Relevant bibliographies by topics / Philosophy of video games

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

Academic literature on the topic 'Philosophy of video games'

Author: Grafiati
Published: 4 June 2021
Last updated: 7 February 2022

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Journal articles on the topic "Philosophy of video games"

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Bratkowski, Tad. "Philosophy Through Video Games." Teaching Philosophy 33, no. 3 (2010): 317–20. http://dx.doi.org/10.5840/teachphil201033333.

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Hoare, Douglas. "The Philosophy of Video Games (Philosophie des Jeux Vidéo), Mathieu Triclot (2017)." Journal of Gaming & Virtual Worlds 11, no. 2 (September 1, 2019): 203–5. http://dx.doi.org/10.1386/jgvw.11.2.203_5.

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Elton, Matthew. "SHOULD VEGETARIANS PLAY VIDEO GAMES?" Philosophical Papers 29, no. 1 (April 2000): 21–42. http://dx.doi.org/10.1080/05568640009506605.

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Kamp, Michiel. "Musical Ecologies in Video Games." Philosophy & Technology 27, no. 2 (June 26, 2013): 235–49. http://dx.doi.org/10.1007/s13347-013-0113-z.

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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 (September 1, 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 video games is often based on historical narratives, becoming a platform for virtual interactive reconstruction of history. The study is devoted to the up-to-date topic of analyzing the on-screen phenomenon of video games as an innovative platform for historical media education, identifying its educational potential and the risks of political distortion of history. The methodological basis of the study is cultural-civilizational, dialectical and historical approaches, as well as structural-functional analysis, comparative-political science approach and systemic method. The study made it possible to identify a wide range of historical video games and classify the modalities of the implementation of historical topics in them with its general educational potential. In addition, the fundamental deconstructive nature of the actualization of the historical metanarrative in the procedural-interactive architectonics of video games has been determined. Finally, three main strategies for distorting and falsifying history in video games have been revealed. According to the results of the study, it was revealed that almost every significant cultural and historical era, with an emphasis on military battle plots, is reflected in the video game format. These game projects have serious educational potential, procedurally immersing the gamer in the context of the main historical facts, cultural aesthetics of the era and internal determinants of historical dynamics. At the same time, the postmodern essence of video games has been established, which poses a threat to the invariance of the perception of history, latently encouraging the intentions to rewrite it. Other risks are contained in the identified examples of politicization of the historical narrative of video games, which are concretized in the tendency to belittle the role of Russia in the international arena and the Eurocentric value accentuation.
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Gee, James Paul. "Video Games, Design, and Aesthetic Experience." Rivista di estetica, no. 63 (December 1, 2016): 149–60. http://dx.doi.org/10.4000/estetica.1312.

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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 Plato, the Gnostics, G. Berkeley, E. Kant, as well as post-modern philosophy was established. The research results in formulating a model-integrative definition of a video game.
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Schulzke, Marcus. "Simulating Philosophy: Interpreting Video Games as Executable Thought Experiments." Philosophy & Technology 27, no. 2 (February 26, 2013): 251–65. http://dx.doi.org/10.1007/s13347-013-0102-2.

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Ortiz, Luz, Héctor Tillerias, Christian Chimbo, and Veronica Toaza. "Impact on the video game industry during the COVID-19 pandemic." Athenea 1, no. 1 (September 25, 2020): 5–13. http://dx.doi.org/10.47460/athenea.v1i1.1.

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This work presents trends and comparisons that show a change in the consumption and production of video games in times of confinement due to the health emergency. The video game industry has modified its philosophy and adapted its products to the new requirements and trends of consumers who see in this activity a way to appease the psychological and social impact due to quarantine and isolation. There is evidence of a 65% increase in the use of online video games, which has broken a world record. Products that have new aspects and considerations never before proposed by this great industry have been developed and offered, such as thematic games related to the COVID-19 pandemic. Keywords: Video game, pandemic, online games, confinement. References [1]M. Olff, Screening for consequences of trauma–an update on the global collaboration on traumatic stress.European Journal of Psychotraumatology, 2020. [2]Z. Li, China’s Digital Content Publishing Industry: The 2019 Annual Report on Investment Insights and Market Trends. Publishing Research Quarterly, 2020. [3]R. Agis, An event-driven behavior trees extension to facilitate non-player multi-agent coordination in video games, Expert Systems with Applications, 2020. [4]O. Wulansari, Video games and their correlation to empathy: How to teach and experience empathic emotion. Advances in Intelligent Systems and Computing, 2020. [5]C. Bachen, Simulating real lives: Promoting Global Empathy and Interest in Learning Through SimulationGames. Sage Journal, 2012. [6]S. Fowler, Intercultural simulation games: A review (of the united states and beyond). Sage Journals, 2010. [7]G. Chursin, Learning game development with Unity3D engine and Arduino microcontroller. Journal ofPhysics: Conference Series, 2019. [8]K. Hewett, The Acquisition of 21st-Century Skills Through Video Games: Minecraft Design Process Modelsand Their Web of Class Roles. Sage Journal, 2020. [9]R. Bayeck, Exploring video games and learning in South Africa: An integrative review. Educational TechnologyResearch and Development, 2020. [10]K. Hewett, The 21st-Century Classroom Gamer. Games and Culture, 2021.
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PATRIDGE, STEPHANIE. "Video Games and Imaginative Identification." Journal of Aesthetics and Art Criticism 75, no. 2 (April 2017): 181–84. http://dx.doi.org/10.1111/jaac.12355.

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Dissertations / Theses on the topic "Philosophy of video games"

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Beck, Michael J. "Shall We Play a Game?: The Performative Interactivity of Video Games." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc700111/.

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This study examines the ways that videogames and live performance are informed by play theory. Utilizing performance studies methodologies, specifically personal narrative and autoperformance, the project explores the embodied ways that gamers know and understand videogames. A staged performance, “Shall We Play a Game?,” was crafted using Brechtian theatre techniques and Conquergood’s three A’s of performance, and served as the basis for the examination. This project seeks to dispel popular misconceptions about videogames and performance and to expand understanding about videogaming as an embodied performative practice and a way of knowing that has practical implications for everyday life.
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Fidalgo, Christopher J. "Art, Gaut and Games: the Case for Why Some Video Games Are Art." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/philosophy_hontheses/5.

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In this paper, I argue that there are some video games which are art. I begin my paper by laying out several objections as to why video games could not be art. After laying out these objections, I present the theory of art I find most persuasive, Berys Gaut’s cluster concept of art. Because of the nature of Gaut’s cluster concept, I argue that video games, as a medium of expression, do not need to be defended as a whole. Rather, like all other media of expression, only certain works are worthy of the title art. I then introduce and defend several games as art. After, I return to the initial objections against video games and respond in light of my defended cases. I conclude that video games, as a medium of expression, are still growing, but every day there are more examples of video games as art.
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Bratkowski, Tad. "The Aesthetic Experience of Video Games: A Pluralistic Approach." OpenSIUC, 2014. https://opensiuc.lib.siu.edu/dissertations/799.

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In this dissertation, I make a serious philosophic application of several aesthetic theories to the emerging medium of video games. I look at concepts such as the play of art, psychical distancing, and an experience, and apply each of these to a representative video game. Hence, I use a variety of aesthetic works, but apply these in a pluralistic manner. The thesis I defend is that a number of specific video games offer possibilities for aesthetic experience that can be comprehended through these traditional aesthetic theories. The purpose of my project is not a comparative one among these theories: I do not argue that any one of these is definitive in application to all video games. Instead, I hold these theories in tension by showing that each has practical merit in being applied to different games I use a variety of aesthetic approaches to argue that a specific game exemplifies the aesthetic value which is at the core of a particular theory. I apply John Dewey's notion of an experience as a single, distinctive whole consisting of parts in unity to the music-based game Rock Band. To consider the distance between the player of a video game and the game's content, I discuss Edward Bullough's theory of psychical distance and apply this concept to a violent game such as Grand Theft Auto IV. Finally, I consider Hans-Georg Gadamer's thoughts on the play of art and the connection of play to seriousness and apply these thoughts to a game which integrates a sense of playfulness with serious themes: Braid.
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Ströberg, Simon. "ADHD Through the Lens of Game Design : How Digital RPGs Neutralize the Symptoms of Inattention Amongst Swedish Adults with ADHD." Thesis, Uppsala universitet, Institutionen för speldesign, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-394208.

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ADHD (Attention Deficit Hyperactivity Disorder) is a commonly diagnosed mental disorder with an estimated global prevalence of 5.29% that exhibit inattentive, hyperactive and impulsive behaviors, many of which can negatively impact an individual’s social, academic, occupational and everyday-life. Studies based on the Delay Aversion Hypothesis have shown that video-games effectively contribute to the neutralization of some of the inattentive symptoms of ADHD, and that games could act as a possible treatment option for individuals with ADHD. Attempts to use video games as a treatment option has previously been tried, however to a limited extent. This study approaches the topic from the game design perspective, and discusses which game mechanics, activities and stimuli contribute to the possible neutralization of the inattentive symptoms of ADHD, in order to lay a foundation for future research within the area. The study found that the participants with ADHD acted in ways that contradicted some of the described symptoms of ADHD in the DSM-5 (Diagnostic and Statistical Manual of Mental Disorders) when playing video games, which could be attributed to the amount of stimuli available in video games. Additionally, the participants’ level of motivation when playing video games seemed to be strongly correlated to the principles of andragogy, which could indicate that children with ADHD might benefit from an educational system that combines and incorporates principles from both andragogy and pedagogy.
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Wunderlich, Ralf. "Der kluge Spieler und die Ethik des Computerspielens." Universität Potsdam, 2012. http://opus.kobv.de/ubp/volltexte/2012/5551/.

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„Der kluge Spieler und die Ethik des Computerspielens“ ist eine moralphilosophische Analyse der sogenannten „Killerspiel-Diskussion“. Als Aufhänger dient der Amoklauf von Winnenden, in dessen Nachgang Diskussionen über Computerspiele, speziell solche mit gewalthaltigem Inhalt, aufkamen. In der öffentlichen Meinung wird häufig davon ausgegangen, dass das Spielen solcher Computerspiele auch in der Realität zu gewalttätigem Verhalten führt. Einige Politiker stellen diese Spiele sogar mit Kinderpornographie gleich. Mithilfe dreier bekannter normativer ethischer Theorien – dem Konsequentialismus (Mill), der Deontologie (Kant) und der Tugendethik (Aristoteles) – werden die wissenschaftlichen Argumente contra Computerspiele analysiert und bewertet. Die Computerspielgegner konzentrieren sich auf den Inhalt und die grafische Darstellung der Spiele (narratologischer Ansatz). Am Ende einer ausführlichen Darstellung ihrer Argumente stellt sich heraus, dass keines davon haltbar ist, wenn man die ethischen Theorien auf sie anwendet. Einzig der tugendethische Ansatz scheint Ansätze zu bieten, auf denen man aufbauen kann, allerdings nicht gegen, sondern für Spiele. Diesem wird im zweiten Teil des Buches nachgegangen. Miguel Sicarts Werk „The Ethics of Computer Games“ versucht, eine konkrete Ethik des Computerspiels zu entwickeln. In „Der kluge Spieler und die Ethik des Computerspielens“ wird Sicarts Werk zum ersten Mal im Deutschen vorgestellt, in seine einzelnen Bestandteile zerlegt und re-strukturiert. In Sicarts Ethik-Konzept für Computerspiele werden die Inhalte und die Grafik der Computerspiele komplett außen vor gelassen. Sein Ansatz ist ein ludologischer (spielwissenschaftlicher), der das Regelwerk und System der Spiele in den Vordergrund schiebt. Die drei Kernelemente seiner Theorie werden dargestellt: 1. das Computerspiel als moralisches Objekt, 2. der Computerspieler als moralisches Subjekt und 3. das Computerspielen als moralische Handlung. Diese drei Aspekte wirken zusammen und miteinander. Es entsteht eine Wechselwirkung zwischen dem Spiel und dem Spieler, in den auch das Nicht-Spieler-Subjekt einbezogen wird. Ein Mensch spielt ein Computerspiel und wird dadurch zum Spieler dieses Spiels. Er nimmt das Regelwerk auf und ruft seine vorhandene Erfahrung aus früheren Spielen ab, um somit ein möglichst gelungenes Spielen zu bewerkstelligen. Damit ist gemeint, dass er nicht schummelt, dass er keine Tricks anwendet, dass er in Mehrspielerspielen Fairplay walten lässt etc. Zusätzlich ist dieser Spieler aber nicht nur ein Spieler, sondern er befindet sich in sozialen Kontexten, hat Werte und Ansichten und diese fließen in sein Spieler-Repertoire ein. In solch einer Wechselwirkung verhält sich der Spieler moralisch korrekt, wenn er dem Spiel zu dem verhilft, was es ist: eine Erfahrung. Das Spiel ist nämlich zweierlei: 1. Das Objekt, also eine CD in einer Hülle mit einer Spielanleitung etc. 2. Das Spiel, das am Bildschirm tatsächlich erfahren wird, indem es gespielt wird. Sieht das Spiel eine gewalthaltige Lösung vor, ist es in Sicarts Ethik des Computerspiels moralisch richtig, diese zu vollziehen. Was Sicart mit seiner Theorie letztendlich zeichnet, ist das Bild eines „klugen Spielers“. Der dritte Teil des Buches analysiert Sicarts Ethik des Computerspiels und zeigt mithilfe eines praktischen Beispiels seine Schwachstelle auf. Während die Computerspielgegner sich ausschließlich auf den Inhalt und die Grafik konzentrieren, ignoriert Sicart sie gänzlich. Somit stellen beide Ansätze Extrempositionen dar. Sicarts Ansatz wird in eine „Ethik des Computerspielens“ uminterpretiert und anschließend auf die Diskussionen rund um den Amoklauf von Winnenden angewendet. Dadurch können die Ausgangsargumente gegen Killerspiele endgültig wissenschaftlich widerlegt werden. Im letzten Teil des Buches wird die Brücke zum tugendethischen Ansatz des Aristoteles geschlagen: der gemäßigte Mittelweg führt zu einem guten Leben. Eine komplette Computerspielethik muss beide Aspekte beinhalten: den grafisch-inhaltlichen („narratologischen“) und den spieltechnischen („ludologischen“) Ansatz. Nur im Zusammenspiel beider kann eine umfassende Computerspielethik gesucht und gefunden werden. Hierzu wird ein Grundgerüst vorgeschlagen sowie zwei Ideen, welche für weitere Forschung auf dem Gebiet verwendet werden können.
“The Prudent Player and the Ethics of Computer Gaming” is a moral philosophical analysis of the so called “killergame-controversy”. After the gun rampage of Winnenden, heavy discussions arose in Germany about video games, especially those with violent content. The public opinion is that violent video games cause violent behaviour in real life. Some German politicians even claimed that such games would be on one level with child pornography. With the help of three known normative ethical theories – consequentialism (Mill), deontology (Kant) and virtue ethics (Aristoteles) – the scientific arguments against video games are analysed and evaluated. The opponents of video games focus on the content and graphics of the games (narratological approach). After an extensive presentation of their arguments, it turns out that none remains valid after applying the ethical theories to them. Solely the virtue ethics approach seems to be of help, however not against but in aid of video games. This is dealt with in the second part of the book. Miguel Sicart’s work “The Ethics of Computer Games” tries to develop a tangible ethics for computer games. “The Clever Player and the Ethics of Computer Gaming” presents Sicart’s theory for the first time in German and re-structures it’s content by focussing on the main ingredients of his theory. Sicart’s concept does not include any content or graphical aspects. It is a strictly ludological (game studies) approach which focuses on the rules and the system of the games. The three main elements of his theory are: 1. the video game as a moral object, 2. the player as a moral subject and 3. playing video games as a moral act. These three aspects work together. The result is an interaction between the game and the player which also includes the non-playing-subject of the player. A person starts playing a video game and hence becomes the player of this game. He acts according to the rules and uses his previous experience with other games in order to play as properly as possible. This means that he does not cheat, does not use tricks, acts with fair play in multiplayer games etc. Since the player is more than just a player, he also uses his virtues and perspectives from the real world as a player-tool. The player acts morally correct in such an interaction, if he helps the game become an experience rather than a mere object (CD/DVD). Only when a game is experienced on the screen by a player, it becomes a real game as intended by it’s designers. And if this game needs a violent on-screen solution for solving a problem, then the player ought to do so. The player which Sicart describes is a “clever player” and not some sort of zombie without thoughts and evaluation of what is happening. The third part of the book analyses Sicart’s framework and shows his weakness with the help of a practical example. While the opponents of video games focus on the content and graphics only, Sicart’s approach does not include them at all. Therefore, both positions are extreme and Sicart’s point of view is re-interpreted into an “Ethics of Computer Gaming”, pointing out the active part of his theory. Now it is scientifically possible to prove all arguments against video games following the Winnenden-controversy wrong at one go. The last part of the book goes back to Aristoteles’ view on ethics: living a good life means finding the middle ground between extremes. Hence, a complete ethics of computer games needs both approaches: the narratological (graphics and content) and the ludological (rules and game systems). Only when both are combined, a real ethics of computer games is possible. A framework for such a theory is proposed as well as two ideas which can be helpful for further research in this field.
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Sweeney, Mark Richard. "The aesthetics of videogame music." Thesis, University of Oxford, 2014. https://ora.ox.ac.uk/objects/uuid:70a29850-0c0d-4abd-a501-e75224fa856a.

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The videogame now occupies a unique territory in contemporary culture that offers a new perspective on conceptions of high and low art. While the fear that the majority of videogames 'pacify' their audience in an Adornian "culture industry" is not without justification, its reductionism can be countered by a recognition of the diversity and aesthetic potential of the medium. This has been proposed by sociologist, Graeme Kirkpatrick, although without close attention to the role of music. Videogame music often operates in similar ways to music in other mixed-media scenarios, such as film, or opera. In the same way that film music cannot be completely divorced from film, videogame music is contingent on and a crucial part of the videogame aesthetic. However, the interactive nature of the medium - its différance - has naturally led to the development of nonlinear musical systems that tailor music in real time to the game's dynamically changing dramatic action. Musical non-linearity points beyond both music and videogames (and their respective discourses) toward broader issues pertinent to contemporary musicology and critical thinking, not least to matters concerning high modernism (traditionally conceived of as resistant to mass culture). Such issues include Barthes's "death of the author", the significance of order/disorder as a formal spectrum, and postmodern conceptions and experiences of temporality. I argue that in this sense the videogame medium - and its music - warrants attention as a unique but not sui generis aesthetic experience. Precedent can be found for many of the formal ideas employed in such systems in certain aspects of avant-garde art, and especially in the aleatoric music prevalent in the 1950s and 60s. This thesis explores this paradox by considering videogames as both high and low, and, more significantly, I argue that the aesthetics of videogame music draw attention to the centrality of "play" in all cultural objects.
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Morisset, Thomas. "Du beau jeu. Pour une esthétique des jeux vidéo." Thesis, Sorbonne université, 2020. http://www.theses.fr/2020SORUL006.

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Cette thèse aborde les jeux vidéo par l’expérience qui en est faite et cherche à rendre compte de celle-ci par la construction d’un modèle théorique croisant deux traditions philosophiques distinctes : l’esthétique et la philosophie de la technique. Mettant en évidence l’existence de différents régimes d’expérience, ce travail entend prouver que lesdits régimes (nommés jeu fermé, jeu ouvert et beau jeu) sont chacun sources d’un plaisir spécifique qui trouvent son expression dans un jugement d’appréciation sensible. Or, parmi ces expériences, certaines, à cause de leur caractère ludique même, orientent le joueur vers le développement d’un savoir-faire technique et requièrent des dynamiques attentionnelles différentes de celles d’une expérience esthétique. Prenant alors appui sur une définition technique des jeux et du jouer, cette thèse montre qu’il existe un régime technique d’appréciation de la beauté proche, mais distinct, du régime esthétique. Elle entend ainsi montrer que les jeux vidéo sont un objet privilégié pour donner accès à cette beauté technique, tout en développant, en même temps, des spécificités esthétiques originales
This PhD thesis approaches videogames through the lense of player experience and aims to build a theoretical model that draws on two distinct philosophical traditions : aesthetics and philosophy of technology. It aims to prove both the existence of different regimes for experiencing games (namely closed play, open play and beautiful play) and that from each of these regimes stems a specific kind of sensible pleasure, expressed by an appreciative sensible judgement. Among these experiences, some are particularily defined by their ludic aspect. They lead the player to develop technical skills and henceforth require attentional dynamics which differ greatly from those implied by aesthetic experience. Relying on a technical definition of both game and play, this work shows that a technical regime of feeling and judging beauty exists which is close to the aesthetic regime and yet remains distinct from it. This thesis thus considers video games as a privileged means to reach this technical beauty and as one that develops aesthetic properties of their own
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Drazdauskas, Laurynas. "Virtual Reality as a Phenomenon of Art." Thesis, Linköping University, Department of Philosophy, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-7645.

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In this essay results are developed on two different levels. First, it is shown in demonstration that a phenomenological analysis on the lines of Roman’s Ingarden’s study of works in literature can be applied to Virtual Reality works, such as professional-simulators and video-games. In particular it can then be pointed out that: i) sound is separable from the scene, but using sound VR becomes enriched; ii) the main role in literature is left for the imagination, while in VR we find richness in concretization.

Second, it is argued in discussion that works in VR can be qualified as works of art. These electronic works may have all the aesthetical qualities (based on the phenomenology of Roman Ingarden) of the works of art in the traditional sense. So, that paper has two objectives: an analysis of VR and the search for the status of VR in art.

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Rutherford, Kevin J. "Pack Your Things and Go: Bringing Objects to the Fore in Rhetoric and Composition." Miami University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=miami1436295241.

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Casanova, Vilela Alexis Agustin, Márquez Alex Javier León, Infante Cynthia Bertila Mosqueira, and Canales Erick Dyan Pflucker. "Video Games Xchange." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2019. http://hdl.handle.net/10757/626325.

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Video Games Xchange (VGX) se crea con la finalidad de interactuar y conectar a aquellos usuarios que gustan de los videojuegos en nuestro país; ya que dicha industria en el Perú, en estos últimos años, mueve 138 millones de dólares cada año; que nos ubica en el puesto 49 a nivel mundial en este rubro. Nuestra empresa se inicia con un estudio de mercado en los diversos sectores del país donde haya más demanda de videojuegos, y poder ver el comportamiento de los usuarios tanto en la variedad que pueda existir en nuestro mercado interior como en el exterior. En la actualidad en el Perú el 76% de Gamers son hombres a diferencia del 24% que son mujeres, de los cuales el 32% juega en plataformas de consolas como el Play Station, XBOX, Nintendo 64, entre otros. Como dato a resaltar en Latinoamérica se genera el 3.6% del total de 137, 900 billones de dólares en el mundo por ingresos de videojuegos. Para llevar a cabo nuestro proyecto se va requerir una inversión inicial de S/ 92,580.00, financiado un 40% de inversionistas y un 60% con el aporte los socios, que se estima recuperarlo en el tercer año de su operación.
Video Games Xchange (VGX) was created with the idea of implementing a platform that allows people, who enjoy video games in our country, to connect and interact, given that such industry (video gaming) in Peru has generated about $138 million dollars in last the year, placing Peru in 49th place worldwide in this industry. The idea of the business starts with a market study of the gaming industry in the different sectors of the Peruvian population, segregated by the different regions, given that the preferences vary based on the local culture. Furthermore, we have analyzed and compared the local and international market to fully understand and forecast the development of our gaming platform and their futures grow in the global market. Nowadays and while reviewing the statistical data, we have identified that in Peru about 76% of gamers are men and 24%, are women. Of this population, approximately 32% use video consoles such as Play Station, XBOX and Nintendo Switch. This information is key for our project since it shows that a there is a solid gaming market in Perú. For the execution our business project, we will require funds in the sum of S/92,000, part of this will be financed, with an initially structured to be 40% funded by investors and 60% with paid in capital from our shareholders. The return of the invested capital is estimated to be fulfilled in the second year of operations, as it is reflected in the cash flow of our business plan.
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Books on the topic "Philosophy of video games"

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Philosophie des jeux vidéo. Paris: Editions la Découverte, 2011.

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Burgun, Keith. Game design theory: A new philosophy for understanding games. Boca Raton, FL: A K Peters/CRC Press, 2012.

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Game design theory: A new philosophy for understanding games. Boca Raton, FL: A K Peters/CRC Press, 2012.

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The ethics of computer games. Cambridge, MA: MIT Press, 2009.

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The art of videogames. Malden, MA: Wiley-Blackwell, 2009.

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The art of failure: An essay on the pain of playing video games. Cambridge, Mass: MIT Press, 2013.

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Gaming: Essays on algorithmic culture. Minneapolis, MN: University of Minnesota Press, 2005.

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Vice city virtue: Moral issues in digital game play. Leuven: Acco, 2011.

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Ethics and game design: Teaching values through play. Hershey, PA: Information Science Reference, 2010.

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Allison, Anne. Millennial monsters: Japanese toys and the global imagination. Berkeley: University of California Press, 2006.

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Book chapters on the topic "Philosophy of video games"

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Triclot, Mathieu. "The Role of the Philosophy of Technology in French-Language Studies of Video Games." In Philosophy of Engineering and Technology, 101–18. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-89518-5_7.

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Ferguson, Christopher J. "Video Games." In Encyclopedia of Adolescence, 3040–45. New York, NY: Springer New York, 2011. http://dx.doi.org/10.1007/978-1-4419-1695-2_71.

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Watson, Steuart T., and Darrell Davis. "Video Games." In Encyclopedia of Child Behavior and Development, 1543–44. Boston, MA: Springer US, 2011. http://dx.doi.org/10.1007/978-0-387-79061-9_3025.

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Ferguson, Christopher J., and Sven Smith. "Video Games." In Encyclopedia of Adolescence, 4064–71. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-33228-4_71.

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Bryant, Jay. "Video Games." In Java 7 for Absolute Beginners, 221–47. Berkeley, CA: Apress, 2012. http://dx.doi.org/10.1007/978-1-4302-3687-0_12.

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Klimmt, Christoph, and Daniel Possler. "Video Games." In Media Effects, 342–56. Fourth edition. | New York, NY : Routledge, 2020. |: Routledge, 2019. http://dx.doi.org/10.4324/9780429491146-22.

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Andringa, Ronald, and Walter R. Boot. "Video Games." In Theory-Driven Approaches to Cognitive Enhancement, 199–210. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-57505-6_14.

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Sheinkop, Eric. "Video Games." In Return of the Hustle, 97–135. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1007/978-1-137-58202-7_4.

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Ferguson, Christopher J., and Sven Smith. "Video Games." In Encyclopedia of Adolescence, 1–8. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-32132-5_71-2.

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Corona, Antonio. "Video games." In The Routledge Handbook to the Culture and Media of the Americas, 462–67. Abingdon, Oxon ; New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781351064705-44.

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Conference papers on the topic "Philosophy of video games"

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Wan, Ailin, Fangjie Yang, Siyang Liu, and Wenyi Feng. "Research on the Influence of Video Games on Children’s Growth in the Era of New Media." In 5th International Conference on Contemporary Education, Social Sciences and Humanities - Philosophy of Being Human as the Core of Interdisciplinary Research (ICCESSH 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200901.037.

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Galanina, Ekaterina, and Alexander Vetushinskiy. "DESIGNING EDUCATIONAL GAMES TO TEACH PHILOSOPHY: CASE STUDY." In 11th International Conference on Education and New Learning Technologies. IATED, 2019. http://dx.doi.org/10.21125/edulearn.2019.0611.

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Hui, Jason K., and Mark W. Baer. "Interactive Video Games." In 2017 IEEE HISTory of ELectrotechnolgy CONference (HISTELCON). IEEE, 2017. http://dx.doi.org/10.1109/histelcon.2017.8535654.

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Luca Moliterni, Giuseppe. "Norms and language games Understanding normative relativism through Wittgenstein’s philosophy." In Annual International Conference on Contemporary Cultural Studies (CCS 2017). Global Science & Technology Forum (GSTF), 2017. http://dx.doi.org/10.5176/2382-5650_ccs17.23.

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Shelomi, Matan. "Insects in Video Games." In 2016 International Congress of Entomology. Entomological Society of America, 2016. http://dx.doi.org/10.1603/ice.2016.118289.

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Vella, Kellie, and Daniel Johnson. "Flourishing and video games." In The 8th Australasian Conference. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2336727.2336746.

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Pillias, Clément, Raphaël Robert-Bouchard, and Guillaume Levieux. "Designing tangible video games." In CHI '14: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2014. http://dx.doi.org/10.1145/2556288.2556991.

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Ang, Dennis. "Difficulty in Video Games." In C&C '17: Creativity and Cognition. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3059454.3078706.

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Janarthanan, Vasudevan. "Serious Video Games: Games for Education and Health." In 2012 Ninth International Conference on Information Technology: New Generations (ITNG). IEEE, 2012. http://dx.doi.org/10.1109/itng.2012.79.

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Parker, J. R. "Games are art: Video games as theatrical performance." In 2013 IEEE International Games Innovation Conference (IGIC). IEEE, 2013. http://dx.doi.org/10.1109/igic.2013.6659148.

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Reports on the topic "Philosophy of video games"

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Wilken, Michael. Wounded Warrior Games (Video). Fort Belvoir, VA: Defense Technical Information Center, May 2011. http://dx.doi.org/10.21236/ada543110.

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Anderson, G. Oscar. Video Games and Americans Age 50-Plus. AARP Research, June 2016. http://dx.doi.org/10.26419/res.00125.002.

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Anderson, G. Oscar. Video Games: Attitudes and Habits of Adults Age 50-Plus. AARP Research, June 2016. http://dx.doi.org/10.26419/res.00125.001.

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Sinde, J., C. Medrano, and JI Martínez. Transmission of values in adolescents: an analysis with video games. Revista Latina de Comunicación Social, March 2015. http://dx.doi.org/10.4185/rlcs-2015-1044en.

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Muñoz González, JM, and B. Segovia Aguilar. How do teenagers interact with video games? Preferences and performative skills. Revista Latina de Comunicación Social, January 2019. http://dx.doi.org/10.4185/rlcs-2019-1335en.

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Martínez-Cano, FJ, R. Cifuentes-Albeza, and B. Ivars Nicolás. Prosocial video games as a transitional space for peace: the case of Reconstrucción. Revista Latina de Comunicación Social, September 2019. http://dx.doi.org/10.4185/rlcs-2019-1394en.

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Herr, Christopher, and Dennis Allen. Video Games as a Training Tool to Prepare the Next Generation of Cyber Warriors. Fort Belvoir, VA: Defense Technical Information Center, October 2014. http://dx.doi.org/10.21236/ada610664.

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Pallavicini, Federica, Alessandro Pepe, and Fabrizia Mantovani. Commercial Off-The-Shelves Video Games for Reducing Stress and Anxiety: A PRISMA Systematic Review. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, March 2021. http://dx.doi.org/10.37766/inplasy2021.3.0081.

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Jiménez Alcázar, Juan Francisco. Factions and nations: identity and identification in the historical video games set in the middle ages. Edicions de la Universitat de Lleida, 2021. http://dx.doi.org/10.21001/itma.2021.15.15.

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Pallavicini, Federica, Alessandro Pepe, and Fabrizia Mantovani. The Role of Video Games in Supporting Mental and Physical Health During the COVID-19 Pandemic: PRISMA Systematic Review. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, August 2021. http://dx.doi.org/10.37766/inplasy2021.8.0053.

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