards other people. At this point we have 43 gamers and 29 non-gamers involved in our research, aged 18 to 57. The comparison of a user and non-user answers gives a bigger view on an overall gaming experience. In the obtained indices we note that there are no fundamental differences between MMORPGs gamers and ordinary people. During research, MMORPGs users have showed many important social interaction skills such as striving to control own actions, collaborate with others, though with a low interest in emotionally charged relationships. Authors discuss the idea about the differences between addiction and fascination among gamers.
18
Jhon, Alex. "The Implementation of 16-Bit Video Games Gameplay in Gamebook Fiction Writing." Advanced Science Letters 24, no. 10 (October 1, 2018): 7159–63. http://dx.doi.org/10.1166/asl.2018.12431.
Full text
19
Volkova, T. N. "RECEPTIVE STRATEGIES OF Y. KLAVDIEV'S PLAY "THE YAKUZA DOGS"." Bulletin of Kemerovo State University, no. 2 (June 29, 2017): 184–88. http://dx.doi.org/10.21603/2078-8975-2017-2-184-188.
Full textAbstract:
The article discusses the play by contemporary playwright Yuri Klavdiev "TheYakuza Dogs." Here is a detailed (but not exhaustive) analysis of the cultural codes. According to the author of the study, the languages of animation, cinema, classical and fictional literature, computer games and eastern philosophy form in the play, a specific "dialect" addressed to its teenage reader. The article emphasizes that a reading teenager is different from a child-reader and an adult reader: their receptive capabilities are largely defined by puberty crisis. On the one hand, in fiction a teenager looks for dynamics and heroics, and, on the other hand, they are eager to face the social reality fierce with its innumerable conflicts. In the first case, the teenagers manifest themselves as a child-reader with their interest for action and the struggle between good and evil. In the second case, on the contrary, as an adult, since the ability to see the border that separates the tale from life belongs only to a well-formed reader.
20
Guttenbrunner, Mark, Christoph Becker, and Andreas Rauber. "Keeping the Game Alive: Evaluating Strategies for the Preservation of Console Video Games." International Journal of Digital Curation 5, no. 1 (June 22, 2010): 64–90. http://dx.doi.org/10.2218/ijdc.v5i1.144.
Full textAbstract:
Interactive fiction and video games are part of our cultural heritage. As original systems cease to work because of hardware and media failures, methods to preserve obsolete video games for future generations have to be developed. The public interest in early video games is high, as exhibitions, regular magazines on the topic and newspaper articles demonstrate. Moreover, games considered to be classic are rereleased for new generations of gaming hardware. However, with the rapid development of new computer systems, the way games look and are played changes constantly. When trying to preserve console video games one faces problems of classified development documentation, legal aspects and extracting the contents from original media like cartridges with special hardware. Furthermore, special controllers and non-digital items are used to extend the gaming experience making it difficult to preserve the look and feel of console video games.This paper discusses strategies for the digital preservation of console video games. After a short overview of console video game systems, there follows an introduction to digital preservation and related work in common strategies for digital preservation and preserving interactive art. Then different preservation strategies are described with a specific focus on emulation. Finally a case study on console video game preservation is shown which uses the Planets preservation planning approach for evaluating preservation strategies in a documented decision-making process. Experiments are carried out to compare different emulators as well as other approaches, first for a single console video game system, then for different console systems of the same era and finally for systems of all eras. Comparison and discussion of results show that, while emulation works very well in principle for early console video games, various problems exist for the general use as a digital preservation alternative. We show what future work has to be done to tackle these problems.
21
Vorobyeva, O. V., and F. V. Nikolai. "DIGITAL FRONT: WORLD WAR I IN COMPUTER GAMES." Вестник Пермского университета. История, no. 4(59) (2022): 129–39. http://dx.doi.org/10.17072/2219-3111-2022-4-129-139.
Full textAbstract:
The article presents a brief overview of contemporary discussions on the transformation of historical memory in digital culture, and above all in video games. The representation of the heroic and tragic narratives in games, most often related to World War II and World War I, respectively, differs significantly. The former uses a realistic strategy of representation and emphasizes visual detailing, linear plot construction, and the synchronization of in-game, fictional, and historical time. Authenticity is perceived here through the realism of details. The tragic narrative uses a deconstructivist strategy of representation, characterized by animated or impressionistic graphics and by positioning war itself as the main enemy, not national armies or individual soldiers. Thus, authenticity is understood through a reference to the existential nature of the war experience. The realistic strategy prevails in contemporary popular culture, but the heroic narrative is increasingly intertwined with the tragic. As a result, the balance between the desire to normalize the war and its problematization shifts significantly in the space of culture. The article analyzes Western historiography by examining the games “Verdun 1914–1918”, “The Trenches", "Brave Hearts” and others. The authors conclude that the influence of digital culture and video games on the perceptions of the past cannot be reduced exclusively to consumerism or the popularization of academic knowledge. It implies an active transformation of the very ways of interacting with the past, a change in established genre norms, an increase in interactivity, democratization, and aestheticization. These trends are inextricably linked with broader transformations of the modes of historicity in public consciousness at the turn of the 20th and 21st centuries.
22
Bonk, Jens. "Finishing the Fight, One Step at a Time: Seriality in Bungie’s Halo." Eludamos: Journal for Computer Game Culture 8, no. 1 (December 12, 2014): 65–81. http://dx.doi.org/10.7557/23.6156.
Full textAbstract:
The computer game series Halo has become one of the largest and most profitable transmedia franchises in the world, with lifetime sales of more than $3 billion in 2013 (Halo Waypoint). The narratives within the Halo universe unfold across several computer games, comic books, novels, short films (including advertising) and ARGs. On top of these corporate products that form the core ‘canon,’ fan communities have built intricately connected, additional narratives (e.g. Rooster Teeth’s Red vs. Blue) based on the story and/or the technology provided by the Halo games. This paper seeks to explore the different modes of seriality that Halo engages with. It thus traces Halo’s narrative across what Denson and Jahn-Sudmann have called “intra-ludic, inter-ludic and para-ludic” boundaries (2013). Obviously Denson and Jahn-Sudmann’s approach lends itself to the analysis of the complex fiction of Halo as a whole, but also of its constituent parts and their interrelations.
As with a lot of modern transmedia franchises, Halo’s narrative universe is at the same time splintered and unified, each installment standing on its own, but also being connected to a larger, fictional history. Consequently, it represents the culmination of what Marsha Kinder first described as “transmedia intertextuality” (1993) and what Henry Jenkins has developed further in several volumes and articles (e.g. 2003, 2011).
Beginning with the big picture of Halo as a transmedia universe, this paper will analyze the relationships between the different layers of seriality that make up Halo as a singular, yet disjointed, narrative. While para-ludic and inter-ludic elements of Halo’s seriality as a narrative universe are relatively obvious and clearly delineated, intra-ludic seriality within the Halo computer games is less visible and more subtle. Thus, in an effort to give a more detailed explanation of the role intra-ludic seriality plays in Halo as a whole, a large part of this paper will consist of a close reading of Halo 3’s first chapter. A central concept for this analysis will be the notion of “serial one-upmanship” or “outbidding” (cf. Jahn-Sudmann and Kelleter 2012), which is at the core of Halo 3’s intra-ludic seriality. While Halo 3 is divided into clearly marked chapters, this paper will argue that its intra-ludic seriality extends further and is shaped by elements of the gameplay itself. In order to offer a detailed analysis of these elements, Aki Järvinen’s terminology for elements of games will be employed (2007).
23
Kuzina, N. "The Ideology of Violence in Culture and the Preconditions of Susceptibility to Violence in the Arts of Youth and Adolescents (Article 2)." Bulletin of Science and Practice 6, no. 11 (November 15, 2020): 367–84. http://dx.doi.org/10.33619/2414-2948/60/46.
Full textAbstract:
The paper analyzes methods of building the ideology of violence and precedents of using the works of culture, in school and outside of school as its vehicle. The goal is to describe the images and motives of culture in terms of their possible impact on behavioral patterns and destructiveness (among adolescents and youth), to develop an algorithm for diagnosing the propensity to violence in adolescents and youth. A typological analysis of the content of the content is carried out, an algorithm is proposed for diagnosing the psychological state of adolescents and youth with socialization problems from disadvantaged families in terms of a tendency to violence. The means of broadcasting the ideology of violence through artistic creativity are described on the example of fiction, cinema, computer games.
24
Bolton, Sophie. "The Collins Crime Club." Logos 31, no. 4 (February 17, 2021): 69–73. http://dx.doi.org/10.1163/18784712-03104005.
Full textAbstract:
Abstract The interwar years in Britain are regularly referred to by historians and literary commentators as the Golden Age of detective fiction (c. 1920–1940). This article focuses on the Collins imprint the Crime Club, established in 1930. It assesses the significance of this imprint in the context of the Golden Age, with a focus on its commercial animus, drawing on theories about class-based markets and the commercialization of print culture. The article examines the marketing methods used by the Crime Club to promote its titles, such as newsletters and card games, and takes into consideration the arguments of 1930s literary critics. It aims to show that detective fiction had a significant role in the commercialization of print culture during the 1930s and that its success heavily relied upon the support of a middle-class readership.
25
Pittner, Fruzsina, and Iain Donald. "Gaming the Heart of Darkness." Arts 7, no. 3 (September 4, 2018): 46. http://dx.doi.org/10.3390/arts7030046.
Full textAbstract:
The history of Joseph Conrad’s Heart of Darkness has been one of adaptation and change. The enduring story is based upon Conrad’s experiences in the Congo in the 1890s and was published as a novella in 1902. Since then, the story has been criticised for racism by Nigerian writer Chinua Achebe and relocated to Vietnam by Francis Ford Coppola as Apocalypse Now, influencing computer games such as Far Cry 2 and Spec Ops: The Line. In examining the adaptations of Heart of Darkness, we can consider how the story evolves from the passive reading of post-colonial narratives through to the active participation in morally ambiguous decisions and virtual war crimes through digital games: examining Conrad’s story as it has been adapted for other mediums provides a unique lens in which to view storytelling and retelling within the context of how we interpret the world. This paper compares the source material to its adaptations, considering the blending of historical fact and original fiction, the distortion of the original story for the purpose of creating new meaning, and reflects on whether interactivity impacts upon the feeling of immersion and sense of responsibility in audiences of different narratives.
26
Monroy, C. "Expressive Processing: Digital Fictions, Computer Games, and Software Studies. Noah Wardrip-Fruin." Literary and Linguistic Computing 26, no. 4 (August 13, 2011): 481–83. http://dx.doi.org/10.1093/llc/fqr035.
Full text
27
Luhova, Tetiana. "NARRATIVE AND STORYTELLING IN THE KNOWLEDGE STRUCTURE OF THE EDUCATIONAL BUSINESS VIDEO GAMES AS FACTORS OF THE SYNERGY OF INFORMATION TECHNOLOGIES AND SPIRITUALLY-ORIENTED PEDAGOGY." OPEN EDUCATIONAL E-ENVIRONMENT OF MODERN UNIVERSITY, no. 8 (2020): 42–59. http://dx.doi.org/10.28925/2414-0325.2020.8.6.
Full textAbstract:
The article touches on the issues of humanization of modern technologically advanced education, analyzes the synergy factors of information technology and spiritually-oriented pedagogy to prepare a new generation of humanist managers. For this, the role of narrative and storytelling in the process of creating educational computer games that form the competence of making managerial decisions is determined. An analysis of the knowledge structure of educational games on the basis of the proposed methodology for developing their plot shows the need to balance the processes of formalization of educational processes in the game, preserving narrative by referring to works of folk art, classical fiction as sources of implicit knowledge. The threats of formalization and automation of modern education are described. It has been found that “relay” learning is superficial, it does not contribute to the formation of critical and systemic thinking. As a result, this leads to the emergence of a generation of techno-button-managers. It is indicated that the preservation and effective translation of deep narratives containing educational humanistic meanings is a priority for designers of educational video games. The components of the game by D. Gray, game history and pedagogical strategies in the MDA model are compared, which made it possible to clarify the meaning of the terms “narrative”, “plot”, “storytelling”, to determine the place of their greatest actualization in the process of creating educational computer games. Considering the general tendency of the techno-environment to reduce, optimize and formalize, the task of preserving tacit knowledge, correct translation of it into over-formalized knowledge (morals, formulas) through effective storytelling, embodied in "active learning" of computer games, is crucial. In this case, the narrative plays the role of a base of spiritual-oriented knowledge, and with the help of storytelling it balances the spiritual-ethical meanings and educational results of a business video game. The meaning of the terms "narratives" and "storytelling" is considered, the Ukrainian-language terms-analogues are proposed. The importance of adhering to the principle of non-linear game plot for increasing the effectiveness of business games is revealed. The close relationship of business games with case studies, project- and problem-based training was emphasized. The correlation of narratology and ludology of the game is shown in the matrix of transformation of professional competencies and procedures for making managerial decisions into the rules of the game, their metaphorization and translation into script phrases. It is shown that the gamification of training exercises and situations is a synergy of creative and information-analytical work with databases and game design project documents. The core of educational game design is the balance of narrative and storytelling, explicit and implicit knowledge. This balance is achieved through effective collaboration and communication between all participants in the educational and business processes. Creation of virtual learning environments in which a future leader has an opportunity to formulate and comprehensively develop the competencies of business communication and managerial decision-making in situations of uncertainty and ethical dilemmas is a promising area of digital education.
28
Anupam, Aditya. "Can Digital Games Teach Scientific Inquiry?" Proceedings of the ACM on Human-Computer Interaction 5, CHI PLAY (October 5, 2021): 1–21. http://dx.doi.org/10.1145/3474713.
Full textAbstract:
Digital games are increasingly being used to teach the processes of scientific inquiry. These games often make at least one of four key assumptions about scientific inquiry: that inquiry is a problem-solving process which is value-neutral, bounded by strict subject-matter constraints, and conducted by practitioners separable from society. However, feminist, STS, and pragmatist scholars have demonstrated the flawed nature of these assumptions. They highlight instead that: inquiry is a process of problematization that is value-laden, unbounded by subject-matter, and conducted by practitioners who socially, politically, and culturally situated. In this paper, I argue that three of the key affordances of digital games-their procedural, evaluative, and fictional qualities-can constrain their ability to teach inquiry understood as such. I examine these affordances and their relationship to the nature of scientific inquiry through a design case examining our game Solaria designed to teach students how to inquire into the development of solar cells. Specifically, I ask: To what extent can the procedural, evaluative, and fictional affordances of digital games (designed to teach students about solar cells) support the learning of scientific inquiry as a problematizing, situated, and value-laden process, unbounded by subject-matter constraints? I discuss how these affordances of games supported but ultimately limited the design of the game by trivializing real situations, predetermining criteria for progress, and distancing students from real-world risks and responsibilities, respectively. In conclusion, I briefly discuss how understanding these limitations can support the design of educational environments to complement digital games for teaching scientific inquiry.
29
DUBOVYK, Yu. "PEDAGOGICAL CONDITIONS FOR DEEPENING PRESCHOOLERS’ IDEAS ABOUT THE ADULTS’ PROFESSIONAL ACTIVITIES." Pedagogical Sciences, no. 78 (December 29, 2021): 53–56. http://dx.doi.org/10.33989/2524-2474.2021.78.249804.
Full textAbstract:
The article presents the results of a pilot study of older preschool children’s acquaintance with the adults’ professional activities. It has been found that older preschoolers have a lack of knowledge of sports, art, labor, military, and medical professions. The presence of children’s gender stereotypes in the expression of preferences for a certain profession has been revealed. The study has served as a basis for developing pedagogical conditions for deepening preschoolers’ ideas about the profession, in particular, updating the content of preschool children’s acquaintance with adult work, selection of effective tools and methods for forming children’s ideas about professional activities; usage of the principle of gender equality in this process; and establishing a constructive partnership of parent-educator interaction. It is stated that the system of pedagogical conditions creates a basis for the emergence of children’s interest in the world of professions, the desire to learn new information about professional activities, and the desire to apply the acquired knowledge in practice.Methods of deepening preschoolers’ perceptions of professions are identified. They are the following: didactic games, computer-didactic games, reading children’s literature, watching cartoons and cartoon series, story-based role-playing games. The importance of applying a gender-sensory approach in the process of forming children’s ideas about the professional activities of various professions is noted. Forms (observations, excursions, etc.), methods (didactic and plot-role games, meetings with representatives of various professions, reading fiction, reviewing paintings, watching cartoons, etc.) are offered.They should be used to form children’s ideas about labor distribution. Forms of partnership interaction of the educator with the parent team are defined, namely, traditional one (seminars, talks, joint excursions, exhibitions of children’s works made together with parents, etc.), innovative one (a round table, a workshop, a master class, etc.). Tasks for parents for their career guidance work with preschool children are identified.
30
Price, Paul. "Survey of the Story Elements of Isekai Manga." Journal of Anime and Manga Studies 2 (November 29, 2021): 57–91. http://dx.doi.org/10.21900/j.jams.v2.808.
Full textAbstract:
This paper presents a survey of the story elements in isekai (other world) manga. The large number of available isekai manga series allows the use of a survey to investigate patterns in story elements. These patterns can be used to generate hypotheses about relationships between story elements, authors’ intent, and readers’ interests. The paper begins with a review of the characteristics of isekai manga stories and places the stories into existing speculative fiction ontologies. A brief history of isekai manga and their relationships to roleplaying computer and tabletop games is provided. Finally, descriptions of the survey framework, instrument and results are presented. The survey includes data on 746 manga series identified as isekai manga by publishers or fans. The series are divided into four types (portal-quest, immersive, intrusion, and liminal). A detailed survey was performed on the 427 series identified as “portal-quest” stories (the most common type of isekai stories). The survey results are captured in a database of story elements that is organized based on plot points dictated by the form of the portal-quest stories. The survey found that the majority of the manga series are inspired by first-person shônen and otome computer games. The characteristics of the stories vary with the gender and age of the protagonists (here taken as surrogates for the gender and age of the stories’ target audiences) and this variation allows the generation of hypotheses on the motivations and interests of the different reader demographics and how they are satisfied by the stories.
31
McGuire, Ann. "Simplification: The Sims and Utopianism." Papers: Explorations into Children's Literature 14, no. 2 (July 1, 2004): 55–64. http://dx.doi.org/10.21153/pecl2004vol14no2art1268.
Full textAbstract:
'The Sims' is currently the best-selling computer game in which the players interact with a screen world, building and decorating houses, and striving to direct and control animated three-dimensional figures. The game's positioning of the player is very similar to the reader-positioning affected by the speculative genre of utopian narrative fiction.
32
Parsons, E. C. M., Ashley Scarlett, and Andrew Kornblatt. "FantaSEAS Project: Incorporating Inspiring Ocean Science in the Popular Media." Marine Technology Society Journal 55, no. 3 (May 1, 2021): 110–11. http://dx.doi.org/10.4031/mtsj.55.3.34.
Full textAbstract:
Abstract One of the goals of the UN Oceans Decade is “an inspiring and engaging ocean where society understands and values the ocean in relation to human well-being and sustainable development.” The UN Ocean Decade also calls for promoting diversity in ocean science, engaging multiple stakeholders, including industries and the wider public, as well as promoting ocean science literacy. The FANTASeas project aims to do this.One major source of inspiration for the general public for millennia has been art and literature. Over the past century, key sources of public inspiration when it comes to science include science fiction and fantasy in books, movies, TV shows, comics and, recently, computer games. Most famously, the TV show Star Trek inspired a generation of space scientists.The idea behind this project is to promote and facilitate the production of popular artistic and literary projects that incorporate ocean science to enhance both ocean literacy and to create more inspirational ocean-related projects.It is proposed that a series of international workshops be organized to connect ocean scientists with novelists, writers, and designers from the: (a) computer gaming; (b) tabletop gaming; (c) TV and movie; and (d) comic and graphic novel industries.
33
Toft-Nielsen, Claus. "Worlds at Play." Nordicom Review 35, s1 (March 13, 2020): 237–50. http://dx.doi.org/10.2478/nor-2014-0115.
Full textAbstract:
AbstractThe relationship between the fantasy genre and the medium of computer games has always been a very tight-knit one. The present article explores the close connection between fantasy and computer games through different media, arguing that the fantasy genre's specific ‘mode of function’ is the ability to build complete fictional worlds, whereby it creates specific experiences for its users. Based on empirical data from focus group interviews with players of the most popular Western Massively Multiplayer Online Role-Playing Game (MMORPG) of all times, World of Warcraft, the article develops the concept of worldness as an experiential, phenomenological understanding of player experience. I discuss how this way of framing a core quality of the fantasy genre (of world-building) functions across single fictional universes and aims to grasp a specific fantasy experience of being in the world. This experience works on the level of genre, by anchoring the specific fantasy world in the larger, surrounding fantasy genre matrix.
34
Jiresch, Ester, and Vincent Boswijk. "CONTEMPORARY RECEPTION OF EDDIC THEMES IN NEW MEDIA: VIRTUAL 'NORDIC' IDENTITIES, CASE STUDY: DARK AGE OF CAMELOT." Tijdschrift voor Skandinavistiek 37, no. 1 (June 24, 2020): 38–54. http://dx.doi.org/10.21827/tvs.37.1.36929.
Full textAbstract:
This article discusses the most recent (twenty-first century) development in reception and adaptation of Nordic mythology (particularly referring to the Prose and Poetic Edda) and the appropriating of Nordic identities (stereotypes) that is taking place in the so-called new media. In the last two decades the reception of Nordic mythology or Nordic 'themes' in different new media like film, comic books, heavy metal music and computer games has exploded. New media are generally considered expressions of 'popular' culture and have therefore not yet received much scholarly attention. However, since those media are growing notably and especially computer games (console and online applications) reach an enormous audience.Scientific interest in them has increased in recent years. Miller mentions the 'sexiness of Vikings in video games, the pretense of Viking-like settings for popular television programs […]' (Miller, 2014, p. 4). The case study is Dark Age of Camelot (DAoC – Mythic Entertainment 2001) which is a MMORPG (Massive Multiplayer Online Role Playing Game) that is currently (2015) still available to play online. We will show examples of themes (characters, narratives, objects etc.) deriving from Eddic texts and how they are represented and deployed in the game. Since the representation of 'Nordic' identity is a key feature in the game's construction, it will therefore be addressed as well. The fictional world of DAoC consists of three realms – Albion, Hibernia and Midgard – that are at war with each other. Their (human) inhabitants are respectively based on medieval Anglo-Saxon, Celtic and Norse tribes that differ distinctively in their character traits. Our goal is to elaborate on the representation of identity traits of the fictional 'Norse' races (as defined by the game) that appear in DAoC. We will scrutinize if and how the game uses older or more current concepts of (national) identity. In order to do so, an overview of Scandinavian / Nordic identity constructions that have been popular and / or widespread from antiquity will be presented, via medieval sources to romanticism and nineteenth century nationalism until current discussions of national identity.
35
Novikov, Vasily N. "Aesthetics of Interactivity: Between Game and Film. To Watch or to Play?" Journal of Flm Arts and Film Studies 10, no. 1 (March 15, 2018): 54–63. http://dx.doi.org/10.17816/vgik10154-63.
Full textAbstract:
Abstract: According to recent research, video games are recognized as a new kind of art in the 21st century. Is it possible to distinguish the concepts of "entertainment" and "art" when dealing with this phenomenon? The purpose of this article is to analyze the significance of the game in contemporary society, to characterize the dominant features of "personal management" of a work of art, and to consider the influence of game aesthetics on the language of up-to-date cinema. The digital age, new technologies, computer modeling, and virtual aesthetics modernized the classical thesis of "life as a game" into a new philosophical concept. There are more and more attempts in succession to create a full-fledged virtual reality where a person could feel oneself be an individualized god, commanding over all the processes taking place with the one and ones life. The ultimate goal is the creation of such a global "game world" in which every person would be able to try oneself in any social role or avatar, building relationships with anyone, playing and enjoying it. So this desire for an interactive fusion of game forms with the objective reality that we are accustomed to is forming a rich and multilayered cultural platform nourishing diverse areas of contemporary art. The game industry has gone a long way of its development as a form of art. Nowadays video games and movies imitate each other and combine mixed aesthetic trends - the boundary between the Game and the Film is being increasingly blurred. On the one hand, games tend to the cinema, using professional directing, scriptwriting and cast. On the other hand, mainstream fiction of gaming technologies attracts many filmmakers looking for new artistic forms, concepts and visual mechanics that are interesting and relevant for the contemporary mass audience.
36
Van Looy, Jan. "Games and Self-Imagining, a Comparative Media Perspective." Eludamos: Journal for Computer Game Culture 3, no. 1 (February 26, 2009): 57–68. http://dx.doi.org/10.7557/23.5995.
Full textAbstract:
This article compares the self-positioning mechanisms used by the computer game American McGee’s Alice to those of its paper and film predecessors. After dismissing the claim that the virtual is ontologically different and therefore incomparable to the fictional, Kendall Walton’s theory of representation as make-believe is laid out. This theory is then used to describe the various techniques for entertaining laid out by the three works and relate them to their relative medium-specific qualities. Next, Walton’s concepts of subjective and objective imagining are presented to describe the positions of the imagined self vis-à-vis the represented events. When applied to the material at hand, it becomes clear that while Walton’s theory does not allow for simple categorisation and that all three media lay out complex strategies combining subjective and objective techniques, overall the game can be seen as evoking a primarily subjective experience with an objective counterweight whilst the book and the film should be seen as primarily objective with subjectifying elements.
37
Troshkova, Anna, Tatiana Zolotova, Natalia Efimova, and Ekaterina Plotnikova. "Folklorism of the Contemporary Youth’s Creative Work." Space and Culture, India 6, no. 4 (December 23, 2018): 75–83. http://dx.doi.org/10.20896/saci.v6i4.386.
Full textAbstract:
Since the second half of the 20th century, there has been an increased interest in traditional forms of culture, which is probably associated with an increase in the national self-awareness of the peoples of the Russian Federation. Based on this, the authors considered the features of the use of the folklore heritage of Russian creative youth. The authors have studied the creative works of 24 young writers aged from 25 to 35. In particular, they have studied the types of folklorism in their creative works, provided the general estimate of the productivity and significance of the youth’s experience of using the folkloric heritage in the modern literary process and generally in culture. The paper is defining the phenomena of the youth culture in the early decades of the 21st century (fiction, CG). The authors have made a conclusion on the diversity of the youth’s creative works’ connection with the folkloric samples: the construction of the social-ethnographic reality, the field of the characters’ identity, a new ‘cosmos’, creation of the individual universes as well as the literary version of folkloric fairytale on their basis. We have also noted the tendency towards the use of the Russian folkloric characters with the purpose of giving them some universal traits of the characters of the popular computer games. The authors found that the fabulous texts are used by young authors in both the genre category and one of the ways to create on their basis new texts, various types of aesthetic experiments and games.
38
Schweighauser, Philipp. "Doubly Real: Game Studies and Literary Anthropology; or, Why We Play Games." Eludamos: Journal for Computer Game Culture 3, no. 2 (October 26, 2009): 115–32. http://dx.doi.org/10.7557/23.6001.
Full textAbstract:
Few game studies scholars will regret that the infelicitous ludology vs. narratology debate has been left behind. However, one misconception concerning the nature of literary theory continues to haunt game studies. If Gonzalo Frasca (correctly) observes that "Ludologists Love Stories, Too" (2003), I wish to point out that his conciliatory gesture seriously threatens to distort the concerns of literary theorists in ways that make their reflections on human sense-making indeed seem of very limited use to game studies scholars. If we truly want to know in what respects game studies can profit from literary theory without jeoparidizing the strategies of distinction a still emergent field such as game studies needs to position itself vis-à-vis dominant theoretical paradigms--and which Espen J. Aarseth calls for in his editorial to the first issue of Game Studies (2001)--we need to be aware of two things. First, narratologists make up only a fraction of the literary-theoretical community. And the narratologists most often cited by game studies scholars usually practice a structuralist version of narratology that has come under sustained critical scrutiny since the late 1960s. Second, not all literary scholars are concerned with narrative. Of course, they often study narrative texts such as novels and short stories, but they also study plays, poems, and other non-narrative texts. More importantly, even when they do study narrative texts, literary scholars--be they narratologists or not--are not always interested in the forms and functions of stories.This essay argues that game studies can profit from reflections on issues other than narrative by a literary theorist whose work has been unduly reduced to those concerns. In Cybertext: Perspectives on Ergodic Literature (1997), Aarseth refers to the work of Wolfgang Iser as one influential model of literary communication that does not help explain the specific forms and functions of nonlinear, multicursal computer games. More specifically, Aarseth argues that Iser's notion of Leerstellen (blanks) cannot account for the kinds of openings cybertexts offer their users. Yet the later work of Iser is a much more promising avenue of exploration for ludologists. Iser's The Fictive and the Imaginary: Charting Literary Anthropology (1993) develops what is arguably the most sustained theory of fictionality available today. While honed in the study of literary texts, Iser's theory can tell us much about the cultural work of fiction in a variety of media without leveling the distinctions between different cultural practices. As such, Iser's later work does not provide yet another framework for reading games as stories but challenges games studies scholars to rethink some of their central concepts, in particular 'play,' 'simulation,' and 'immersion.' Moreover, it invites us to ask whether the rhetoric of distinction that much game studies scholarship still employs to stake out its claims has outlived its usefulness, serving less as an effective defense mechanism than as an obstacle to cross-disciplinary fertilization.
39
Hodhod, Rania, Marc Huet, and Mark Riedl. "Toward Generating 3D Games with the Help of Commonsense Knowledge and the Crowd." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 10, no. 3 (June 29, 2021): 21–27. http://dx.doi.org/10.1609/aiide.v10i3.12741.
Full textAbstract:
Procedural game generation is the automatic creation of all aspects of a playable computer game. Procedural game generation systems require specialized knowledge, virtual worlds, and art assets. In this paper, we show how 3D graphical scenes for interactive fictions can be automatically generated with only knowledge that is readily available in existing knowledge bases or can be acquired via crowdsourcing. The key to 3D scene generation is commonly accepted spatial relationships between different types of objects in different types of scenes. We use a crowdsourcing game to automatically and rapidly acquire spatial relations. The spatial relations are used by an intelligent scene generation system that selects and configures 3D assets within a virtual geometric space.
40
Meerts, Paul. "Simulare Necesse Est." Simulation & Gaming 43, no. 2 (February 3, 2012): 270–85. http://dx.doi.org/10.1177/1046878111431862.
Full textAbstract:
Born in The Hague in 1946, the author has been interested in simulation and gaming since he was 12 years old. Simulations, particularly the role-play type, were then, and still are, fun for the author. He used them for recreation, to replay history and practice strategy and tactics, to enjoy politics and journalism, and to interact with friends and foes. He was inspired to use simulation exercises as a training tool for educational purposes all over the world. Could the history and the history-to-come of a human being, and his or her vision of the real and imaginary worlds, be described in stages like in world history? The author attempts to do so in this contribution to Simulation & Gaming. His life has always been intertwined with reality and fiction alike, and has passed through certain stages, so it might be of help to sketch it through the metaphor of human history. After all, the history and politics of humankind were his main motivations for creating simulation games to teach others, as well as himself.
41
Wills, John. "Pixel Cowboys and Silicon Gold Mines: Videogames of the American West." Pacific Historical Review 77, no. 2 (May 1, 2008): 273–303. http://dx.doi.org/10.1525/phr.2008.77.2.273.
Full textAbstract:
This article explores representations of the American West in computer and videogames from the late 1970s through 2006. The article reveals how several titles, including the early Boot Hill (1977), invoked classic nineteenth-century western motifs, employing the six-shooter, wagon train, and iron horse to sell late twentieth-century entertainment technology to a global audience. Such games allowed players, typically adolescent males, to recreate a version of history and to participate actively in the more violent aspects of the ““Wild West.”” The arcade Western emerged as a subgenre within computer entertainment, offering a distinctive, interactive amalgam of popular frontier-based fictions, including the nineteenth-century dime novel, Buffalo Bill Cody’s Wild West show, and the modern Hollywood western. Computer technology thus served established myths surrounding the ““Wild West,”” even as New Western History was challenging their authenticity.
42
Popova, Milena, and Bethan Jones. "Sex and Sexualities in Popular Culture: A Networking Knowledge Special Issue." Networking Knowledge: Journal of the MeCCSA Postgraduate Network 10, no. 3 (October 17, 2017): 1–5. http://dx.doi.org/10.31165/nk.2017.103.513.
Full textAbstract:
In November 2015, we held a symposium on the theme of Sex & Sexualities in Popular Culture at the Watershed, Bristol. Having met at a conference on popular music fandom and the public sphere, earlier that year, the symposium was a result of our shared interest in, and work on, sex and sexualities in popular culture. Bethan has worked extensively on antifandom of Fifty Shades of Grey and the moral panics surrounding the ‘irrational’ behavior of One Direction and Twilight fans. Milena’s research focuses on sexual consent in erotic fan fiction, and they have a keen interest in how media and culture interact with the discursive construction of sex, sexualities, and consent. Through the symposium, then, we wanted toafford a platform for postgraduate researchers and creative practitioners exploring the nuances of sex and sexualities within popular culture to meet and share ideas. Of course, the terms ‘sex’, ‘sexualities’ and ‘popular culture’ are not fixed or immutable and while we included suggestions for what papers might examine, the abstracts we received covered a range of topics, from literature and computer games to social media and fan fiction, and advertising to social activism. The symposium was well received both in person and online. We encouraged attendees to live tweet using the hashtag #popsex15, and discussions took place both at the Watershed and on Twitter about consent, the normative depictions of sex andrelationships in popular culture, misogynistic hate speech and intersex characters in literature. The amount of engagement with the ideas and themes coming out of the symposium suggested that a deeper analysis was needed, and this special issue of Networking Knowledge - Journal of the MeCCSA-PGN attempts to engage in more detail with some of these.
43
Ryu, Dongwan. "Play to Learn, Learn to Play: Language Learning through Gaming Culture." ReCALL 25, no. 2 (April 8, 2013): 286–301. http://dx.doi.org/10.1017/s0958344013000050.
Full textAbstract:
AbstractMany researchers have investigated learning through playing games. However, after playing games, players often go online to establish and participate in the online community where they enrich their game experiences, discuss game-related issues, and create fan-fictions, screenshots, or scenarios. Although these emerging activities are an essential part of gaming culture, they have not attracted much attention from researchers and only a few empirical studies have been done on learning through beyond-game culture. Language learning in particular has not been extensively researched despite the proliferation of game players who speak English as a foreign language within this community. To address how non-native English speaking (NNE) game players participate in language learning through game play and beyond-game culture, three generations of activity theories and a multiple-case study design were employed in this study. The asynchronous computer-mediated discourses were repeatedly reviewed, and email interviews with participants were conducted over three stages. The discourse analysis of interaction data and interview scripts showed how participants were engaged in language learning through gaming culture. First, words or phrases used in game play could be learned while playing games. Second, sentences or discourses could be practiced through interaction with native or more fluent peers in the online community after playing games. Third, these two types of engagement in gaming culture were closely related to influencing language learning through repeated practices and collaborative interactions. In conclusion, language learning through gaming is appropriately understood when ecological perspectives are adopted to look at both sides of gaming culture.
44
Schulze, Holger. "Hand-Luggage: For a Generative Theory of Artifacts." Leonardo Music Journal 13 (December 2003): 61–65. http://dx.doi.org/10.1162/096112104322750809.
Full textAbstract:
This article presents the basic elements and strategies of a generative theory of artifacts, the Theorie der Werkgenese. Starting with a narrative reconstruction of Mike Mills's TV commercial for Adidas, the text briefly outlines a history of aleatoric games and heuristic strategies in the classical avantgarde as well as in postmodern follow-ups and late-20th-century pop music. Finally, the various fictions conveyed by the commercial are narrated in a new way, demonstrating generative analysis.
45
Bonner, Marc. "How sf is embodied in level structures." Science Fiction Film & Television: Volume 14, Issue 2 14, no. 2 (June 1, 2021): 209–34. http://dx.doi.org/10.3828/sfftv.2021.14.
Full textAbstract:
The experience of game intrinsic space is an architectural mode of perception more congruent to actual experiences of physically real architecture than to filmic space. This paper thus centres on the aesthetics of production, concerning the game worlds’ geometry, level structures and game mechanics, within the broader context of how sf and computer games are inextricably merged. This is to investigate how game intrinsic spaces communicate properties of sf or a media-specific ‘science fiction-ness’ through their aesthetics and digital condition. By first building a foundation on the topic of singular space and its liminality, I will then proceed with a few remarks on sf theory, sf imagery and the staging of (im)possible worlds in relation to the concept of ontological possibility space. For this purpose, I refer to two authors of sf theory: Vivian Sobchack and Simon Spiegel. Based on these two sections, I will give an introductory overview on game intrinsic space, its non-linear properties and the incorporation of the player. Here, differences between filmic and game intrinsic space will also be emphasised through a brief discussion. Thus, sf theory and film theory are interwoven with spatial theory and game studies in order to analyse the ontological possibility space that goes beyond the player-character’s everyday experience in actuality. Several examples clarify the theoretical groundwork while Portal 2 (2011) and Echo (2017) function as case studies.
46
Wilson, Jason. "Book Review: Half-Real: Video Games between Real Rules and Fictional Worlds; ; The Handbook of Computer Game Studies." Convergence: The International Journal of Research into New Media Technologies 12, no. 4 (November 2006): 471–74. http://dx.doi.org/10.1177/1354856506068371.
Full text
47
Smith, Bradon Tam Lynn. "Resources, Scenarios, Agency: Environmental Computer Games // Recursos, escenarios, agencia: Juegos de ordenador sobre el medio ambiente." Ecozon@: European Journal of Literature, Culture and Environment 8, no. 2 (October 31, 2017): 103–20. http://dx.doi.org/10.37536/ecozona.2017.8.2.1365.
Full textAbstract:
In this paper I argue that computer games have the potential to offer spaces for ecological reflection, critique, and engagement. However, in many computer games, elements of the games’ procedural rhetoric limit this potential. In his account of American foundation narratives, environmental historian David Nye notes that the ‘second-creation’ narratives that he identifies “retain widespread attention [...] children play computer games such as SimCity, which invite them to create new communities from scratch in an empty virtual landscape…a malleable, empty space implicitly organized by a grid” (Nye 288). I begin by showing how grid-based resource management games encode a set of narratives in which nature is the location of resources to be extracted and used. I then examine the climate change game Fate of the World (2011), drawing it into comparison with game-like online policy tools such as the UK Department for Energy and Climate Change’s 2050 Calculator, and models such as the environmental scenario generation tool Foreseer. I argue that while both may be narrowly successful in generating engagement with climate change and resource issues, in other ways their effect may be disempowering: firstly, they emphasise the scale and complexity of environmental problems; secondly, the prioritise technocratic top-down policy responses at the expense of changes on the level of individual behaviour. This paper then turns to examples of digital games and playing strategies that offer more plural and open-ended engagement with environmental concerns. The on/off-line game World Without Oil (2007) encouraged players to respond to a fictional oil crisis, generating sustained and solution-focussed engagement. Examples of ‘expansive play’ also reveal ecocritical playing strategies in the sandbox-game Minecraft, a game which may initially seem to take the logic of resource extraction to its extreme. Finally, I look at David O'Reilly’s off-beat game-animation Mountain (2014), which in its unflinching mountain removes the agency of the player, and mocks the ‘nature as resource’ model of the games previously discussed. Instead Mountain invites an ontological reconsideration of the player’s relationship with the non-human. Resumen En este ensayo argumento que los juegos de ordenador tienen el potencial de ofreces espacios para la reflexión, la crítica y el compromiso ecológicos. Sin embargo, en muchos juegos de ordenador, los elementos de la retórica procedimental de los juegos limitan este potencial. En su recuento de las narrativas fundacionales americanas, el historiador medioambiental David Nye destaca que las narrativas de ‘segunda creación’ que él identifica “conservan una atención generalizada […] los niños juegan con el ordenador a juegos como SimCity, que les invita a crear nuevas comunidades desde cero en un paisaje virtual vacío, un espacio vacío maleable e implícitamente organizado por una cuadrícula” (Nye 288). Comienzo mostrando como los juegos de gestión de recursos basados en cuadrículas codifican un conjunto de narrativas en la naturaleza es la ubicación de la que se extraen y en la que se usan los recursos. Después examino el juego sobre el cambio climático Fate of the World (2011), comparándolo con herramientas de política online como la del Departamento de Energía y Cambio Climático de Reino Unido, 2050 Calculator; y modelos como la herramienta de generación de escenarios medioambientales Foreseer. Argumento que mientras que ambos pueden ser poco exitosos a la hora de generar compromiso con el cambio climático y con temas de recursos, por otra parte, su efecto puede ser desalentador: primero, enfatizan la escala y la complejidad de los problemas medioambientales; segundo, priorizan respuestas políticas tecnócratas verticales a expensas de cambios en el nivel del comportamiento individual. Este ensayo luego recurre a ejemplos de juegos digitales y a estrategias de juego que ofrecen un compromiso más plural y más abierto de mente con respecto a las preocupaciones medioambientales. El juego con/sin conexión World Without Oil (2007) animaba a los jugadores a responder a una crisis petrolífera ficticia, generando un compromiso sostenido y centrado en soluciones. El juego de animación poco convencional de David O’Reilly Mountain (2014), que en su inquebrantable montaña elimina la agencialidad del jugador y parodia el modelo de juegos ‘naturaleza como recurso’, incita a una reconsideración ontológica de la relación del jugador con lo no-humano. Finalmente, se examinan ejemplos de modificación y ‘juego expansivo’ para revelar estrategias de juego ecocrítico sorprendentes en el juego de mundo abierto Minecraft, un juego que en principio parece llevar la lógica de la extracción de recursos al extremo.
48
Gallagher, Rob. "Volatile Memories: Personal Data and Post Human Subjectivity in The Aspern Papers, Analogue: A Hate Story and Tacoma." Games and Culture 15, no. 7 (April 15, 2019): 757–71. http://dx.doi.org/10.1177/1555412019841477.
Full textAbstract:
Contemporary narrative video games still owe a debt to notions of plotting and characterization inherited from realist novels, even as they demonstrate how digital technologies are driving the development not merely of new fictional forms but also new conceptions of identity and subjectivity. This article expands upon these claims through analyses of three texts. Published in 1888 and revised in 1908, Henry James’s novella The Aspern Papers follows a protagonist obsessed with laying his hands on a long-dead Romantic poet’s archive; released in the 21st-century, Christine Love’s (2012) Analogue: A Hate Story and Fullbright’s (2017) Tacoma imagine technologically advanced posthuman futures in order to pose questions about datafication, identity, and the terms on which the past remains accessible in the present. Considered together, they shed light on longer generic traditions, the relationship between literature and video games, and the ethical and epistemological issues raised by new technologies.
49
Piangiamore, Giovanna Lucia, and Alessandra Maramai. "Gaming and Resilience: Teaching by Playing Together—Online Educational Competition at School during the Pandemic." Applied Sciences 12, no. 23 (November 23, 2022): 11931. http://dx.doi.org/10.3390/app122311931.
Full textAbstract:
Educational and training initiatives for natural hazard reduction, climate change, and environmental sustainability are increasingly common. We describe educational games in which the protagonist, a fictional character girl, saves herself and others from natural disasters. This girl faces risk situations, from earthquake to flood to environmental challenges, and for each of these she is the protagonist of educational quizzes and of an escape room. These games were designed and played online during the COVID-19 pandemic, to introduce an engaging activity, reducing the difficulties of both students and teachers in distance learning. Simultaneous challenges between several classes were played during special scientific events, with a total of more than 8000 students flanked by about 500 teachers, always with very positive feedback. We pooled our knowledge to embrace innovation in gamification at school. Our games aim at increasing the response capacity of future more resilient citizens to protect themselves and others, adapting to natural risks, and to spread good practices in support of the civil protection. Each online race between classes from primary and middle school (ISCDE 2) is based on cooperative learning and followed by an important debriefing moment of reflective learning, guided by researchers to deeply analyze scientific topics.
50
KRYVENCHUK, YURII, and Y. Lavryk. "CREATION OF FACIAL EMOTION RECOGNITION SYSTEM." Herald of Khmelnytskyi National University 303, no. 6 (December 2021): 69–72. http://dx.doi.org/10.31891/2307-5732-2021-303-6-69-72.
Full textAbstract:
In the modern world, a lot of things and processes, which not so long ago were treated as something from fiction, are increasingly being implemented in real life. An example of this is the automation of the process of recognizing emotions, which is no longer an unattainable technology and occupies an important place in the area of computer vision. Technologies for recognizing the emotions of facial expression can be used for various fields and purposes: from creating games and applications to more complex, such as analysis of people’s mental state, discussions, marketing research, attention monitoring, driver status, robotics and so on. All this confirms the high academic and commercial potential of systems for recognizing the emotional characteristics of the person and, accordingly, brings a large number of scientists and developers, some of whom have already implemented such systems. But today their number is small and a lot of such products require special equipment and high computing performance. Another common problem is the vulnerability to blurred images and the closed nature of the system, which makes it impossible to analyze and modify the development. Therefore, the optimization of the automated process of recognizing the emotions of facial expression is needed in order to create a more stable, high quality and affordable system. The paper have description and results of the creation of system of emotion recognition, the basis of which is a convolutional neural network. The user can connect with the system through a simple interface that allows you to download the image for analysis or turn on the camera to identify emotions in real time. The practical value of this work is the developed high-quality system for recognizing the facial emotional characteristics which is ready for use and implementation in relevant fields.