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1

Denning, Andrew. "Deep Play? Video Games and the Historical Imaginary." American Historical Review 126, no. 1 (2021): 180–98. http://dx.doi.org/10.1093/ahr/rhab002.

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Abstract Video games earned $43.8 billion in revenue in 2018, and many of the most popular and enduring games in recent years are set in historical environments. They are a form of popular art that sheds light on the mentalité of our era. As this article argues, the act of participating in history in virtual forums frames the public’s view of history. This article examines how recent video games focused on the Nazis shape public understanding of the Third Reich, as well as how they stage who and what matters in history and assume how historical change occurs. Historical video games connect the
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Lawler, Jeffrey, and Sean Smith. "Reprogramming the History of Video Games: A Historian’s Approach to Video Games and Their History." International Public History 4, no. 1 (2021): 47–54. http://dx.doi.org/10.1515/iph-2021-2018.

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Abstract This paper explores the need and opportunities for historians to recognize the importance of video games to their research in modern American history. While this paper is rooted in examples specific to United States history, the call for historians to examine video games, engage with the rich field of games studies, and explore video games as sources in historical scholarship is a universal one, applicable to all fields of history. In this paper we argue that digital games are an essential part of media and cultural history and while media scholars and others interested in game studie
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Belyaev, Dmitriy A., and Ulyana P. Belyaeva. "Video games as a screen-interactive platform of historical media education: educational potential and risks of politicization." Perspectives of Science and Education 52, no. 4 (2021): 478–91. http://dx.doi.org/10.32744/pse.2021.4.32.

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Screen culture today, absorbing verbal-narrative and written culture, is the dominant memorial-representative format for the reproduction, preservation and broadcast of cultural information. Among the varieties of screen culture, since the beginning of the 21st century, video games have become especially popular and widespread. They possess unique interactive-procedural qualities, which, together with the traditional grammar of screen narrative, create an original complex of rhetorical techniques that effectively influence the mass public consciousness. In turn, the plot and visual design of v
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Wright, Esther. "On the promotional context of historical video games." Rethinking History 22, no. 4 (2018): 598–608. http://dx.doi.org/10.1080/13642529.2018.1507910.

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Сапицька, О. М. "The role of video games in obtaining and disseminating historical knowledge." ВІСНИК СХІДНОУКРАЇНСЬКОГО НАЦІОНАЛЬНОГО УНІВЕРСИТЕТУ імені Володимира Даля, no. 3(259) (February 18, 2020): 62–70. http://dx.doi.org/10.33216/1998-7927-2020-259-3-62-70.

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The formation of the historical background in video games is provided by spatial narratives. In recent years, they are more and more amenable to adjustments in the direction of maximally exact correspondence to socio-economic, political, cultural, domestic, geographical, climatic and so on elements of the localized on the scenario of the game`s chronotop. This may indicate another qualitative transformation of video games as a socio-technical and socio-cultural phenomenon, as well as about the positive cultural and intellectual dynamics of the modern “consumer society”.
 Computer video ga
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Spring, Dawn. "Gaming history: computer and video games as historical scholarship." Rethinking History 19, no. 2 (2014): 207–21. http://dx.doi.org/10.1080/13642529.2014.973714.

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Statham, Nataska. "Use of Photogrammetry in Video Games: A Historical Overview." Games and Culture 15, no. 3 (2018): 289–307. http://dx.doi.org/10.1177/1555412018786415.

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In 2014, the developers of The Vanishing of Ethan Carter revealed that the stunning settings in the game were created using photogrammetry, a modeling technique up to then generally disregarded as being too cumbersome for the technical limitations of game engines. Shortly after, EA DICE announced that its 2015 flagship title Star Wars Battlefront would be adopting photogrammetry extensively not only to capture key props and costumes but also to recreate key locations beloved to Star Wars fans. Since then, the games industry has been flooded with articles, tutorials, and new software dedicated
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San Nicolás Romera, César, Miguel Ángel Nicolás Ojeda, and Josefa Ros Velasco. "Video Games Set in the Middle Ages." Games and Culture 13, no. 5 (2016): 521–42. http://dx.doi.org/10.1177/1555412015627068.

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Within the study of video games, there is a burgeoning interest in the phenomenon of historical representation; nonetheless, few studies have centered on the reflection of particular eras of History, such as the Middle Ages and the effect of this on interpretations of culture and potential pedagogical applications with respect to this specific period of time. In this study, we present and discuss the compilation and content of a database of over 600 medieval titles released between 1980 and 2013, demonstrating the growing popularity, with producers and consumers, of what we could now refer to
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Vossen, Emma. "There and Back Again." Feminist Media Histories 6, no. 1 (2020): 37–65. http://dx.doi.org/10.1525/fmh.2020.6.1.37.

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The cultural ubiquity of The Lord of the Rings has shaped our contemporary assumptions about what the fantasy genre looks like, and these assumptions have in turn determined to a great extent what video games look like both historically and today. The Lord of the Rings and video games are, sadly, both well known for their lack of diversity, and this article argues that that is no coincidence. Focusing on the impact of the life and work of J. R. R. Tolkien, it traces fantasy media from the birth of the genre to the present day to discuss how exclusion is remediated, normalized, and justified. I
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Makai, Péter. "Video Games as Objects and Vehicles of Nostalgia." Humanities 7, no. 4 (2018): 123. http://dx.doi.org/10.3390/h7040123.

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Barely 50 years old, video games are among the newest media today, and still a source of fascination and a site of anxiety for cultural critics and parents. Since the 1970s, a generation of video gamers have grown up and as they began to have children of their own, video games have become objects evoking fond memories of the past. Nostalgia for simpler times is evident in the aesthetic choices game designers make: pixelated graphics, 8-bit music, and frustratingly hard levels are all reminiscent of arcade-style and third-generation console games that have been etched into the memory of Generat
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Belyaev, Dmitry Anatolyevich, and Ulyana Pavlovna Belyaeva. "Discourses and Semantic Tropes of the Philosophical Explication of Video Games." Problemos 96 (October 16, 2019): 172–83. http://dx.doi.org/10.15388/problemos.96.14.

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The article explores one of the most remarkable and dynamic phenomena of modern technoculture – video games. It reconstructs the genesis of the philosophical discourse on video games, exposing the main difficulties arising in making the definitions. Special importance is attached to the critical comparative analysis of the major strategies for the philosophical explication of video games. With the aid of the method of comparative-historical reconstruction and a structuralist approach, the essential correlations between the essential definition of a video game and the ontological systems of Pla
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Arrighi, Julie, and Grady Walker. "Participatory Video and Games for a New Climate." Leonardo 47, no. 5 (2014): 508. http://dx.doi.org/10.1162/leon_a_00826.

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In a world of changing climate risks, the humanitarian sector is facing an unprecedented future of changing hazard profiles and increasingly complex decision-making scenarios. Individuals, communities and disaster managers need to re-examine their way of analyzing information and learn how to make decisions founded on uncertainty rather than historical trends. As a result of this increasingly dynamic future, the Red Cross/Red Crescent Climate Centre decided to re-examine its own strategies for communicating complex climate risk management concepts by engaging with the arts through the use of g
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Warrich, Haseeb Ur Rehman, Sahrish Jamil, and Fazal Rahim Khan. "Behavioral Escalation: Video Games as a Tool of Hybrid War." Global Mass Communication Review V, no. I (2020): 75–89. http://dx.doi.org/10.31703/gmcr.2020(v-i).06.

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Gaming industry in its short span of around forty years has evolved from a hobby to a huge economic industry. However, undeniably, incredible advancement in video game graphics has allowed this virtual world to manipulate and escalate its consumer's behavior. Violent video games, according to Professor Robert Sparrow, have long been used for political contestation and social unrest. The study serves to analyze behavioral escalation through video games. This study has used Ian Bogust's Procedural Rhetoric as a methodology to analyze video games. The results showed that video games are persuasiv
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Aguirre Quiroga, Stefan, and Iro Filippaki. "The Great War and the Use of Video Games as Historical and Educational Resources: A Conversation." Revista Alicantina de Estudios Ingleses, no. 31 (December 15, 2018): 195. http://dx.doi.org/10.14198/raei.2018.31.13.

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Tołkaczewski, Filip. "From Symbolism to Realism. Physical and Imaginary Video Game Spaces in Historical Aspects." Homo Ludens, no. 1 (12) (December 15, 2019): 193–212. http://dx.doi.org/10.14746/hl.2019.12.10.

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Physical and imaginary video game spaces have been constantly evolving, starting from dark indefinable space to ultimately become an incredibly realistic world. This paper aims at illustrating how physical and imaginary spaces have evolved. The older games are, the more indefinable and iconic their physical spaces become. In more modern games physical spaces are being more and more developed. It is now possible to move the place of action from the heights of a symbolic universe to a particular land located in a specific timeline, which made it possible to create realistic settings and characte
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Goaid Alotaibi, Abdullah, and Zafer Tuhaitah. "An overview of the localisation of video games into Arabic." Journal of Internationalization and Localization 8, no. 1 (2021): 26–47. http://dx.doi.org/10.1075/jial.20008.goa.

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Abstract With the emergence of video game localisation studies in the last decade, scholarly interest in translation studies in this young discipline has increased. Although globalisation has encouraged video game companies to offer their products in as many languages and markets as feasible, this academic discipline is still an under-researched area, especially in the Arab context. This article presents an overview to engender a better understanding of the nature of video games and their localisation in the Arab market. This market is distinct due to its culture, politics and language. In add
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Phillips, Amanda. "Shooting to Kill." Games and Culture 13, no. 2 (2015): 136–52. http://dx.doi.org/10.1177/1555412015612611.

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The headshot burst into the cultural imaginary with the assassination of John F. Kennedy in 1963, and it has been remediated from historical anxieties about execution and brain death to the eye-popping spectacle of the exploding head to video games, where it has entered a regime that holds virtuosic reflexes as the highest form of capital. By examining the textual and technological history of the headshot, this article develops a theory of mechropolitics: a way of thinking about political death worlds as they operate in the mechanics of video games and digital simulations. Moving beyond questi
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Burdenko, E. V., and V. V. Shchepetov. "IMPACT OF THE COVID - 19 PANDEMIC ON THE GLOBAL VIDEO GAMES MARKET." International Trade and Trade Policy 7, no. 1 (2021): 36–51. http://dx.doi.org/10.21686/2410-7395-2021-1-36-5.

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The article focuses on the analysis of the global video game industry. The structure of the gaming industry, which includes manufacturers from around the world, is considered. The study showed the controversial impact of the COVID-19 pandemic on the global video game industry. The units of the global video games industry affected by the introduction of quarantine measures and self-isolation have been highlighted: cancelation or postponement of the events to 2021. Among the positive changes are the following: increased sales of video games, an increase in the number of users and the number of h
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Anderson, Sky LaRell. "The interactive museum: Video games as history lessons through lore and affective design." E-Learning and Digital Media 16, no. 3 (2019): 177–95. http://dx.doi.org/10.1177/2042753019834957.

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This article approaches games from the perspectives of design and analysis in order to describe how games might employ pedagogical strategies that capitalize on their strengths as interactive media while avoiding the pitfalls of traditional learning games. Specifically, it draws attention to how games employ world building through lore—such as through item text descriptions—as well as affective game design aesthetics to create a learning experience closer in similarity to touring a museum than reading a textbook. Describing this phenomenon as the interactive museum, the article discusses how t
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Wilson, Jason. "Indie Rocks! Mapping Independent Video Game Design." Media International Australia 115, no. 1 (2005): 109–22. http://dx.doi.org/10.1177/1329878x0511500111.

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Though many video games scholars and journalists tend to train their sights on ‘big gaming’, there is a vibrant and varied sector of independent game design, production and distribution. Indie gaming is not a unitary field and, as well as producing a diverse range of games, indie designers occupy a range of positions vis-à-vis mainstream video gaming. Therefore, while this article gives examples of this diversity, it is by no means an exhaustive account. Industry watchers and events are together suggesting that low-cost, independent modes of production will become increasingly important and pr
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Skolnik, Michael Ryan, and Steven Conway. "Tusslers, Beatdowns, and Brothers: A Sociohistorical Overview of Video Game Arcades and theStreet FighterCommunity." Games and Culture 14, no. 7-8 (2017): 742–62. http://dx.doi.org/10.1177/1555412017727687.

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Alongside their material dimensions, video game arcades were simultaneously metaphysical spaces where participants negotiated social and cultural convention, thus contributing to identity formation and performance within game culture. While physical arcade spaces have receded in number, the metaphysical elements of the arcades persist. We examine the historical conditions around the establishment of so-called arcade culture, taking into account the history of public entertainment spaces, such as pool halls, coin-operated entertainment technologies, video games, and the demographic and economic
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Pilkevych, Pilkevych. "THE SIMULATION STRUCTURE OF THE HISTORICAL AND MYTHOLOGICAL TYPES IN FANTASY MMORPG." Ethnic History of European Nations, no. 59 (2019): 104–7. http://dx.doi.org/10.17721/2518-1270.2019.59.18.

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The article deals with the reception of historical and mythological heritage in the video games of fantasy genre. The paradigms of object-oriented programming and MMORPG algorithm logic determine the structure of the content simulation. Сreating thousands of similar objects provides for top priority the provision of a single interface to entities of different types. Mythological content class upon another class, retaining similar implementation combines the principles of historical reception and programming inheritance.
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Trépanier-Jobin, Gabrielle. "Toward a Foucauldian Genealogy of Video Game (Pre)history." International Public History 4, no. 1 (2021): 25–34. http://dx.doi.org/10.1515/iph-2021-2022.

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Abstract This paper highlights the distortive nature of narrative models that are often employed in video game historiographies to produce captivating tales. More precisely, it argues against: the search for video games’ origin(s); the “chronological-teleological” model based on linear progressions; the “chronological-organic” narrative revolving around a biological-like evolution; the “epistemic breaks” structure based on radical transformations; the “bi-polar” model involving a dialectic of oppositions; and the “cyclical” narrative revolving around postmodern tropes of return, recycling, and
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Emara, Ahmed Hassan, Adham M. Hany Abulnour, and Mohammed Moustafa Ayoub. "Design Criteria for Pervasive Games in Historical Sites." Academic Research Community publication 2, no. 3 (2018): 63. http://dx.doi.org/10.21625/archive.v2i3.346.

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Video games can be considered a strong asset in the tourism industry. It is a form of media that allows for interactive experiences. It also allows the virtual reconstruction of historical sites and cities that are difficult or impossible to reconstruct physically, thus, introducing historical sites to a new generation. Pervasive gaming (playing on site) can help augment the tourist's experience by using 21st-century technologies, such as augmented reality, to reconstruct the site virtually and to let the player experience the history of the sites in a more engaging way. This paper aims to pro
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Venegas Ramos, Alberto. "Aesthetic uses of the past and limits in the reconstruction of historical spaces inside a videogame." Culture & History Digital Journal 9, no. 1 (2020): 004. http://dx.doi.org/10.3989/chdj.2020.004.

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Along the last years we have assisted to the release of a great number of videogames set in the past as, for example, Assassin’s Creed: Origins (Ubisoft, 2017). This game offered the player the possibility to tour the city of Alexandria during the first century before Christ. My intention in this text is to develop the use of the past in the reconstruction of urban digital spaces through three video-game sagas, BioShock (Irrational Games y 2K Marin, 2007 – 2013), Uncharted (Naughty Dog, 2006 – 2017) and Assassin’s Creed (Ubisoft, 2007 – 2017). Each one of them will serve us to develop and exam
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Mather, David. "Extended Memory: Early Calculating Engines and Historical Computer Simulations." Leonardo 39, no. 3 (2006): 237–43. http://dx.doi.org/10.1162/leon.2006.39.3.237.

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When framed within cognitive theory's extended mind hypothesis, Charles Babbage's 19th-century calculating machines illustrate a distinction between accuracy and flexibility. These properties affect how historical data and memory are organized, providing conceptual linkages for mind-machine integration. The distinction between accuracy and flexibility is also apparent in present-day computer simulations that use historical scenarios, such as virtual-reality software designed for the Bloody Sunday Inquiry, history-based video games and other art and entertainment software applications. These co
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Arambarri Basáñez, Jon, Leire Armentia Lasuen, and Unai Baeza Santamaría. "Serious games para la puesta en valor de la cultura. Un caso práctico: SUM." Virtual Archaeology Review 3, no. 7 (2012): 65. http://dx.doi.org/10.4995/var.2012.4388.

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<p>Although video games and serious games are based on similar technologies, their uses and purposes are completely different. Some examples of what serious games are designed for include achieving objectives, acquiring complex life skills and promoting cooperation at work. The main goal of a serious game is to make culture accessible to everyone using Information and Communication Technologies.<br />This paper will present the case study of Sum, an on-line serious game which aims to promote Spanish culture as a global culture that has been directly influenced by the historical eve
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Švelch, Jan. "Resisting the perpetual update: Struggles against protocological power in video games." New Media & Society 21, no. 7 (2019): 1594–612. http://dx.doi.org/10.1177/1461444819828987.

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This article explores the evolution of video game updates and patches from a mechanism of customer support to a tool of control over the way games are played in the ecosystem of digital gaming platforms. It charts a historical trajectory across various cultural industries, including literary publishing, screen industries, and music, to show a shift from multiplicity of editions to one perpetually updated contingent commodity. Focusing on the issues of power and control enabled by the always-online platforms, the analysis shows that previously updating was often voluntary. However, now players
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Fiadotau, Mikhail. "Dezaemon, RPG Maker, NScripter: Exploring and classifying game ‘produsage’ in 1990s Japan." Journal of Gaming & Virtual Worlds 11, no. 3 (2019): 215–30. http://dx.doi.org/10.1386/jgvw.11.3.215_1.

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The article examines three tools used for hobbyist game development in 1990s Japan: the Dezaemon series of user-customizable shoot ‘em up games, the RPG Tsukūru (RPG Maker) series of tools for creating Japanese-style role-playing games and the NScripter scripting engine for visual novels. In doing so, it aims to highlight the diversity, but also to bring out the commonalities, of game ‘produsage’: producing video games by using dedicated software. The focus on a non-western historical context is an attempt to challenge assumptions about the locales and platforms of game produsage prevalent in
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Clyde, Jerremie, and Glenn Wilkinson. "The Siren Song of Digital Simulation." International Journal of Virtual and Personal Learning Environments 2, no. 2 (2011): 46–58. http://dx.doi.org/10.4018/jvple.2011040105.

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This paper contrasts the importance of procedural rhetoric for the use of games in university and college level historical education with the use of history themed digital simulations. This paper starts by examining how history functions as a form of disciplinary knowledge and how this disciplinary way of knowing things is taught in the post secondary history course. The manner in which history is taught is contrasted with its evaluation to better define what students are actually expected to learn. The simulation is then examined in light of learning goals and evaluation. This demonstrates th
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CARREIRO, MARCELO. "Jogando o Passado: Videogames como Fontes Históricas * Playing the past: video games as historical sources." História e Cultura 2, no. 2 (2013): 157. http://dx.doi.org/10.18223/hiscult.v2i2.878.

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<p><strong>Resumo:</strong> A historiografia contemporânea vem se utilizando, de forma cada vez mais segura, das novas mídias mistas como uma rica fonte histórica – é o caso do cinema e dos quadrinhos. Contudo, essa abertura metodológica a fontes não-textuais ganha nova dimensão com a consolidação da indústria de videogames como uma mídia audiovisual interativa, com elementos das mídias anteriores, mas resultando num caráter próprio. A recente maturidade da mídia, seu alcance demográfico e de mercado, assim como sua condição de arte de massa, colocam os videogames como fonte
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Dent, Chris. "Regulating interactive ‘creativity for the bad’: camgirls, video games and fake news." Interactive Entertainment Law Review 2, no. 1 (2019): 3–22. http://dx.doi.org/10.4337/ielr.2019.01.01.

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Interactive entertainment poses particular regulatory challenges. More specifically, the democratization of technology and creativity has meant that there is no capacity for a governmental agency to effectively regulate the spread, and enjoyment, of allegedly problematic expressions. This article will explore this by contrasting the regulation of non-interactive entertainment (including Dada art and punk music) with more recent forms of (at times) transgressive expression (amateur pornography, video games and fake news). The analysis will be carried out in terms of the different motivations of
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Greenberg, Raz. "The Animation of Gamers and the Gamers as Animators in Sierra On-Line’s Adventure Games." Animation 16, no. 1-2 (2021): 83–95. http://dx.doi.org/10.1177/17468477211025665.

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Produced throughout the 1980s using the company’s Adventure Game Interpreter engine, the digital adventure games created by American software publisher Sierra On-Line played an important and largely overlooked role in the development of animation as an integral part of the digital gaming experience. While the little historical and theoretical discussion of the company’s games of the era focuses on their genre, it ignores these games’ contribution to the relationship between the animated avatars and the gamers that control them – a relationship that, as argued in this article, in essence turns
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Bissell, Blake, Mo Morris, Emily Shaffer, Michael Tetzlaff, and Seth Berrier. "Vessel: A Cultural Heritage Game for Entertainment." Archiving Conference 2021, no. 1 (2021): 1–6. http://dx.doi.org/10.2352/issn.2168-3204.2021.1.0.2.

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Museums are digitizing their collections of 3D objects. Video games provide the technology to interact with these objects, but the educational goals of a museum are often at odds with the creative forces in a traditional game for entertainment. Efforts to bridge this gap have either settled on serious games with diminished entertainment value or have relied on historical fictions that blur the line between reality and fantasy. The Vessel project is a 3D game designed around puzzle mechanics that remains a game for entertainment while realizing the benefits of incorporating digitized artifacts
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Di Paola, F., L. Inzerillo, and Y. Alognaa. "A GAMING APPROACH FOR CULTURAL HERITAGE KNOWLEDGE AND DISSEMINATION." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W15 (August 22, 2019): 421–28. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w15-421-2019.

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<p><strong>Abstract.</strong> In these last years, video games have become one of the most popular entertainment for children/teenagers/adults thanks to their appealing and seductive features and, in this context, the Serious Games (SG) have become an important research field. The most popular SGs in Cultural Heritage (CH) used the historical building like scenario where the game is playing. In this paper we show the procedure to achieve a CH video game where the Cultural Heritage is the main actor and not the scenario of the game. Furthermore, the game is not a SG but an Act
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Cote, Amanda C. "Casual Resistance: A Longitudinal Case Study of Video Gaming’s Gendered Construction and Related Audience Perceptions." Journal of Communication 70, no. 6 (2020): 819–41. http://dx.doi.org/10.1093/joc/jqaa028.

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Abstract Many media are associated with masculinity or femininity and male or female audiences, which links them to broader power structures around gender. Media scholars thus must understand how gendered constructions develop and change, and what they mean for audiences. This article addresses these questions through longitudinal, in-depth interviews with female video gamers (2012–2018), conducted as the rise of casual video games potentially started redefining gaming’s historical masculinization. The analysis shows that participants have negotiated relationships with casualness. While many c
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Prevost, Ronnie. "Words about Recent Book: II. Historical-Theological Studies: Halos and Avatars: Playing Video Games with God." Review & Expositor 107, no. 2 (2010): 271–72. http://dx.doi.org/10.1177/003463731010700219.

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Guribye, Frode, Jo Dugstad Wake, and Barbara Wasson. "The Practical Accomplishment of Location-Based Game-Play." International Journal of Mobile Human Computer Interaction 6, no. 3 (2014): 32–50. http://dx.doi.org/10.4018/ijmhci.2014070103.

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Location-based games are believed to be one promising way to exploit the educational potential of mobile technology. In such games, the physical and cultural surroundings become an integrate part of a game space and provide a way to tie content to a game activity and create immersive learning experiences. To explore the properties of such games, and how they are played out in practice we have designed, deployed and analysed a location-based game for learning history embedded in a pedagogical scenario based on collaborative mobile learning. In the video-based, detailed analysis of actual game-p
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Rydzewski, Rafał. "Market-to-Book Ratio and Creative Industries– Example of Polish Video Games Developers." Economics and Culture 16, no. 1 (2019): 137–47. http://dx.doi.org/10.2478/jec-2019-0015.

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Abstract Research purpose. There are many reasons for which a growing interest in research and analysis of video game developers is observed. First, it results from attractive high rates of return on investment in this sector. Second, video games developers, in the author’s opinion, constitute a good combination of business and culture which is a ground for development of creative industry. A capital-intensive process of production and the intangibility of video games cause a problem in valuation of developers. Market participants who value future cash flows are in conflict with a historical c
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Gibbons, William. "Rewritable Memory: Concerts, Canons, and Game Music History." Journal of Sound and Music in Games 1, no. 1 (2020): 75–81. http://dx.doi.org/10.1525/jsmg.2020.1.1.75.

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Canons—of music, video games, or people—can provide a shared pool of resources for scholars, practitioners, and fans; but the formation of canons can also lead to an obscuring or devaluing of materials and people outside of a canon. The four authors in this colloquy interrogate issues of canons relating to video game music and sound from a variety of perspectives. Each author considers an aspect of canonization and argues for a wider purview. In “Rewritable Memory: Concerts, Canons, and Game Music History,” William Gibbons examines the ways in which concerts of video game music may create cano
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Grasso, Julianne. "On Canons as Music and Muse." Journal of Sound and Music in Games 1, no. 1 (2020): 82–86. http://dx.doi.org/10.1525/jsmg.2020.1.1.82.

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Canons—of music, video games, or people—can provide a shared pool of resources for scholars, practitioners, and fans; but the formation of canons can also lead to an obscuring or devaluing of materials and people outside of a canon. The four authors in this colloquy interrogate issues of canons relating to video game music and sound from a variety of perspectives. Each author considers an aspect of canonization and argues for a wider purview. In “Rewritable Memory: Concerts, Canons, and Game Music History,” William Gibbons examines the ways in which concerts of video game music may create cano
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Park, Hyeonjin. "The Difficult, Uncomfortable, and Imperative Conversations Needed in Game Music and Sound Studies." Journal of Sound and Music in Games 1, no. 1 (2020): 87–94. http://dx.doi.org/10.1525/jsmg.2020.1.1.87.

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Canons—of music, video games, or people—can provide a shared pool of resources for scholars, practitioners, and fans; but the formation of canons can also lead to an obscuring or devaluing of materials and people outside of a canon. The four authors in this colloquy interrogate issues of canons relating to video game music and sound from a variety of perspectives. Each author considers an aspect of canonization and argues for a wider purview. In “Rewritable Memory: Concerts, Canons, and Game Music History,” William Gibbons examines the ways in which concerts of video game music may create cano
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Cook, Karen M. "Canon Anxiety?" Journal of Sound and Music in Games 1, no. 1 (2020): 95–99. http://dx.doi.org/10.1525/jsmg.2020.1.1.95.

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Canons—of music, video games, or people—can provide a shared pool of resources for scholars, practitioners, and fans; but the formation of canons can also lead to an obscuring or devaluing of materials and people outside of a canon. The four authors in this colloquy interrogate issues of canons relating to video game music and sound from a variety of perspectives. Each author considers an aspect of canonization and argues for a wider purview. In “Rewritable Memory: Concerts, Canons, and Game Music History,” William Gibbons examines the ways in which concerts of video game music may create cano
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Sánchez García, Manuel. "Urban archetypes applied to the study of cities in historic contemporary fictions. Symbolic urban structures in Age of Empires III and Bioshock Infinite." Culture & History Digital Journal 9, no. 1 (2020): 006. http://dx.doi.org/10.3989/chdj.2020.006.

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In “The Idea of a Town: Anthropology of Urban Form” (1976), architecture historian Joseph Rykwert defined six archetypes used in Etruscan rites for the foundation of urban settlements, which continued to be used in Classical Greece and Ancient Rome. He proposed to use these same categories for the study of cities in different eras, as a methodology to develop a global urban history. This paper projects Rykwert’s concepts to cities created during the XXI century, specifically those designed for video games with historical themes, and provides the reader with an experimental methodology for asse
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Kozbelt, Aaron. "Psychological Implications of the History of Realistic Depiction: Ancient Greece, Renaissance Italy and CGI." Leonardo 39, no. 2 (2006): 139–44. http://dx.doi.org/10.1162/leon.2006.39.2.139.

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Art historian Ernst Gombrich argued that learning to create convincing realistic depictions is a difficult, incremental process requiring the invention of numerous specific techniques to solve its many problems. Gombrich's argument is elaborated here in a historical review of the evolution of realistic depiction in ancient Greek vase painting, Italian Renaissance painting and contemporary computer-generated imagery (CGI) in video games. The order in which many problems of realism were solved in the three trajectories is strikingly similar, suggesting a common psychological explanation.
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O'Donnell, Casey. "The Nintendo Entertainment System and the 10NES Chip: Carving the Video Game Industry in Silicon." Games and Culture 6, no. 1 (2010): 83–100. http://dx.doi.org/10.1177/1555412010377319.

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This essay makes the argument that the numerous ‘‘networks’’ or ‘‘inter/intranetworks’’ that structure the video game industry have lived local effects for those involved in the production of video games. In particular, this is most visible in the realm of console video game development but is visible in many other contexts as well. It uses the Nintendo Entertainment System (NES) as an index into this complex and highly structured world that frequently disappears from developers perception. The essay uses largely historical data drawn from patent filings, Securities and Exchange Commission (SE
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Sasuła, Łukasz, and Justyna Migoń-Sasuła. "Historical Narrative in Video Games Mechanics on the Example of Byzantine Civilization in "Age of Empires II"." Irydion. Literatura - Teatr - Kultura 4, no. 1 (2018): 111–21. http://dx.doi.org/10.16926/i.2018.04.08.

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van Ommen, Mattias. "Guild Wars 2, the Frankfurt School and Dialectical Fairy Scenes: A Critical Approach Towards Massively Multiplayer Online Video Games." Games and Culture 13, no. 6 (2016): 547–67. http://dx.doi.org/10.1177/1555412015627392.

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In this study, I use a revised approach of the Frankfurt School in order to critically assess a recent massively multiplayer online video game, Guild Wars 2. Starting with a brief historical overview of the Frankfurt School, I proceed by applying a revision of the school’s main contributions to analyzing Guild Wars 2. This includes an integration of processes of production and distribution, various levels of textual analysis, and audience reception. My main method of investigation is long-term participant observation, and throughout the article, I will argue for the use of such qualitative met
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Mancini, Huni. "Mā te rongo ka mohio: Māori Pā Wars and Kaupapa Māori Methodology at the Interface of Video Games." Back Story Journal of New Zealand Art, Media & Design History, no. 5 (December 1, 2018): 71–85. http://dx.doi.org/10.24135/backstory.vi5.38.

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This essay reviews Māori Pā Wars (2017), a te reo Māori mobile game developed for mobile devices by independent Māori-led video game company Metia Interactive. Through consideration of the historical struggle for cultural and te reo Māori revitalisation, this essay discusses the use of kaupapa Māori methodology to activate mātauranga Māori through gameplay. Situated within a wider global shift towards ‘indie’ game development and more pertinently ‘Indigenous game development,’ Māori Pā Wars is one of the first games to bring kaupapa Māori methodology to the interface of video game technology.
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Jatmiko, Rahmawan. "Fictional Characters’ Heroism in Assassin’s Creed III Video Game in the Perception of Indonesian Video Gamers." NOBEL: Journal of Literature and Language Teaching 8, no. 1 (2017): 35–48. http://dx.doi.org/10.15642/nobel.2017.8.1.35-48.

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Assassin’s Creed is a historical fiction video game developed and published by Ubisoft. This video game has been so far considered as one of the most violent video games. Assassin’s Creed III is the third sequel of which plot is set in a fictional history of real world events and follows the centuries-old conflict between the Assassins and the Templars. Based on this study, the plot, characters, characterization, and scenes in Assassin’s Creed III are deemed to be able to give positive teachings to the young generation, despite the fact that there are violent and sadistic scenes in the story.
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