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Journal articles on the topic 'Independent video game'
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1
Shedko, I. I. "Video Game Art Styles." Art & Culture Studies, no. 4 (December 2021): 382–95. http://dx.doi.org/10.51678/2226-0072-2021-4-382-395.
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The article examines the graphic styles that have arisen in the video game industry due to the technical features and development of this media. These styles are widely used and starting to go beyond the industry into the field of contemporary art. Despite the fact that pixel art is mainly used in the creation of video games, it has already become an independent form of visual style. Contemporary artists such as the Russian digital artist and designer under the pseudonym Uno Morales and the artist Natalya Struchkova turn to the pixel style when creating their works. Like the pixel art, voxel graphics has moved into the category of the game visual style, which employs an impressive community of digital artists. Low рoly graphics have modified from the main graphics of three-dimensional games, which look technically imperfect, into the category of an artistic style that forms a recognizable, attractive and unique geometric aesthetics of the image. We can trace the transformation of video game graphics, which have arisen as a result of technical constraints, into separate art styles: pixel art, voxel art, low рoly style, the minimalist style of the first classic video games. These styles are gradually becoming an independent visual unit that does not depend on the video game product as a whole.
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Wilson, Jason. "Indie Rocks! Mapping Independent Video Game Design." Media International Australia 115, no. 1 (May 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 prevalent in the immediate future. Scholars and practitioners alike will do well to understand the historical trajectories of indie design, and to keep pace with its present and future diversity.
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Trepte, Sabine, and Leonard Reinecke. "Avatar Creation and Video Game Enjoyment." Journal of Media Psychology 22, no. 4 (January 2010): 171–84. http://dx.doi.org/10.1027/1864-1105/a000022.
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Based on the model of complex entertainment experiences ( Vorderer, Klimmt, & Ritterfeld, 2004 ), the competitiveness of a computer game (media prerequisite) and the individual life satisfaction (user prerequisite) are hypothesized to influence game enjoyment. Avatar-player similarity was hypothesized to determine identification with the avatar, which in turn was suggested to enhance the enjoyment experience. In a quasi-experimental study, (N = 666) participants were asked to choose the personality features of an avatar for six different game scenarios. The results demonstrate that the games’ competitiveness as well as the participants’ life satisfaction influenced avatar choice and identification. In noncompetitive games, similar avatars were created, whereas in competitive games, dissimilar avatars were created. Participants who were well satisfied with their lives created avatars that resemble themselves in terms of personality factors, whereas dissatisfied users created dissimilar avatars. Player-avatar similarity was positively related to identification. This correlation was significantly stronger for noncompetitive games. Identification with the avatar was strongly related to game enjoyment. When controlling for the influence of identification on enjoyment, player-avatar similarity was negatively related to enjoyment, suggesting that identity play can be an independent source of enjoyment in computer games.
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Hawk, Christopher E., and Robert D. Ridge. "Is It Only the Violence?" Journal of Media Psychology 33, no. 3 (July 2021): 134–44. http://dx.doi.org/10.1027/1864-1105/a000291.
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Abstract. The results of prior research investigating whether the violence in violent video games leads to increased subsequent aggression are mixed. Some observers question whether the difficulty and/or the competitive aspects of these games are important, but overlooked, factors that also affect aggression. In the present study, participants ( N = 408) played a violent or nonviolent video game that was either difficult or easy and in which they competed and won, competed and lost, or did not compete against another player. Results revealed that participants became more aggressive only after playing a competitive, as opposed to a noncompetitive, game. Level of violence, winning or losing, and game difficulty did not have any significant effect. These results support the assertion that competition in video games has an independent and significant effect on subsequent aggression beyond violent content and game difficulty.
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Kirkland, Ewan. "Masculinity in Video Games: The Gendered Gameplay of Silent Hill." Camera Obscura: Feminism, Culture, and Media Studies 24, no. 2 (September 1, 2009): 161–83. http://dx.doi.org/10.1215/02705346-2009-006.
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This article explores construction and representation of masculinity in the “survival horror” video-game series Silent Hill. Noting the dominance of traditional male characters and masculine themes within the video-game medium, the Silent Hill franchise is seen as deviating from this assured, aggressive, and unexamined machismo. The series' protagonists are instead nondescript, flawed, domesticated men—unstable, angst-ridden, and unreliable in a manner that interrogates the dominant mode of masculine gameplay. The problematic nature of video-game interactivity and identity, the extent to which gameplay can exist independent of playable protagonists, and the gendering of video-game goals and objectives are considered. Despite conforming to certain masculine activities—fighting, collecting weaponry, exploring and dominating space—Silent Hill complicates such aspects through the game avatars' unremarkable abilities, limiting supplies, frantic combat styles, frustrating spatial progress, experiences of entrapment, and a pervading sense of helplessness, exemplified by the games' often deterministic linear structures. Overall, this article argues that the games encourage critical distance from the male game characters, the rescue missions they attempt and often fail, the monstrous images of femininity they imagine, and the voyeuristic practices in which they engage.
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Ruberg, Bonnie. "The Precarious Labor of Queer Indie Game-making: Who Benefits from Making Video Games “Better”?" Television & New Media 20, no. 8 (May 29, 2019): 778–88. http://dx.doi.org/10.1177/1527476419851090.
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This article looks at issues of precarious and exploited labor surrounding contemporary queer independent video game making. In recent years, there has been a marked rise in indie games made by and about lesbian, gay, bisexual, transgender, and queer (LGBTQ) people. These games and their creators are commonly lauded for inspiring change in the mainstream game industry and making the medium of video games more diverse and therefore “better.” However, this cultural narrative obfuscates the socioeconomic challenges faced by many queer indie game-makers. Drawing from interviews conducted by the author, this article presents a counter-narrative about the work of developing video games by and about marginalized people. Although such games are often described as “easy” or “free” to make, they in fact entail considerable, and rarely fairly compensated, labor. Simultaneously, value is being extracted from this labor by companies who look to queer indie games for inspiration, which translates into profit.
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Ruberg, Bonnie. "Empathy and Its Alternatives: Deconstructing the Rhetoric of “Empathy” in Video Games." Communication, Culture and Critique 13, no. 1 (March 2020): 54–71. http://dx.doi.org/10.1093/ccc/tcz044.
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Abstract This article analyzes the contemporary discourse that surrounds video games. Specifically, it confronts the rhetoric of “empathy,” which has become a buzzword in North American industry, academic, education, and media conversations about video games and their supposed power to place players into others’ shoes—especially those games created by queer or otherwise marginalized people. Scholars like Wendy Chun and Teddy Pozo and game designers like Robert Yang have spoken out against this rhetoric. Building from their writing, as well as critiques from the creators of queer independent games commonly mislabeled as “empathy games,” this article delineates the discriminatory implications of the term. Rather than simply dismissing “empathy,” however, this article unpacks it, turning to textual artifacts like news stories and industry presentations, as well as the 2016 video game Unravel (ColdWood Interactive), to deconstruct the term’s many meanings and to identity alternative (queerer) models of affective engagement with video games.
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Lessard, Jonathan, and Carl Therrien. "Indies de province." Le jeu vidéo au Québec 14, no. 23 (July 8, 2021): 15–35. http://dx.doi.org/10.7202/1078726ar.
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This paper looks at the emergence of video game creation in Québec prior to the industrial boom and the popularization of independent games. Built from personal archives and oral history, the paper highlights two unknown personalities from the history of video games in Québec: Christian Boutin and I-Grec. These portraits contribute to diversify the “indie” narrative and reconsider it as part of a longer history.
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Pamuja, Igor Wibya Bintang, Wiwit Dwi Nubadriyah, and Hardiyanto Hardiyanto. "PENGARUH TERAPI VIDEO GAME TERHADAP TINGKAT KECEMASAN ANAK PRE SIRKUMSISI." JURNAL CITRA KEPERAWATAN 9, no. 2 (December 30, 2021): 111–17. http://dx.doi.org/10.31964/jck.v9i2.209.
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ABSTRACT
Introduction: Anxiety is something that is faced by children before performing circumcision. Video game therapy is done to reduce the level of anxiety. The purpose of this study was to analyze the effect of video game therapy on anxiety levels of pre-circumcision children.
Methods: The design of this study is Quasy experimental with a two group pre and post experimental design approach. Samples were taken using the Quota Sampling technique at the KRJ Fasyfini Clinic (Ganjaran Sehat), Gondanglegi, Malang Regency and independent practice nurses Bastamil Anwar Azis, S.Kep, Ns, Klepu Sumbermanjing.The measurement of anxiety using the HARS (Hamilton Anxiety Rating Scale) questionnaire.
Results: Mann-Whitney test results obtained p value 0.000 (p <0.05).
Discussion: Based on this, it can be seen that there is an effect of video game therapy on the level of anxiety in pre-circumcision children, so it is hoped that video games will be an intervention in reducing anxiety due to circumcision.
Keywords: Video Game Therapy, Anxiety, Circumcision
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Leng, Ho Keat, Ibrahim Mohamad Rozmand, Yu Hong Low, and Yi Xian Philip Phua. "Effect of Social Environment on Brand Recall in Sports Video Games." International Journal of Gaming and Computer-Mediated Simulations 13, no. 1 (January 2021): 1–11. http://dx.doi.org/10.4018/ijgcms.20210101.oa1.
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Studies have shown that in-game advertisements can be effective. However, these studies typically examine single player scenarios. This study aimed to investigate the effects of social dynamics on brand awareness of in-game advertisements in sports video games. Two studies were conducted with soccer and basketball simulation games. In each study, participants were split into two groups where they either played against a computer-controlled opponent or against another player. For both studies, independent-samples t-tests were conducted to compare the recall rates between both groups. Both studies showed similar findings where respondents in the single player group reported higher recall and recognition rates when compared to respondents in the multi-player group. These findings suggest that the social environment can affect the effectiveness of in-game advertisements.
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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. Through analysis of game development methodology, mechanics, game design and the ubiquitous mobile medium, this essay outlines the ways Māori Pā Wars challenges a ‘literature of dominance.’ It concludes that the game borrows from remix and convergence cultures inherent to indie game development, thereby reflecting the way Māori technologies, social and political systems continue to adapt to a changing technological landscape.
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Korzhova, I. V. "Intellectual Property Issues in Video Games." Intellectual property law 2 (July 1, 2021): 45–47. http://dx.doi.org/10.18572/2072-4322-2021-2-45-47.
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The article deals with intellectual property issues related to the introduction of innovative technologies into games. The author concludes that the impact of a particular technology on the game is predominantly individual and requires independent study in relation to the field of intellectual rights. As private conclusions confirming this thesis, the article substantiates: 1) the specificity of the legal nature of in-game property in crypto games; 2) the peculiarities of the impact of virtual, augmented reality technologies (hereinafter — VR, AR-technologies or VR, AR) on the legal regime of content created by players, as well as the peculiarities of using trademarks in a virtual environment; 3) the need to develop innovative contractual models related to the regulation of intellectual rights between participants in the gaming industry; 4) the importance of ensuring certainty in the rights of subjects of the gaming industry, including when deciding who will own the rights to content created jointly by the player and gaming artificial intelligence, as well as when deciding whether to grant the player exclusive rights to the content created by him in games with VR, AR elements
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Farmer, Crystal. "Arrested (game) development: labour and lifestyles of independent video game creators in Cape Town." Social Dynamics 47, no. 3 (September 2, 2021): 455–71. http://dx.doi.org/10.1080/02533952.2021.1999632.
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Golding, Dan. "Finding Untitled Goose Game’s Dynamic Music in the World of Silent Cinema." Journal of Sound and Music in Games 2, no. 1 (January 1, 2021): 1–16. http://dx.doi.org/10.1525/jsmg.2021.2.1.1.
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There are three unusual things about Untitled Goose Game’s music. First, for an independent video game produced by a small studio, the music is dynamic and reactive to a high degree. The game uses pre-recorded, non-generative musical performances and yet will respond to onscreen events within a buffer of only a few seconds at maximum. Second, the music takes inspiration not from other dynamic music systems in video games but from the varying practices of musical accompaniment for silent cinema and early comedy, aiming to replicate affect rather than process. Finally, the music for Untitled Goose Game takes the unusual step of adapting pre-existing classical music from the public domain—in this case, six of Claude Debussy’s Préludes for solo piano—rather than creating an original score intended from its conception to be dynamic. Accordingly, this article outlines the dynamic music system at work in Untitled Goose Game and the influence drawn on for this system from non–video game approaches to musical accompaniment. The article discusses the varying practices for music for the silent era of cinema, the theoretical frameworks used to conceptualize these many divergent approaches, and how closely we might recognize their legacy at work in Untitled Goose Game’s soundtrack. Ultimately, this article argues that by looking to approaches beyond more familiar debates about dynamic music for video games, Untitled Goose Game helped shortcut familiar problems that confront developers and composers when working with dynamic and reactive music.
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Auxier, John W. "That Dragon, Cancer Goes to Seminary." Christian Education Journal: Research on Educational Ministry 15, no. 1 (April 2018): 105–17. http://dx.doi.org/10.1177/0739891318759725.
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That Dragon, Cancer is a “serious” video game that has garnered wide attention in the gaming community and popular press. The game was created by a team of independent game designers led by Ryan and Amy Green as a way of sharing their family’s journey of caring for their son Joel, who had been diagnosed with pediatric cancer. This article describes the use of the game within a graduate course on pastoral counseling and reflects upon student reactions as an example of the potential usefulness of serious games in theological education.
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Johnson, Mark R., and Jamie Woodcock. "The impacts of live streaming and Twitch.tv on the video game industry." Media, Culture & Society 41, no. 5 (December 20, 2018): 670–88. http://dx.doi.org/10.1177/0163443718818363.
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This article explores the growing importance of live streaming, specifically on website and platform Twitch.tv, to the games industry. We focus not on live streaming as a form of media production and consumption, but instead explore its newly central role in the contemporary political economy of the whole video games ecosystem. We explore three cases: streaming newly released games and the attendant role of streaming in informing consumer choice; the visibility and added lifespan that streaming is affording to independent and niche games and older games; and the live streaming of the creation of games, shedding light on the games industry and subverting ordinarily expensive or highly competitive game-design courses, training and employment paths. To do so, we draw on empirical data from offline and online fieldwork, including 100 qualitative interviews with professional live-streamers, offline ethnography at live-streaming events, and online ethnography and observation of Twitch streams. The article concludes that live streaming is a major new force in the games industry, creating new links between developers and influencers and shifting our expectations of game play and game design, and is consequently a platform whose major structural effects are only now beginning to be understood.
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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-reflective relationship with the signs that compose it, a central notion to theories such as Iser’s and Dewey’s. Then, instead of focusing on strategies of immersion on large virtual worlds, we favor small independent casual games (such as Small Worlds, Grey, The Beggar, and Dys4ia) analyzing how, in these, take place experiences that allow us to re-examine the aesthetic potential of the medium.
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Breuer, Johannes, John Velez, Nicholas Bowman, Tim Wulf, and Gary Bente. "“Drive the Lane; Together, Hard!”." Journal of Media Psychology 29, no. 1 (January 2017): 31–41. http://dx.doi.org/10.1027/1864-1105/a000209.
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Abstract. As an entertainment technology, video games are a popular social activity that can allow for multiple players to cooperatively engage on-screen challenges. Emerging research has found that when people play together, the resulting teamwork can have beneficial impacts on their prosocial orientations after gameplay – especially when the players are cooperative with one another. The present study wanted to expand the scope of these beneficial interpersonal effects by considering both inter- and intrapersonal factors. In an experimental study (N = 115) we manipulated the difficulty of a game (easy or hard) and the behavior of a confederate teammate (supportive or unsupportive playing style). We found that neither coplayer supportiveness nor game difficulty had an effect on the expectations of a teammate’s prosocial behavior or one’s own prosocial behavior toward the teammate after the game (operationalized as willingness to share small amounts of money with one’s teammate after playing). Increased expectations of prosocial behavior from one’s teammate were related to one’s own prosocial behaviors, independent of our manipulations. Considering these results, we propose alternative theoretical approaches to understanding complex social interactions in video games. Furthermore, we suggest to explore other types of manipulations of game difficulty and cooperation between video game players as well as alternative measures of prosocial behavior.
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Mathur, Maya B., and Tyler J. VanderWeele. "Finding Common Ground in Meta-Analysis “Wars” on Violent Video Games." Perspectives on Psychological Science 14, no. 4 (June 12, 2019): 705–8. http://dx.doi.org/10.1177/1745691619850104.
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Independent meta-analyses on the same topic can sometimes yield seemingly conflicting results. For example, prominent meta-analyses assessing the effects of violent video games on aggressive behavior have reached apparently different conclusions, provoking ongoing debate. We suggest that such conflicts are sometimes partly an artifact of reporting practices for meta-analyses that focus only on the pooled point estimate and its statistical significance. Considering statistics that focus on the distributions of effect sizes and that adequately characterize effect heterogeneity can sometimes indicate reasonable consensus between “warring” meta-analyses. Using novel analyses, we show that this seems to be the case in the video-game literature. Despite seemingly conflicting results for the statistical significance of the pooled estimates in different meta-analyses of video-game studies, all of the meta-analyses do in fact point to the conclusion that, in the vast majority of settings, violent video games do increase aggressive behavior but that these effects are almost always quite small.
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Perks, Matthew E. "How Does Games Critique Impact Game Design Decisions? A Case Study of Monetization and Loot Boxes." Games and Culture 15, no. 8 (August 1, 2019): 1004–25. http://dx.doi.org/10.1177/1555412019865848.
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Games critics arguably influence the form games take, identities of players, and identities of game developers. However, very little work in Game Studies examines how critical games journalism, games, developers, and independent actors intersect. This article argues that pragmatic sociology of critique, developed by Luc Boltanski, can act as a theoretical framework to aid in understanding these processes of critique. Utilizing a theoretical lens such as this helps us better understand the function of games critique within the video game industry. Applying this framework to a case study of monetization and “loot boxes,” this article emphasizes the role and power of journalistic critique in shaping gaming cultures, and the consumption and production of media more generally.
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Qiu, Boyu, Yanrong Chen, Xu He, Ting Liu, Sixian Wang, and Wei Zhang. "Short-Term Touch-Screen Video Game Playing Improves the Inhibition Ability." International Journal of Environmental Research and Public Health 18, no. 13 (June 26, 2021): 6884. http://dx.doi.org/10.3390/ijerph18136884.
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There is mixed evidence regarding whether video games affect executive function. The inconsistent results in this area may have to do with researchers’ conceptualizations of executive function as a unified construct or as a set of independent skills. In the current study, 120 university students were randomly assigned to play a video game or to watch a screen record of the video game. They then completed a series of behavioral tasks to assess the shifting, updating and inhibiting subcomponents of executive function. Scores on these tasks were also used as indicators of a component-general latent variable. Results based on analysis of covariance showed that, as predicted, the inhibition subcomponent, but not the updating or the shifting subcomponent, was significantly enhanced after gaming. The component-general executive function was not enhanced after gaming once the results were controlled for other subcomponents. The results were unrelated to participants’ self-reported positive and negative affect. The findings add key evidence to the literature on executive function and potentially contribute to the therapeutic use of video games to maintain executive function in the aged population.
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Endresen, Ian, and Dan Nathan-Roberts. "Design to Improve Player On-Boarding and Decision-Making Processes in Video Games: A Systematic Review." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 62, no. 1 (September 2018): 1135–39. http://dx.doi.org/10.1177/1541931218621260.
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Decision-making performance in video games play a vital role in player success and frustration. As video games become more complex, designers will need to develop appropriate methods to assist players to address the increased learning requirements. To understand current research on player decisions and behaviors, a systematic review was performed, identifying 202 articles and fully analyzing a total of 14 studies. After the analysis of all studies, it was determined that efficient on-boarding and decision-making design strategies requires a multi-disciplinary approach. Future research should bridge the gap of independent disciplines into a cohesive methodology for effective video game design.
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Bachell, Alasdair, and Matthew Barr. "Video Game Preservation in the UK: A Survey of Records Management Practices." International Journal of Digital Curation 9, no. 2 (October 29, 2014): 139–70. http://dx.doi.org/10.2218/ijdc.v9i2.294.
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Video games are a cultural phenomenon; a medium like no other that has become one of the largest entertainment sectors in the world. While the UK boasts an enviable games development heritage, it risks losing a major part of its cultural output through an inability to preserve the games that are created by the country’s independent games developers. The issues go deeper than bit rot and other problems that affect all digital media; loss of context, copyright and legal issues, and the throwaway culture of the ‘next’ game all hinder the ability of fans and academics to preserve video games and make them accessible in the future. This study looked at the current attitudes towards preservation in the UK’s independent (‘indie’) video games industry by examining current record-keeping practices and analysing the views of games developers. The results show that there is an interest in preserving games, and possibly a desire to do so, but issues of piracy and cost prevent the industry from undertaking preservation work internally, and from allowing others to assume such responsibility. The recommendation made by this paper is not simply for preservation professionals and enthusiasts to collaborate with the industry, but to do so by advocating the commercial benefits that preservation may offer to the industry.
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Tong, Xinge. "Positioning game review as a crucial element of game user feedback in the ongoing development of independent video games." Computers in Human Behavior Reports 3 (January 2021): 100077. http://dx.doi.org/10.1016/j.chbr.2021.100077.
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Waszkiewicz, Agata. "Non-Normative Gender Performances Fat Video Game Characters." Acta Universitatis Sapientiae, Film and Media Studies 20, no. 1 (November 1, 2021): 165–80. http://dx.doi.org/10.2478/ausfm-2021-0020.
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Abstract While video games unquestionably became more diverse and inclusive in the past decade, there is still a striking underrepresentation of characters whose bodies do not conform to the heterosexist concept of normativity, including those perceived as fat. My article begins with the introduction of fat studies as the interdisciplinary field concerned with the ways media construct fat people as unattractive, undesirable, and asexual. Next, it discusses how these prejudices are reflected in a medium in which fat has been historically coded as villainous and monstrous. The last part includes two case studies of positive fat representation: Ellie from the mainstream game Borderlands 2 (Gearbox Software 2012) and the eponymous character from the independent title Felix the Reaper (Kong Orange 2019). Their gender performances are coded equally as non-normative.
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Adhyaksana, Najma Litany. "A Strong Independent (Video Game) Woman? Examining Red from Transistor (2014)." Alphabet 2, no. 1 (April 1, 2019): 12–24. http://dx.doi.org/10.21776/ub.alphabet.2019.02.01.02.
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Crogan, Patrick. "Indie Dreams: Video Games, Creative Economy, and the Hyperindustrial Epoch." Games and Culture 13, no. 7 (February 13, 2018): 671–89. http://dx.doi.org/10.1177/1555412018756708.
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This essay draws on research undertaken as part of a research network project exploring the growth of independent game producers in recent years and the associated changes in the technological and economic conditions of the games industry in the UK, Europe, and the North American continent. It reflects on the possibilities of and challenges to a critical and creative maturing of video games as a cultural medium, evaluating these in the context of contemporary developments in global technoculture and the digital economy. Bernard Stiegler’s critical analysis of hyperindustrial consumer culture is mobilized in evaluating the dreams for an indie future of video games as a creative force in digital cultural transformation.
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Esposito, Maria Rosaria, Nicola Serra, Assunta Guillari, Silvio Simeone, Franca Sarracino, Grazia Isabella Continisio, and Teresa Rea. "An Investigation into Video Game Addiction in Pre-Adolescents and Adolescents: A Cross-Sectional Study." Medicina 56, no. 5 (May 6, 2020): 221. http://dx.doi.org/10.3390/medicina56050221.
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Background and Objectives: Game addiction is an emerging problem in public health. A gaming disorder is characterized by a pattern of persistent or recurrent gaming behavior. The behavioral pattern is severe enough to implicate a significant involvement of family, social, educational, professional, or other relationships. Therefore, greater attention needs to be paid to potential addictive behaviors in terms of video games in order to identify both pre-adolescents and adolescents at risk and to provide them with adequate assistance. Materials and Methods: A random sample of 622 students including pre-adolescents and adolescents were enrolled from September 1st to October 31th 2016, and the Game Addiction Scale (GAS) interview was used to identify pathological students with both Monothetic and Polythetic analysis. Results: This study shows the presence of pathological students is equal to 1.93%, with 37.46% and 4.50% obtained with Monothetic and Polythetic analysis (global and partial), respectively. In our sample, the most frequent were students with a gaming time of 1 or 2 h, and students with a day gaming frequency of 1, 2, or 3 times a day. The items with more pathological students were Item 2 (i.e., Tolerance) and 4 (i.e., Withdrawal). Every item was positively correlated with Daily gaming time (hours) and Daily game frequency, excluding Item 4 (i.e., Withdrawal). Finally, the Monothetic GAS score was positively correlated with Daily gaming time while the Polythetic Global GAS was positively correlated with Daily game frequency and negatively with Education level; instead, the Polythetic Partial GAS score was positively correlated with only Daily gaming time. Conclusion: Males are pathological gamblers more so than females and spend more time playing video games. An increase in Daily game frequency or Daily gaming time implicates an increase in video game addictions, while an increase in Education level, which generally corresponds to a greater age, implicates a decrease in game addiction. Finally, we observed that the correlations obtained between the Polythetic Partial GAS score with the independent variables such as Age, Gender, Education level, Daily gaming time (hours), and Daily game frequency were analogous to the significant correlations obtained with the Monothetic GAS score, while these correlations were different for the Polythetic Global GAS and the independent variables. These results suggest that the use of the original Polythetic scale should not be neglected.
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Takei, Hideki. "Japanese Amusement Arcades in the Retro Video Game Segment: A Case of Survival Strategy." Business Management and Strategy 12, no. 1 (March 26, 2021): 149. http://dx.doi.org/10.5296/bms.v12i1.18359.
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Amusement arcades called Game-centers have tried to find ways of surviving in Japan. Independent game-centers with limited financial capacities have mostly struggled to find the best possible way to survive (Livedoor, 2015; Thutmosev, 2015; Nomu, 2016; SPEEDA, 2017; Chiba, 2018; Kamohara, 2019). For them, a niche strategy may be the best possible strategic direction to survive (Thutmosev, 2015; Sankei, 2016; Hirakawa, 2019; Kamohara2, 2019). This paper will focus on game-centers’ strategies in the retro video game niche to develop a general model of game-centers’ survival strategies. We will then refine the model through interviews with senior-level employees of Japan’s most successful retro game-center.
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Yumartov, Dmitriy. "Autonomy and nomadic Relativism of Digital Identity." Artificial societies 16, no. 4 (2021): 0. http://dx.doi.org/10.18254/s207751800017576-2.
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The article examines identity in such digital spaces as video games and virtual reality. These digital spaces are defined as interactive artificial environment, autonomous from reality, with its own ontology, scenario, narrative and mythological context. Video games have an immersive experience that is enhanced in virtual reality due to the ability to integrate into the embodiment of the game's model. The type of digital identity that is defined by the video game designer in accordance with narrative and artistic goals is what we call a character. The opposite type is an avatar, it reflects strategies of self-presentation of an individual (user). Digital identity interests us primarily because of the ability to be independent (autonomous) from human physiology and from social categories that are attributed to the user in the real world. Digital identity can be constructed by the individuals in accordance with their preferences, which makes it possible to solve many gender, racial, and age problems. The possibility to integrate into an avatar embodiment and interact with in-game items it reinforces the distance from real embodiment. Moreover, in multiplayer games with the civil roleplay, it can exist in an artificial society and have introspective meaning for another members of the society. Another significant feature of digital identity is the relativism. Digital identity can be relativistic due to the which allow one to have different identities in different games or change the appearance of an avatar in one game during a play time. Autonomy and relativism can be the strategy for the implementation of projects of nomadic identity by Rosi Braidotti and Donna Haraway, in which subject is not sticked to any constants, but constantly defines and redefines oneself through performative acts.
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Andersen, Carrie Elizabeth. "Games of Drones: The Uneasy Future of the Soldier-Hero in Call of Duty: Black Ops II." Surveillance & Society 12, no. 3 (June 17, 2014): 360–76. http://dx.doi.org/10.24908/ss.v12i3.4954.
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In this article, I argue that the first-person shooter video game, Call of Duty: Black Ops II, reflects the U.S. military‟s transition as it reimagines the soldier‟s role in war. In the age of drone technology, this role shifts from a position of strength to one of relative weakness. Although video games that feature future combat often “function as virtual enactments and endorsements for developing military technologies,” Black Ops II offers a surprisingly complex vision of the future of drones and U.S. soldiers (Smicker 2009: 107). To explore how the game reflects a contemporary vision of the U.S. military, I weave together a close textual reading of two levels in Black Ops II with actual accounts from drone pilots and politicians that illuminate the nature of drone combat. Although there are moments in Black Ops II in which avatars combat enemies with first-hand firepower, the experience of heroic diegetic violence is superseded by a combat experience defined by powerlessness, boredom, and ambiguous pleasure. The shift of the soldier from imposing hero to a banal figure experiences its logical conclusion in Unmanned, an independent video game that foregrounds the mundane, nonviolent nature of drone piloting. Instead of training soldiers to withstand emotionally devastating experiences of death and violence first-hand (or to physically enact such violence), games like Black Ops II and Unmanned train actual and potential soldiers to tolerate monotony and disempowerment.
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Hrabec, Ondřej, and Vladimír Chrz. "Flow Genres." International Journal of Gaming and Computer-Mediated Simulations 7, no. 1 (January 2015): 1–19. http://dx.doi.org/10.4018/ijgcms.2015010101.
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The goal of this theoretical study is to conceptually revise the flow theory formulated originally by Mihaly Csikszentmihalyi. Concept of flow is one of the most frequently used terms that describe an optimal experience while performing activity and this does not apply only for video game industry. In this article we discuss the varieties of flow experience with respect to video games. Further, the authors emphasize relativity of the original concept of flow, understood as a universal experience of independent nature in terms of activity or personality of the participant. Following detailed analysis of existing literature and our previous empirical study, they define the concept of flow as a genre triad that portrays experience of climax, ilinx, and ludic trance. A further revision and extension of the original concept of flow is deemed necessary in order to map the variety of user experiences while playing video games with sufficient precision.
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Dowling, David O. "Documentary games for social change: Recasting violence in the latest generation of i-docs." Catalan Journal of Communication & Cultural Studies 12, no. 2 (October 1, 2020): 287–99. http://dx.doi.org/10.1386/cjcs_00033_1.
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The evolutionary trajectory of digital journalism has been fuelled by the convergence of visual storytelling unique to documentary filmmaking with the graphics and procedural rhetoric of digital games. The reciprocal influences between gaming and documentary forms coalesce in this new highly engaging interactive journalism. This research demonstrates how game mechanics, design and logics combine with cinematic storytelling conventions in documentary games published since 2014. As forms of civic engagement more intimate and immersive than traditional print and broadcast journalism, documentary games leverage alternative depictions of violence for social critique. Case studies examine products of independent developers including the documentary games We Are Chicago by Culture Shock Games and iNK Stories’ 1979 Revolution: Black Friday along with its related vérité virtual reality experience, Blindfold. These cases represent major advances in the activist depiction of oppressed populations in narrative documentary journalism. All these projects feature atypical video game protagonists anathema to those of mainstream games.
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Choi, William TH, Dan KS Yu, Terry Wong, Tella Lantta, Min Yang, and Maritta Välimäki. "Habits and Attitudes of Video Gaming and Information Technology Use in People with Schizophrenia: Cross-Sectional Survey." Journal of Medical Internet Research 22, no. 7 (July 22, 2020): e14865. http://dx.doi.org/10.2196/14865.
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Background Information technology and video gaming have potential advantages in the treatment of schizophrenia. However, information regarding the habits and attitudes related to internet use and video gaming in people with schizophrenia is limited. Objective The aim of this study was to explore the habits and attitudes regarding video gaming and information technology usage and their associated factors in people with schizophrenia in Hong Kong. Methods In this cross-sectional survey, service users with schizophrenia were recruited from 6 halfway hostels and 7 integrated centers for mental wellness in Hong Kong. A 79-item self-report questionnaire was utilized to explore the habits of internet use and video gaming in these people with schizophrenia. The attitude toward video gaming was assessed using the Gaming Attitudes, Motivations, and Experiences Scales. Of the 148 individuals in a convenience sample who were invited to participate in this study, 110 willingly participated (a response rate of 74.3%). The data were analyzed using descriptive statistics, a two-tailed independent t test, Pearson correlation, and principal analysis with 3 methods of rotation (varimax, equimax, and promax). Results Most participants (100/110, 90.9%) had access to the internet and half of them (54/110, 49.1%) used the internet daily mostly to watch videos (66/110, 60.0%) or read news or books, etc (42/110, 38.2%). One-third of the participants (36/110, 32.7%) used the internet to play web-based games, and most of them (88/110, 80.0%) had played a video game in the past year. The most favorable gaming platforms were cellular phones (43/88, 49%) followed by computers (19/88, 22%) and arcade cabinets (6/88, 7%). The most favorable game genre was action games (34/145, 23.4%). Those who had a bachelor’s degree or higher scored lower in social interaction than those with a lower education level (P=.03). Those who played video games daily scored higher in the category of story than those who did not play daily (t86=2.03, P=.05). The most popular gaming category was autonomy and the least popular categories were violent catharsis and violent reward. Two motives, “social playing” and “evasive playing,” were formed to describe the characteristics of playing video games. Conclusions Our data showed a high internet utilization rate among people with schizophrenia in Hong Kong. Only a few of them used the internet to search for health-related information. Our study also exemplified the unique habits of gaming among the participants. Health care professionals could utilize video games to engage people with schizophrenia and promote coping with stress and provide social skills training to such people with schizophrenia. Identification of the gaming attitudes can contribute to the development of serious games for the schizophrenic population. Further investigation is vital for the promotion of mental health through web-based platforms.
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Bulitko, V., Y. Björnsson, and R. Lawrence. "Case-Based Subgoaling in Real-Time Heuristic Search for Video Game Pathfinding." Journal of Artificial Intelligence Research 39 (September 29, 2010): 269–300. http://dx.doi.org/10.1613/jair.3076.
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Real-time heuristic search algorithms satisfy a constant bound on the amount of planning per action, independent of problem size. As a result, they scale up well as problems become larger. This property would make them well suited for video games where Artificial Intelligence controlled agents must react quickly to user commands and to other agents' actions. On the downside, real-time search algorithms employ learning methods that frequently lead to poor solution quality and cause the agent to appear irrational by re-visiting the same problem states repeatedly. The situation changed recently with a new algorithm, D LRTA*, which attempted to eliminate learning by automatically selecting subgoals. D LRTA* is well poised for video games, except it has a complex and memory-demanding pre-computation phase during which it builds a database of subgoals. In this paper, we propose a simpler and more memory-efficient way of pre-computing subgoals thereby eliminating the main obstacle to applying state-of-the-art real-time search methods in video games. The new algorithm solves a number of randomly chosen problems off-line, compresses the solutions into a series of subgoals and stores them in a database. When presented with a novel problem on-line, it queries the database for the most similar previously solved case and uses its subgoals to solve the problem. In the domain of pathfinding on four large video game maps, the new algorithm delivers solutions eight times better while using 57 times less memory and requiring 14% less pre-computation time.
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Puspitasari, Ira, Elzha Odie Syahputra, Indra Kharisma Raharjana, and Ferry Jie. "The Continuance Intention of User’s Engagement in Multiplayer Video Games based on Uses and Gratifications Theory." Journal of Information Systems Engineering and Business Intelligence 4, no. 2 (October 28, 2018): 131. http://dx.doi.org/10.20473/jisebi.4.2.131-138.
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One of the key success factors in video game industry, including multiplayer video game (MVG), is the user’s continuance intention. The MVG industry runs in a highly competitive market. Users can shift to another game as soon as they discover a slightly inconvenient issue. Thus, maintaining the user’s enthusiasm in playing MVG for a long time is challenging for most games. The solution to prolong the users’ engagement can be initiated by identifying all factors that facilitate the continuance use of playing MVG. This study applied uses and gratifications theory to examine seven variables (enjoyment, fantasy, escapism, social interaction, social presence, achievement, and self-presentation) and the moderating effects of age and gender on the MVG continuance intention. The data analysis and the model development were tested based on Partial Least Square method using the responses of 453 MVG users. The results revealed that enjoyment, fantasy, social interaction, achievement, and self-presentation significantly affected the continuance intention of playing MVG, with enjoyment being the strongest variable. The result also demonstrated the moderating effect of age and gender on the relation between independent variables and continuance intention. The results and findings offered additional insights into the system development to enhance the information system application.
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Pintado-Izquierdo, Silvia, Roberto Cano-de-la-Cuerda, and Rosa María Ortiz-Gutiérrez. "Video Game-Based Therapy on Balance and Gait of Patients with Stroke: A Systematic Review." Applied Sciences 10, no. 18 (September 15, 2020): 6426. http://dx.doi.org/10.3390/app10186426.
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Background: Stroke patients with motor, sensory and cognitive diseases can take profits from information and communication technologies—in particular, from the latest commercial video consoles, which are based on motion capture. These technologies are positioning themselves as complementary therapeutic tools for treating gait and balance disorders. In this paper, a systematic review of the effect of video game-based therapy on balance and gait in stroke patients is shown and compared with other types of treatments. Methods: A systematic review of prospective controlled clinical trials published in the main biomedical databases in English and Spanish between 2005 and 2020 was performed. The systematic review presented in this paper has been done following the Cochrane Manual recommendations and the PRISMA Declaration by two independent reviewers. Data about participants, intervention, outcome measurements and outcome measurement results were extracted. The quality of evidence of each study was assessed using Cochrane’s standard quality assessment format, which includes a description of the risk of bias. Additionally, the Physiotherapy Evidence Database (PEDro) scale was used to assess the methodological quality of each paper. Results: A total of 18 papers, including 479 patients, were included in this systematic review, in which the use of video consoles (in combination with conventional rehabilitation or exclusively) was compared with conventional rehabilitation to treat balance or gait in post-stroke patients. In all studies, a tendency to improve balance was found in both intervention groups, finding, in 10 of 17 studies that analysed it, a better capacity in the experimental group that included video consoles compared to the conventional rehabilitation control group. Regarding gait, in six of seven studies that analysed it, improvements were found in both intervention groups, and these improvements were greater in the experimental group than compared to the control group in three of them. Conclusions: Commercial video game systems, in combination with conventional rehabilitation, have shown positive results on balance and gait in post-stroke patients. There were variations between the trials in terms of the video consoles used and the duration, frequency and number of sessions with commercial video games. Future studies should compare the effects of commercial video game treatments on balance and gait in stroke patients with a nonintervention group to know their real efficacy.
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Jaderberg, Max, Wojciech M. Czarnecki, Iain Dunning, Luke Marris, Guy Lever, Antonio Garcia Castañeda, Charles Beattie, et al. "Human-level performance in 3D multiplayer games with population-based reinforcement learning." Science 364, no. 6443 (May 30, 2019): 859–65. http://dx.doi.org/10.1126/science.aau6249.
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Reinforcement learning (RL) has shown great success in increasingly complex single-agent environments and two-player turn-based games. However, the real world contains multiple agents, each learning and acting independently to cooperate and compete with other agents. We used a tournament-style evaluation to demonstrate that an agent can achieve human-level performance in a three-dimensional multiplayer first-person video game, Quake III Arena in Capture the Flag mode, using only pixels and game points scored as input. We used a two-tier optimization process in which a population of independent RL agents are trained concurrently from thousands of parallel matches on randomly generated environments. Each agent learns its own internal reward signal and rich representation of the world. These results indicate the great potential of multiagent reinforcement learning for artificial intelligence research.
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Bowden, Sara. "Not suitable for the easily disturbed: Sonic nonlinearity and disruptive horror in Doki Doki Literature Club!" Soundtrack 11, no. 1 (August 1, 2020): 7–22. http://dx.doi.org/10.1386/ts_00002_1.
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The extent to which disturbing video games incite real-world violence has been a source of intense debate since the late 1990s following school shootings across the United States. In 2017, the release of Team Salvato’s Doki Doki Literature Club! (DDLC!) signified a major shift in independent game developers’ approaches to creating a violent horror gaming experience: the developers include the use of nonlinear sound (e.g. frequency jumps, non-standard harmony, noise/chaos) and local-level melodic transformations to complicate player immersion. In this article, I argue that the game’s music is one of the greatest sources of horror. The game music in DDLC! works as both an immersive and a disruptive agent that shapes the player’s gaming experience. Though the game is a work of fiction, the emotions and reflections of the player prompted by the violent acts within are real ‐ the player’s experiences of horror, fear and terror are visceral.
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Bazarova, D., K. Raeva, and K. Umbetbekova. "APPLICATION OF GAME TECHNOLOGY IN ENGLISH LESSONS." BULLETIN Series of Philological Sciences 72, no. 2 (June 30, 2020): 575–80. http://dx.doi.org/10.51889/2020-2.1728-7804.93.
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This article discusses the use of gaming technology in teaching English, their place and effectiveness. In addition, the advantages of gaming technology are discursive personality skills, cognitive activity and one of the most important learning objectives - the main features and possibilities of the formation and formation of student discursive skills.In recent years, the intensive development of computer networks and information and communication technologies (ICT) has opened up additional opportunities in the field of education. They are primarily related to the use of the global computer Internet. Today, information and communication technologies have become an essential condition of modern education, as it has become possible. it helps to increase cognitive interest, develop skills of independent work, search, analyze objects and phenomena, discover sources of information, foster responsibility for obtaining new knowledge and develop the information culture of the individual. This article discusses potential technologies for developing critical thinking using video in high school. In particular, the article deals with the following issues: strategies and technologies of training with video material for the formation of critical thinking (VCTD); also, special attention is paid to the bloom taxonomy as a means of teaching critical thinking.
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Angkasa, Dudung, Riri Amanda Pratiwi, and Idrus Jus'at. "‘MAPAGI’ video game upgraded breakfast attitude among urban elementary school children in West Jakarta, Indonesia." Malaysian Journal of Nutrition 26, no. 3 (October 31, 2020): 341–51. http://dx.doi.org/10.31246/mjn-2019-0127.
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Introduction: Skipping breakfast may contribute to poor academic and nutritional status among school children. The current study aimed to determine the effect of the ‘MAPAGI’ (Makan Pagi Bergizi) interactive video game on elementary student’s breakfast knowledge and attitude. Methods: This was a quasi-experimental equivalent group study with a pre-post test control group design. In total, 228 students aged 9-11 years were drawn by proportional stratified random sampling from two urban schools and were distributed equally into intervention (IG) and control groups (CG). Both groups were administered with similar printed media for 10-15 minutes. Video game was delivered only to IG for two consecutive days, 30 minutes each day. Pre-test (PT0) was performed a day before leaflet administration, while post-test was performed twice – after leaflet administration (post-test 1/ PT1) and a week after the last video game (post-test 2/PT2). Paired, independent t-test and analysis of covariance (ANCOVA) were employed to answer the research questions. Results: The mean changes (PT1-PT0 and PT2-PT0) in knowledge score for IG (4.82±2.53 and 3.25±2.47) significantly differed compared to CG (1.75±2.66 and 1.25±2.69). The mean changes in attitude score for IG (7.16±7.17 and 7.34±7.11) also significantly differed compared to CG (2.83±6.58 and 2.64±6.90). After adjustment for potential confounding factors, there was still a significantly greater score in children’s knowledge and attitude after a week’s administration of MAPAGI video game in IG. Conclusion: ‘MAPAGI’ improved school children’s knowledge and attitude, which may lead to the good behaviour of having breakfast.
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Reay, Emma. "Cute, cuddly and completely crushable: Plushies as avatars in video games." Journal of Gaming & Virtual Worlds 13, no. 2 (June 1, 2021): 131–49. http://dx.doi.org/10.1386/jgvw_00033_1.
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This article examines video game avatars that are designed to resemble toys. It names this trope the ‘Blithe Child’ to capture the carefree, careless and childlike interactions this avatar invites. This article argues that the connection between the Blithe Child and traditional toys functions to express and explain non-violent game mechanics, to shape sentimental player‐avatar relationships, to create cosy, snug playspaces and to encourage pro-social, creative and self-expressive playstyles. However, the Blithe Child inherits some of the more sinister dynamics latent in human‐toy relationships, namely the desire to humiliate and mutilate the cute object and anxieties about what it means to be ‘real’ ‐ to be an independent, agential subject rather than a passive, manipulated, othered object. Drawing on theories derived from cuteness studies and toy studies, this article uses a close reading approach to critique the age-based hierarchies that underpin this trope.
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Navateja, Raparthi. "Real Time Heart Rate Monitoring from Facial Video using Independent Component Analysis Algorithm." International Journal for Research in Applied Science and Engineering Technology 9, no. VI (June 30, 2021): 4893–97. http://dx.doi.org/10.22214/ijraset.2021.36093.
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Heart Rate (HR) is one of the most important Physiological parameter and a vital indicator of people’s physiological state and is therefore important to monitor. Monitoring of HR often involves high costs and complex application of sensors and sensor systems. Research progressing during last decade focuses more on noncontact based systems which are simple, low-cost and comfortable to use. Still most of the noncontact based systems are fit for lab environments in offline situation but needs to progress considerably before they can be applied in real time applications. This project presents a real time HR monitoring method using a webcam of a laptop computer. The heart rate is obtained through facial skin color variation caused by blood circulation. Some of the signal processing methods such as Fast Fourier Transform (FFT), Independent Component Analysis (ICA) have been applied on the color channels in video recordings and the blood volume pulse (BVP) is extracted from the facial regions. The obtained results show that there is a high degrees of agreement between the proposed experiments and reference measurements. This technology has significant potential for advancing personal health care and telemedicine. Further improvements of the proposed algorithm considering environmental illumination and movement can be very useful in many real time applications such as driver monitoring. This can be used for gaming purpose where the real heart rate of the person can be felt for the character present in game.
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Janz, Kathleen F., and Larry T. Mahoney. "Maturation, Gender, and Video Game Playing Are Related to Physical Activity Intensity in Adolescents: The Muscatine Study." Pediatric Exercise Science 9, no. 4 (November 1997): 353–63. http://dx.doi.org/10.1123/pes.9.4.353.
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This study examined average daily physical activity and discrete activity intensities in 102 adolescents (age M = 15 yr). Dependent physical activity variables were constructed from minute-by-minute movement counts measured during 4 consecutive days of accelerometry. Independent variables included gender, sexual maturation, TV viewing, and video playing. The stability of 4 days of activity measures ranged from R = .66 to 30. Video game playing was inversely associated with average daily movement for boys (r = −.38) and girls (r = −.55). Boys at all levels of sexual maturation had higher levels of activity than girls. Late and postpubertal boys and girls were more sedentary, had lower levels of vigorous activity, and lower levels of average daily movement than boys and girls in midpuberty.
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Ray, Jean-Charles. "Regarder la peur dans les yeux." Le jeu vidéo au Québec 14, no. 23 (July 8, 2021): 100–114. http://dx.doi.org/10.7202/1078730ar.
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The aim of this paper is to study the production of the Montreal studio Red Barrels so as to grasp its value and how it is exemplary of the recent renewal in horror video games through an articulation of sight and space producing an enticing trap. With Outlast in 2013 and a year later with its extension Outlast: Whistleblower, this independent studio revived some of the great themes of the horror genre: one can recognize in their derelict psychiatric hospital Noël Carroll’s « drama of corridors », Mikhaïl Bakhtine’s castle chronotope and fear as an emotional drive for the player’s progression, as theorized by Bernard Perron. Yet, these games also took part in the First-person avoider trend that bloomed in the 2010s by removing all combat mechanics and leaving the main character with nothing more than a camera allowing him to temporarily see in the dark; the main goal being to remain unseen while seeing. In these games that reconnect with the idea of a transgressive gaze of which Medusa is the antique archetype, the point is less to overcome monsters than one’s own fears. In 2017, with Outlast 2, Red Barrels then aimed at exploring the architectural possibilities of this model by forsaking medical facilities for an isolated village and what Mario Gerosa called an “open air claustrophobia” and using physics defying spatial structures that symbolically convey the stakes of a gaze that allows knowledge and of deceitful senses. Through the analysis of these three games, the aim is thus to offer an overview of the aesthetics stakes they tackle and of the current momentum in independent video game production they represent.
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Viedge, C., and P. A. Taffinder. "An empirical evaluation of the use of video films in training: A behaviouristic analysis." South African Journal of Business Management 18, no. 3 (September 30, 1987): 163–67. http://dx.doi.org/10.4102/sajbm.v18i3.1013.
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Considerable organizational resources are expended annually on training, yet little empirical research is undertaken to investigate the problem of transfer of training to the workplace. Video films are an integral part of many training courses and it is critical to evaluate the efficacy of such films in developing the intended skills. Within the operant behaviouristic perspective, an ABAB reversal experiment was conducted during four business game periods of a training course. The experimental objective was to assess the impact of the principles presented in a training film on the decision-making behaviour of six managers from an engineering research/production facility. A cue-board summarizing the decision-making principles presented in the film was unobtrusively introduced during the two 'B' phases of the experiment. Frequencies of the target behaviour were recorded by two independent raters across all consecutive 'A' and 'B' experimental phases. No functional relationship was found between the use of the decision-making principles and the introduction of the cue-board. In other words, despite the use of a cue-board to prompt decision-making behaviour, no transfer of training from the video-film to the analogue working environment of the business game was observed. Some implications of these results for employing video films in training are discussed.
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Arsenault, Dominic, and Louis-Martin Guay. "Exploration, colonisation et développement durable." Le jeu vidéo au Québec 14, no. 23 (July 8, 2021): 36–54. http://dx.doi.org/10.7202/1078727ar.
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In this article, we will sketch a historical portrait of the video game sector in Quebec, both on the geographical plane (from Montreal to Quebec City through Trois-Rivières and other off-centred studios) and for different firm types (from the large studios to independent developers and amateurs). This historical overview will shed light on the challenges and characteristics of this sector which straddles both the technology and cultural industries in three stages : 1) the explorations of amateur entrepreneurs and enthusiasts; 2) the colonisation by large foreign firms and the injection of foreign capital which stimulated industry growth; 3) the structuration of independent developers (notably with La Guilde du jeu video du Québec) and the post-fission transition to a sustainable development of the sector. Our overview will cover the factual aspects of the industry, issues of contents and creative processes, and the challenges of achieving cultural sovereignty in a business sector based on liberalized markets, the free flow of capital, and a dematerialized digital economy.
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Drummond, Aaron, James D. Sauer, and Christopher J. Ferguson. "Do longitudinal studies support long-term relationships between aggressive game play and youth aggressive behaviour? A meta-analytic examination." Royal Society Open Science 7, no. 7 (July 2020): 200373. http://dx.doi.org/10.1098/rsos.200373.
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Whether video games with aggressive content contribute to aggressive behaviour in youth has been a matter of contention for decades. Recent re-evaluation of experimental evidence suggests that the literature suffers from publication bias, and that experimental studies are unable to demonstrate compelling short-term effects of aggressive game content on aggression. Long-term effects may still be plausible, if less-systematic short-term effects accumulate into systematic effects over time. However, longitudinal studies vary considerably in regard to whether they indicate long-term effects or not, and few analyses have considered what methodological factors may explain this heterogeneity in outcomes. The current meta-analysis included 28 independent samples including approximately 21 000 youth. Results revealed an overall effect size for this population of studies ( r = 0.059) with no evidence of publication bias. Effect sizes were smaller for longer longitudinal periods, calling into question theories of accumulated effects, and effect sizes were lower for better-designed studies and those with less evidence for researcher expectancy effects. In exploratory analyses, studies with more best practices were statistically indistinguishable from zero ( r = 0.012, 95% confidence interval: −0.010, 0.034). Overall, longitudinal studies do not appear to support substantive long-term links between aggressive game content and youth aggression. Correlations between aggressive game content and youth aggression appear better explained by methodological weaknesses and researcher expectancy effects than true effects in the real world.
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Crane, Breanna, Brittany Drazich, Kyle Moored, and Michelle Carlson. "Exploring the Motivators and Barriers of Older Adults Participating in an Interactive Exergame Intervention." Innovation in Aging 4, Supplement_1 (December 1, 2020): 402. http://dx.doi.org/10.1093/geroni/igaa057.1293.
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Abstract Cognitive and physical activity are important to maintaining daily functioning in older adults. While bidirectional associations between cognitive and physical activity magnify with increasing age, elucidating shared benefits has been difficult as few interventions explicitly train on cognition and mobility simultaneously. We conducted focus groups among 14 older adults residing in an independent-living center who participated in an interactive video game study called Bandit the Dolphin, where participants simultaneously incorporated cognitive exercise and physical activity while navigating within a complex spatial environment to help Bandit jump, eat fish, and stun sharks. Using ‘sneaky exercise’ tactics, participants utilized upper extremities in conjunction with slight lower extremity movement to move Bandit within a 3-D oceanic environment. We conducted 3 semi-structured focus groups and analyzed the data using the “Sort and Sift, Think and Shift” method to assess general likes and dislikes as well as the primary motivators, barriers, and reasons for remaining in the study. Participants enjoyed the immersive nature, challenge, and “fun factor” of the game. Primary motivators for joining were generativity/helping others, self-improvement, from peer referrals, and because the study looked interesting. Key barriers reported in the study were exhaustion from standing, learning how to play in 3-D space, and frustration from lack of level advancement. Reasons for retention were due to the game being fun, a sense of duty, and fulfilling commitments. This information will guide ongoing research efforts to design interactive video game interventions that are enjoyable for older adults and maintain high retention rates.
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Alqaderi, Hend, J. Max Goodson, S. V. Subramanian, and Mary Tavares. "Short Sleep Duration and Screen-Based Activities." American Journal of Lifestyle Medicine 12, no. 4 (September 8, 2016): 340–48. http://dx.doi.org/10.1177/1559827616667048.
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Objective. The aim of this study was to identify lifestyle habits that contribute to night sleep reduction in the Kuwaiti population. Methods. Children were 10 to 12 years old and were approximately equally distributed among 138 elementary schools representing the 6 governorates of Kuwait. In the first phase of the study, data were collected from 8317 children. The same data were collected 2 years later from 6316 of the children from the first phase of the study. Calibrated examiners conducted sleep evaluation, lifestyle habits interviews, and body weight measurements. A multilevel random intercept and slope model was conducted to determine the effect of screen-based activities on the daily night sleep hours at 3 levels: within schools, among children, and over time. The primary dependent variable was the number of daily sleep hours. Independent variables assessed were lifestyle habits including screen-based activity variables including TV and video game use. Results. Screen-based activities were significant factors that reduced daily sleep hours (P < .05). There were statistically significant variations between schools and children over time. Conclusion. Longitudinal analysis of Kuwaiti children revealed that TV and video game use were major risk behaviors contributing to decreased sleep duration with strong clustering effect of the observations within schools across time.