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Journal articles on the topic 'Digital game worlds'

Author: Grafiati

Published: 25 May 2024

Last updated: 31 July 2025

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1

Mendonça, Carlos Magno Camargos, and Filipe Alves de Freitas. "Game as text as game: the communicative experience of digital games." Comunicação e Sociedade 27 (June 29, 2015): 253–72. http://dx.doi.org/10.17231/comsoc.27(2015).2100.

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We propose to regard video game as text, but not by literally understanding it as a verbal expression, and instead recognizing that many assumptions of literary theory are relevant to its analysis. This option seems to put us in sync with the narratologists, who exalt games as new manifestations of narrative, but cling to a conception of text as world that values illusionist effects. Instead, we are interested in experiences that, against this perspective, recognize the possibility of regarding game as a text that is a game - an incomplete object that is to be updated by the reader in a self-r

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Durusoy, Murat. "In-Game Photography: Creating New Realities through Video Game Photography." Membrana Journal of Photography, Vol. 3, no. 1 (2018): 42–47. http://dx.doi.org/10.47659/m4.042.art.

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Computers and photography has had a long and complicated relationship throughout the years. As image processing and manipulating capabilities advanced on the computer front, photography re-birthed itself with digital cameras and digital imaging techniques. Development of interconnected social sharing networks like Instagram and Twitter feeds the photographers’/users’ thirst to show off their momentaneous “been there/seen that – capture the moment/share the moment” instincts. One other unlikely front emerged as an image processing power of the consumer electronics improved is “video game worlds

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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 (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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SMUSHKIN, A. B. "FORENSICS IN DIGITAL WORLDS (USING THE EXAMPLE OF ONLINE GAMES)." Vestnik Tomskogo gosudarstvennogo universiteta, no. 502 (2024): 214–19. https://doi.org/10.17223/15617793/502/22.

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The author notes the growing need to counteract crimes committed in or with the help of “digital worlds”. Digital worlds mean artificial digital simulations of reality in the form of meta-universes of various levels (from metaverses, metacampuses of universities to full-scale metaverses, such as the one developed by Meta or simulation computer realities (from simulators to online games). The need to develop measures to counter such crimes has already been realized both by foreign public authorities (USA, UAE, etc.) and by international organizations (Interpol, etc.). The article examines crime

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Root, Rachael. "Bridging anthropological theory: Accumulating and containing wealth in World of Warcraft landscapes." Critique of Anthropology 43, no. 1 (2023): 66–83. http://dx.doi.org/10.1177/0308275x231156718.

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Human ingenuity responds to changing environments and resources with technological sophistication and variations in accumulative behaviors. While anthropologists look to the past and to processes of globalization to sketch these shifts in the natural world, there is a growing awareness that these transformations also occur in digital online worlds. I argue that archaeology’s attention to materiality provides useful analysis and directions for ethnographic video game analysis. I use research from the massively multiplayer online role-playing game World of Warcraft: Warlords of Draenor, where pl

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Byleva, D. S. "Digital moral systems in the game and in reality." Vestnik of Minin University 13, no. 2 (2025): 15. https://doi.org/10.26795/2307-1281-2025-13-2-15.

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Introduction. The comprehensive development of digital technologies makes the worlds of computer games not only models of ideas about reality, but also systems that have similarities with it. Although alternative simulated worlds may differ significantly in goals and development logic, the representation and experimentation with moral systems in games provides a rich experience in the construction of digital moral systems and their limitations.Materials and methods. The study uses the dialectical method, systems analysis, interpretation, comparison and synthesis. Comparative-typological and co

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Tor, Noam, and Goren Gordon. "Digital Interactive Quantitative Curiosity Assessment Tool: Questions Worlds." International Journal of Information and Education Technology 10, no. 8 (2020): 614–21. http://dx.doi.org/10.18178/ijiet.2020.10.8.1433.

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Curiosity is a 21st century skill and is of paramount importance in the digital age. However, the assessment of curiosity is often based on self-report or subjective observations. We present the development and evaluation of a digital quantitative assessment game for question-asking-based exploration. The student navigates a graphically presented question graph by selecting questions about a series of virtual alien worlds. The game extracts question-related quantitative measures, e.g., the breadth, depth and specificity of the answers to the questions. We conducted a study with Youth Universit

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Bettivia, Rhiannon. "Enrolling Heterogeneous Partners in Video Game Preservation." International Journal of Digital Curation 11, no. 1 (2016): 17–32. http://dx.doi.org/10.2218/ijdc.v11i1.339.

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This article extends previous work known as Preserving Virtual Worlds II (PVWII), funded through a grant from the Institute of Museum and Library Services. The author draws on interview data collected from video game developers, content analysis of several long-running video game series, as well as the project’s advisory board and researcher reports. This paper exposes two fundamental challenges in creating metrics and specifications for the preservation of virtual worlds; namely, that there is no one type of user or designated video game stakeholder community, and that significant properties

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Annarumma, Maria, Riccardo Fragnito, Ines Tedesco, and Luigi Vitale. "Video Game, Author and Lemming." International Journal of Digital Literacy and Digital Competence 6, no. 1 (2015): 49–61. http://dx.doi.org/10.4018/ijdldc.2015010104.

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Many studies show that video games require attentive and interpretive capacity to generate complex cognitive skills in the gamer and they can be transferred to other contexts, such as school. In this paper, the authors do not aim to investigate the contents of the player's thinking, but rather his/her way of thinking. In this scenario the teacher becomes a worlds' maker, who provides his/her students with the tools allowing them to partake in the co-building of multi-tiered worlds, which requires not only the ability to get access to intangible information but also a skillful management of med

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Cermak-Sassenrath, Daniel. "On political activism in digital games." MedieKultur: Journal of media and communication research 34, no. 64 (2018): 29. http://dx.doi.org/10.7146/mediekultur.v34i64.96924.

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This project investigates how players of digital games apply their own play with the intent to transmit political messages to other players. Acts of activism are collected from a sample of commercial multiplayer online games; three taxonomies are proposed of which one is used to present the findings, and popular patterns or structures of activism are identified. It is found that in-game activism often takes its cue from activism in everyday life, but that some original topics emerge, for example, the ownership of virtual worlds and practices of in-game political activism such as novel forms of

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Caselli, Stefano, Farah Polato, and Mauro Salvador. "Journeying to the actual World through digital games: The Urban Histories Reloaded project." Mutual Images Journal, no. 10 (December 20, 2021): 271–94. http://dx.doi.org/10.32926/2021.10.cas.urban.

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The paper aims at reflecting on the potential of digital games to convey meaning, tell stories and, most importantly, become a tool to discover and experience the actual world. Using as a case study the experience of the Urban Histories Reloaded. Creatività videoludica per azioni di cittadinanza (Urban Histories Reloaded. Digital Game Creativity for citizenship actions) project (UHR), we will discuss the role digital games can play in activating territorial processes, by favouring the engagement with the actual world as well as with playful approaches to city living. In particular, we will foc

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Denson, Shane, and Andreas Jahn-Sudmann. "Digital Seriality: On the Serial Aesthetics and Practice of Digital Games." Eludamos: Journal for Computer Game Culture 7, no. 1 (2013): 1–32. http://dx.doi.org/10.7557/23.6145.

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In this paper we are concerned to outline a set of perspectives, methods, and theories with which to approach the seriality of digital games and game cultures – i.e. the aesthetic forms and cultural practices of game-related serialization, which we see unfolding against (and, in fact, as a privileged mediator of) the broader background of medial and socio-cultural transformations taking place in the wake of popular media culture’s digitalization. Seriality, we contend, is a central and multifaceted but largely neglected dimension of popular computer and video games. Seriality is a factor not o

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Zhang, Shangxuan. "Analysis the Enhancement of User Game Experience Based on Digital Media Designing." Lecture Notes in Education Psychology and Public Media 54, no. 1 (2024): 30–36. http://dx.doi.org/10.54254/2753-7048/54/20241567.

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In the context of the digital era, video games, as an emerging form of entertainment, have become the focus of research in terms of their design and optimization of user experience. This study focuses on the application of digital music in games and its impact on player experience, aiming to reveal how music elements deepen the immersion and emotional resonance of games. According to the analysis, digital music significantly enhances game immersion and players' emotional engagement through dynamic music systems, close integration with game narratives, and innovative applications in virtual rea

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Olszewski, Robert, Mateusz Cegiełka, Urszula Szczepankowska, and Jacek Wesołowski. "Developing a Serious Game That Supports the Resolution of Social and Ecological Problems in the Toolset Environment of Cities: Skylines." ISPRS International Journal of Geo-Information 9, no. 2 (2020): 118. http://dx.doi.org/10.3390/ijgi9020118.

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Game engines are not only capable of creating virtual worlds or providing entertainment, but also of modelling actual geographical space and producing solutions that support the process of social participation. This article presents an authorial concept of using the environment of Cities: Skylines and the C# programming language to automate the process of importing official topographic data into the game engine and developing a prototype of a serious game that supports solving social and ecological problems. The model—developed using digital topographic data, digital terrain models, and CityGM

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Rowe, Jonathan P., Eleni V. Lobene, Bradford W. Mott, and James C. Lester. "Play in the Museum." International Journal of Gaming and Computer-Mediated Simulations 9, no. 3 (2017): 96–113. http://dx.doi.org/10.4018/ijgcms.2017070104.

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Digital games have been found to yield effective and engaging learning experiences across a broad range of subjects. Much of this research has been conducted in laboratory and K-12 classrooms. Recent advances in game technologies are expanding the range of educational contexts where game-based learning environments can be deployed, including informal settings such as museums and science centers. In this article, the authors describe the design, development, and formative evaluation of Future Worlds, a prototype game-based exhibit for collaborative explorations of sustainability in science muse

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Gunova, Violla. "Mixed Reality Game YU-GI-OH." Journal of Software Engineering, Information and Communication Technology (SEICT) 3, no. 2 (2023): 95–114. http://dx.doi.org/10.17509/seict.v2i2.34675.

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Mixed Reality is a technology that combines the real world with the virtual world. Merging these two worlds will form a new environment where each object from each world can interact with each other. This technology will offer a different user experience depending on how it is used, including digital games. This paper will discuss how to construct the card along with its mechanism of movement that used in YU-GI-OH game and its implementation on mixed reality technology using the HoloLens platform. The game be integrated to HoloLens until view stage.

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Mystakidis, Stylianos. "Metaverse." Encyclopedia 2, no. 1 (2022): 486–97. http://dx.doi.org/10.3390/encyclopedia2010031.

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The Metaverse is the post-reality universe, a perpetual and persistent multiuser environment merging physical reality with digital virtuality. It is based on the convergence of technologies that enable multisensory interactions with virtual environments, digital objects and people such as virtual reality (VR) and augmented reality (AR). Hence, the Metaverse is an interconnected web of social, networked immersive environments in persistent multiuser platforms. It enables seamless embodied user communication in real-time and dynamic interactions with digital artifacts. Its first iteration was a

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Toft-Nielsen, Claus, and Rikke Toft Nørgård. "Byggeklodser og blockbusters." Passage - Tidsskrift for litteratur og kritik 33, no. 79 (2018): 89–102. http://dx.doi.org/10.7146/pas.v33i79.127530.

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   Over the past seven decades millions of fingers have constructed their own worlds with LEGO bricks and controlled LEGO figures through digital, franchise-designed LEGO game worlds. This article explores the types of user interactions with these LEGO worlds as a specific form of ludic ‘seriality-in-use’ as the media invites its users to construct, interact with, and remix different storyworlds through LEGO. We explore this specific form of seriality – what we term ‘seriality-in-use’ – as serial forms that emerge from actual play instigations and manifestations and are expre

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Dr., Yashoda.R. "Challenges of Digital Enterprises in Karnataka." International Journal of Advance and Applied Research 4, no. 7 (2023): 89–91. https://doi.org/10.5281/zenodo.7695291.

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The industrial world is facing rapidly changing challenges.  Our resources are finite, and we all need to do more with less.  Digitalization and automation are the game changers to meet these challenges on the way to industry 4.0. It is essential to collect, understand and use the massive amount of data created in the Industrial Internet of Things (IIOT). The Digital Enterprise is doing exactly this by combining the real and the digital worlds.  AS a result, the infinite amount of data allows us to use our finite resources efficiently and with that make the industry more sustain

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de Wildt, Lars, Thomas H. Apperley, Justin Clemens, Robbie Fordyce, and Souvik Mukherjee. "(Re-)Orienting the Video Game Avatar." Games and Culture 15, no. 8 (2019): 962–81. http://dx.doi.org/10.1177/1555412019858890.

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This article explores the cultural appropriation of the term avatar by Western tech culture and what this implies for scholarship of digital games, virtual worlds, social media, and digital cultures. The term has roots in the religious tradition of the Indian subcontinent and was subsequently imported into video game terminology during a period of widespread appropriation of Eastern culture by Californian tech industries. We argue that the use of the term was not a case of happenstance but a signaling of the potential for computing to offer a mystical or enchanted perspective within an otherwi

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Fizek, Sonia. "Automation of play: Theorizing self-playing games and post-human ludic agents." Journal of Gaming & Virtual Worlds 10, no. 3 (2018): 203–18. http://dx.doi.org/10.1386/jgvw.10.3.203_1.

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This article offers a critical reflection on automation of play and its significance for the theoretical enquiries into digital games and play. Automation has become an ever more noticeable phenomenon in the domain of video games, expressed by self-playing game worlds, self-acting characters, and non-human agents traversing multiplayer spaces. On the following pages, the author explores various instances of automated non-human play and proposes a post-human theoretical lens, which may help to create a new framework for the understanding of video games, renegotiate the current theories of inter

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Attebery, Stina. "Coshaping Digital and Biological Animals." Humanimalia 6, no. 2 (2015): 56–84. http://dx.doi.org/10.52537/humanimalia.9912.

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This paper considers how video games featuring animals as biological resources are simulating the types of “messy coshapings” that Donna Haraway values in companion species relationships, despite relocating these coshapings to a digital environment. The two game franchises that I am using for this argument—Pikmin and Pokémon—feature animal-like digital creatures who can be situated alongside biological animals through their imbrication in similar biopolitical structures of pet ownership, breeding and genetic manipulation, and animal training. I argue that embodied relationships of dominance an

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Bonner, Marc. "How sf is embodied in level structures." Science Fiction Film & Television: Volume 14, Issue 2 14, no. 2 (2021): 209–34. http://dx.doi.org/10.3828/sfftv.2021.14.

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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 si

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Fizek, Sonia. "Automated State of Play." Digital Culture & Society 4, no. 1 (2018): 201–14. http://dx.doi.org/10.14361/dcs-2018-0112.

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Abstract Automation of play has become an ever more noticeable phenomenon in the domain of video games, expressed by self-playing game worlds, self-acting characters, and non-human agents traversing multiplayer spaces. This article proposes to look at AI-driven non-human play and, what follows, rethink digital games, taking into consideration their cybernetic nature, thus departing from the anthropocentric perspectives dominating the field of Game Studies. A decentralised posthumanist reading, as the author argues, not only allows to rethink digital games and play, but is a necessary condition

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Knez, Igor, and Simon Niedenthal. "Lighting in Digital Game Worlds: Effects on Affect and Play Performance." CyberPsychology & Behavior 11, no. 2 (2008): 129–37. http://dx.doi.org/10.1089/cpb.2007.0006.

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Deng, Jiuzhen. "The Application of Dramatic Structure in Digital Game Design and Its Impact on Player Emotions." Lecture Notes in Education Psychology and Public Media 75, no. 1 (2024): 70–79. http://dx.doi.org/10.54254/2753-7048/75/20241076.

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This study explores how dramatic structure in digital game design engages players and evokes emotional responses. Dramatic structures typically consist of five stages: Exposition, Rising Action, Climax, Falling Action, and Denouement, which share similarities with game design frameworks that require clear objectives, conflicts, and outcomes to maintain player engagement. The research investigates how each stage elicits emotional shifts in players and amplifies immersion. Through detailed analysis and case studies of popular games, the findings indicate that dramatic structure strengthens narra

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Durmaz, Yakup, and Dilruba Gokalp. "Introduction of Metaverse to Our Lives and Unlimited Services in the World of Metaverse." International Business & Economics Studies 6, no. 1 (2023): p1. http://dx.doi.org/10.22158/ibes.v6n1p1.

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Metaverse is a universe that combines our physical reality with the digital virtual world and goes beyond reality with multiple users with a permanent and lasting effect. The virtual world is based on digital people and objects and technologies that enable multi-sensory communication with people, such as virtual reality (VR) and augmented reality (AR). It provides highly professional communication in dynamic interactions between digital structures and real time. First, we encountered virtual worlds where avatars could teleport between them. Metaverse’s resurgence has come with social, immersiv

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Grimes, Sara M. "Penguins, Hype, and MMOGs for Kids: A Critical Reexamination of the 2008 “Boom” in Children’s Virtual Worlds Development." Games and Culture 13, no. 6 (2016): 624–44. http://dx.doi.org/10.1177/1555412016638755.

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According to various media and academic sources, the virtual worlds landscape underwent a profound transformation in 2008, with the arrival of numerous new titles designed and targeted specifically to young children. Although a growing body of research has explored some of the titles involved in this shift, little remains known of its overall scope and contents. This article provides a mapping of the initial “boom” in children’s virtual worlds development and identifies a number of significant patterns within the ensuing children’s virtual worlds landscape. The argument is made that while the

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Landa, Yesenia Rubi, and Amy E. Thompson. "Field Notes and Fictional Realms." Advances in Archaeological Practice 11, no. 2 (2023): 258–63. http://dx.doi.org/10.1017/aap.2023.7.

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OverviewAs an escape from the day-to-day drudgery of our “real” world, video games allow us to leave reality and explore new fictional worlds. These worlds are more enjoyable when they are developed from various digital materials and presented as an official story, which is called “lore.” Lore invites the player to submerge into background stories of fictional worlds, including but not limited to those in video games. Video-game lore often provides historical narratives of these worlds, sometimes even drawing on archaeological themes in the creation of characters and places. The video game Lea

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Imbierowicz, Eleonora. "Perma-dying Worlds and the Limit of Eternal Return in Digital Games." Homo Ludens, no. 1 (12) (December 15, 2019): 77–91. http://dx.doi.org/10.14746/hl.2019.12.4.

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The article discusses the types of death in selected digital and tabletop games, sorting them into two groups: ones that follow the pattern of eternal return and allow the player to endlessly respawn in their worlds, and ones that limit the possibility of coming back. The article focuses on the latter, and analyses the mechanics limiting the access to the game – from permadeath, through the randomness and unique character of the events happening in online multiplayer games, up to permapermadeath – and the effects of the application of these mechanics.

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Newman, James. "(Not) Playing Games: Player-Produced Walkthroughs as Archival Documents of Digital Gameplay." International Journal of Digital Curation 6, no. 2 (2011): 109–27. http://dx.doi.org/10.2218/ijdc.v6i2.206.

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The subject of digital game preservation is one that has moved up the research agenda in recent years with a number of international projects, such as KEEP and Preserving Virtual Worlds, highlighting and seeking to address the impact of media decay, hardware and software obsolescence through different strategies including code emulation, for instance. Similarly, and reflecting a popular interest in the histories of digital games, exhibitions such as Game On (Barbican, UK) and GameCity (Nottingham, UK) experiment with ways of presenting games to a general audience. This article focuses on the U

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Aarseth, Espen. "Game or Supernovel? Playing and Reading Massive Game Novels." European Review 31, S1 (2023): S66—S76. http://dx.doi.org/10.1017/s1062798723000443.

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For half a century, digital machines have lent their computational power to mediate text-based, diegetic worlds, in the shape of software that we call games, video games, or sometimes interactive fiction. Perhaps the first such was Gregory Yob’s simple labyrinth-monster game Hunt the Wumpus (1973), but ever since then the games (if that is what they should be called) have become larger and far more complex, and, in recent decades, a single such work can contain more text than, say, Shakespeare’s collected plays. Given this massive textual content, as well as the often experimental and innovati

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COSTINA, Andrei. "Typologies of social structures in virtual communities – case study on mobile platforms." Studia Universitatis Babeș-Bolyai Ephemerides 67, no. 1 (2022): 43–58. http://dx.doi.org/10.24193/subbeph.2022.1.02.

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"This study (originally published in Romanian) aims to define certain typologies of individuals involved in virtual communities, more specifically in persistent online worlds. In this case the focus is on a case study applied to the platform called state of survival dedicated to the mobile devices segment. it is a platform that combines in one application various types of gaming with several ways of communicating and socializing. The fact that this game has become extremely popular at the beginning of the pandemic correlated with periods of severe lockdown puts it in a unique socio-cultural co

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Andrejevic, Mark. "Productive Play 2.0: The Logic of In-Game Advertising." Media International Australia 130, no. 1 (2009): 66–76. http://dx.doi.org/10.1177/1329878x0913000109.

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Online video games are helping to pioneer the use of interactive advertising that targets consumers based on information about their behaviour, consumption patterns, and other demographic and psychographic information. This article draws on the example of in-game ads to explore some of the ways in which advertisers harness virtual worlds to marketing imperatives, and equate realism and authenticity with the proliferation of commercial messages. Since video games have the potential to serve as a model for other forms of marketing both online and off, the way in which they are being used to expl

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Burroughs, Benjamin, and Malcolm Slaney. "Battle Royale, brands and the experiential video game economy." Journal of Gaming & Virtual Worlds 16, no. 1 (2024): 69–87. http://dx.doi.org/10.1386/jgvw_00092_1.

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This article explores how the Battle Royale (BR) format in video games positions game users within unique articulations of play, where fully formed narratives in each game conjoin players and brands within the BR format. This game mechanic has allowed game developers to tell customized and interactive stories while also enabling companies to forge branded experiences within these games. Fortnite, Apex Legends and Call of Duty: Warzone are three of the most popular BR titles analysed through an autoethnographic approach in this work. These games have developed story worlds and unique characteri

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Xie, Anna, Xi Hu, Mindao Wang, and Xindong Zhao. "Exploring the Sustainable Development of Web3 Game Token Economy." Sustainability 16, no. 15 (2024): 6587. http://dx.doi.org/10.3390/su16156587.

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With the popularity of Play-to-Earn (P2E) games, in-game token economies have become the foundation of the financial structure of virtual worlds. More and more players are investing in digital assets, promoting long-term economic growth. This paper delves into the key factors for the sustainability of the P2E game token economy: the investment value of tokens and external incentives. When tokens are no longer profitable, user churn rates rise sharply, which is critical to the continued development of P2E games. External factors also significantly impact token prices, which affects the stabilit

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da Costa, Caio Tulio Olimpio Pereira. "Among Pixels and Pavement: Exploring the Feedback Loop Between Digital Games and Public Spaces." Acta Ludologica 8, no. 1 (2025): 4–15. https://doi.org/10.34135/actaludologica.2025-8-1.4-15.

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The paper explores the complex interactions between public spaces and digital games, highlighting how these environments both influence and are influenced by each other on real and virtual worlds. Drawing on Johan Huizinga’s concept of Homo ludens, the study underscores the importance of play as a fundamental aspect of human culture and its extension into contemporary digital interfaces. In addition, the paper argues that the feedback loop between game and reality reshapes our understanding of public spaces and games, exploring mini-cases as potential examples for the discussion. The analysis

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Wills, John. "Mechanisms of time in video game Westerns from Gun Fight to Red Dead Redemption 2." European Journal of American Culture 42, no. 2 (2023): 197–214. http://dx.doi.org/10.1386/ejac_00105_1.

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This article explores the video game Western and its relationship with ideas of temporality surrounding the American West. The fledgling video game industry first put ‘Cowboys and Indians’ on arcade screens in the 1970s, creating a playable digital West for gamers. Content and aesthetics proved decidedly simple, with game worlds reliant on prior filmic presentations. By the 2000s, thanks largely to technological advances, video game Westerns began to offer quantifiable depth and complexity, with Rockstar Games’s Red Dead Redemption series (2004–18) being a leading example. Video game Westerns

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Brownell, Cassie J. "Writing as a Minecrafter: Exploring how Children Blur Worlds of Play in the Elementary English Language Arts Classroom." Teachers College Record: The Voice of Scholarship in Education 123, no. 3 (2021): 1–19. http://dx.doi.org/10.1177/016146812112300306.

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Background/Context Educators have considered how Minecraft supports language and literacy practices in the game and in the spaces and circumstances immediately surrounding gameplay. However, it is still necessary to develop additional conceptualizations of how children and youth's online and offline worlds and experiences are blurred by and through the games. In this study, I take up this call and examine how the boundaries of the digital were blurred by one child as he wrote in response to a standardized writing prompt within his urban fourth-grade classroom. Purpose/Objective/Research Questi

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LAZĂR, Ștefan-Andrei, and Patricia Isabela BRĂILEANU. "Advanced Modeling and 3D Printing Techniques for Game and CGI Characters." Annals of “Dunarea de Jos” University of Galati. Fascicle IX, Metallurgy and Materials Science 47, no. 3 (2024): 32–37. https://doi.org/10.35219/mms.2024.3.06.

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This article explores the methods of designing 3D elements used in video games and CGI, highlighting the impact of these techniques on the perception and experience of digital art. 3D models are fundamental to create immersive virtual worlds, and the 3D modeling process extends from conception to execution, combining engineering principles with industrial design. Advanced threedimensional modeling software such as Blender or Adobe Substance 3D Painter are built to create realistic models, while additive manufacturing with SLA technology allows rapid prototype development of game characters. Th

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Maj, Krzysztof M. "O strukturze świata w narracyjnych grach wideo." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 29, no. 38 (2021): 43–55. http://dx.doi.org/10.14746/i.2021.38.03.

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The article On the structure of gameworld in narrative video games proposes to introduce the term ‘ludotopia’ to Polish game studies in order to further compartmentalise the structure of video gameworld. Having reflected on the consequences of so-called world-centered turn in contemporary digital humanities, the author proceeds to defining archetypal structures that compose realities designed for the purposes of narrative video games, namely: locations and clusters of locations, the latter divided further into biomes and anthromes. The hierarchy introduced thereby is presented as an alternativ

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Solberg, Ragnhild. "(Always) Playing the Camera: Cyborg Vision and Embodied Surveillance in Digital Games." Surveillance & Society 20, no. 2 (2022): 142–56. http://dx.doi.org/10.24908/ss.v20i2.14517.

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As the increasingly ubiquitous field of surveillance has transformed how we interact with each other and the world around us, surveillance interactions with virtual others in virtual worlds have gone largely unnoticed. This article examines representations of digital games’ diegetic surveillance cameras and their relation to the player character and player. Building on a dataset of forty-one titles and in-depth analyses of two 2020 digital games that present embodied surveillance camera perspectives, Final Fantasy VII Remake (Square Enix 2020) and Watch Dogs: Legion (Ubisoft Toronto 2020), I d

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Mustafa, Bahaa. "Analyzing education based on metaverse technology." Technium Social Sciences Journal 32 (June 9, 2022): 278–95. http://dx.doi.org/10.47577/tssj.v32i1.6742.

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The Metaverse is a post-reality universe, a perpetual multi-user environment that combines physical reality and digital virtuality. It is based on the convergence of technologies that enable multisensory interactions with virtual environments, digital objects, and people, such as virtual reality (VR) and augmented reality (AR). As a result, Metaverse is a web of social, networked immersive environments on persistent multi-user platforms. It allows for real-time, embodied user communication and dynamic interactions with digital artifacts. Its first incarnation was a web of virtual worlds betwee

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De Sena, Ítalo Sousa, and Zdeněk Stachoň. "Designing Learning Activities in Minecraft for Formal Education in Geography." International Journal of Emerging Technologies in Learning (iJET) 18, no. 04 (2023): 32–49. http://dx.doi.org/10.3991/ijet.v18i04.36307.

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Digital technology has shaped the way humans interact with information and create knowledge. These conditions have in turn shaped a generation of people who experienced virtual environments very early in their lives and are often referred to as digital natives. This group of people has a particular way of communicating and interacting. It characterizes their affinity spaces and the many experiences with virtual worlds and digital games. In digital games, the separation between entertainment and learning is becoming less pronounced. Many game titles have been used for educational purposes. An i

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Huang, Mincong, and Jonas Braasch. "Integrated digital twin of networked immersive rooms for distributed interactive telepresence in shared virtual worlds." Journal of the Acoustical Society of America 156, no. 4_Supplement (2024): A39. https://doi.org/10.1121/10.0035024.

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We present an integrated digital twin for room-oriented immersive systems (ROIS) that facilitates spatially distributed multi-user remote telepresence. This work, built upon prior development of game-based virtual collocation systems in immersive rooms, further addresses synchronous communication and spatially distributed interactivity between remote participants through a distributed audio spatialization system. This digital twin allows its users in physically disjoint locations to navigate through the virtual worlds with virtual sound source information transmitted through remote procedure c

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Clay, Elonda. "These Gods Got Swagger." Bulletin for the Study of Religion 40, no. 3 (2011): 4–9. http://dx.doi.org/10.1558/bsor.v40i3.002.

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This paper expands the topography of contexts in which research on hip hop and religion takes place by investigating the ways in which video game engines and video editing software are used by game players to produce films within virtual environments. My investigation highlights the online dramatic form of "machinima" (machine-cinema) - a creative, often unintended user adaptation of video game engines and movie-making software. I argue that ‘swagger’, a collective of black cultural expressions that signify confidence, success, rhythmic body movements, and highly stylized appearance, is reconf

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E, Edhaya Chandran, and Gnana Sanga Mithra S. "Digital Humanities and Game Ethics: Investigating the Impact of Representation in Gaming." Studies in Media and Communication 11, no. 7 (2023): 159. http://dx.doi.org/10.11114/smc.v11i7.6266.

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“Digital humanities” is about the usage of computer-assisted tools to preserve knowledge and disseminate them through technological resources. An extension of these techniques can be seen in today’s hyper realistic games with high-concept storytelling. These games immerse the players in a world that enables them to experience a different reality and often ask them to make choices that have real-life social impact. They have empowered artists to create worlds that could become a testing ground for philosophical theories. This paper concentrates on the impact of gaming on real-world ethical and

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Kuo, Ming-Shiou, and Tsung-Yen Chuang. "Developing a 3D Game Design Authoring Package to Assist Students’ Visualization Process in Design Thinking." International Journal of Distance Education Technologies 11, no. 4 (2013): 1–16. http://dx.doi.org/10.4018/ijdet.2013100101.

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The teaching of 3D digital game design requires the development of students’ meta-skills, from story creativity to 3D model construction, and even the visualization process in design thinking. The characteristics a good game designer should possess have been identified as including redesign things, creativity thinking and the ability to visualize ideas from imagination. Therefore, 3D visualization is a key skill in this context. To help students fully focus on game design rather than on complicated 3D modeling or animation skills, this study developed an authoring package that is integrated wi

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Bakioğlu, Burcu. "Lore of mayhem: Griefers and the radical deployment of spatial storytelling." Journal of Gaming & Virtual Worlds 11, no. 3 (2019): 231–50. http://dx.doi.org/10.1386/jgvw.11.3.231_1.

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Griefing is a term frequently used to derisively characterize a wide set of activities on digital platforms that yield atypical or undesirable outcomes. This article offers a fresh perspective on the phenomenon of griefing by resituating it as a form of cultural production derived from a transgressive and often agonistic approach to spatial storytelling. Considering griefing as an expressive performative activity along these lines allows us to better understand its repercussions across digital platforms and increasingly in the real world. It promises to shed light on the process through which

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Kunz, Sibylle, Claudia Hess, and Adrienne Steffen. "It’s NOT “Only a Game”! Strategies Against Sexual Harassment in Immersive VR Environments." International Conference on Gender Research 8, no. 1 (2025): 500–503. https://doi.org/10.34190/icgr.8.1.3209.

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Sexual harassment and cyber grooming have been happening in all digital media since their beginning. Recently, more users are experiencing 3D worlds in Virtual reality (VR), and immersive multiplayer environments allow talking and interacting with other users’ avatars or even “touching” each other’s virtual body. This can lead to sexual harassment situations. Especially female and queer VR users are frequently “contacted” in inappropriate ways. Since the identity of a user is often not revealed, the barriers for offence up to virtual rapes are relatively low. There is no clear jurisdiction aga

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