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Books on the topic 'Problematic use of video games'

Author: Grafiati
Published: 4 June 2021
Last updated: 5 February 2022

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1

How video game designers use math. Chelsea Clubhouse, 2010.

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2

Egan, Jill. How video game designers use math. Chelsea Clubhouse, 2010.

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3

Carol, Savill-Smith, and Great Britain. Learning and Skills Development Agency., eds. The Use of computer and video games for learning: A review of the literature. LSDA, 2004.

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4

Micetic, Leigh Ann. Living arrangements, substance use, personality and gender as predictors of achievement and performance on video games. Laurentian University, Department of Psychology, 1998.

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5

United States. Congress. Senate. Committee on Governmental Affairs. Permanent Subcommittee on Investigations. Illegal use of video gambling machines: Hearing before the Permanent Subcommittee on Investigations of the Committee on Governmental Affairs, United States Senate, Ninety-eighth Congress, second session, October 1, 1984. U.S. G.P.O., 1985.

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6

Investigations, United States Congress Senate Committee on Governmental Affairs Permanent Subcommittee on. Illegal use of video gambling machines: Hearing before the Permanent Subcommittee on Investigations of the Committee on Governmental Affairs, United States Senate, Ninety-eighth Congress, second session, October 1, 1984. U.S. G.P.O., 1985.

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7

United States. Congress. Senate. Committee on Governmental Affairs. Permanent Subcommittee on Investigations. Illegal use of video gambling machines: Hearing before the Permanent Subcommittee on Investigations of the Committee on Governmental Affairs, United States Senate, Ninety-eighth Congress, second session, October 1, 1984. U.S. G.P.O., 1985.

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8

Auditor, Montana Legislature Office of the Legislative. Performance audit report: Controls over use of state telephones. The Office, 1986.

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9

Kerins, Mark. Multichannel Gaming and the Aesthetics of Interactive Surround. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.014.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. This chapter examines multichannel sound—specifically 5.1-channel surround sound—in video games, using gaming genres to explore the varying ways that games structure the three-way relationship among a multichannel sound track, onscreen visuals, and the game play itself. This approach uncovers distinct strategies of multichannel usage in platformers, first-person shooters, third-person 3D games, and rhythm games, and shows how these differ from traditional cinematic multichannel uses, especially in the way they problematize the relationship between image and sound. These differing approaches to game aesthetics illustrate different ways of conceiving the relationship among players, their in-game avatars, and the game world, with the sound mixing “rules” programmed into a game revealing the type of immersion and interactivity the game can promote. For example, some strategies reinforce the player–avatar connection, whereas others increase the distance between them. The chapter concludes by considering how industrial and technical factors unique to gaming impact multichannel sound usage.
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10

Games, Prima. The Ultimate Code Book: Cheats and the Cheating Cheaters Who Use Them (Prima Games). Prima Games, 2003.

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11

Parker, Philip M. The World Market for Video Games for Use with a Television Receiver: A 2007 Global Trade Perspective. ICON Group International, Inc., 2006.

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12

The World Market for Video Games for Use with a Television Receiver: A 2004 Global Trade Perspective. Icon Group International, Inc., 2005.

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13

Gibbons, William. Playing Chopin. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190265250.003.0010.

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This chapter explores two video games that feature the nineteenth-century pianist and composer Frédéric Chopin as the main character: the Japanese role-playing game Eternal Sonata and the mobile game Frederic: Resurrection of Music. The chapter begins by examining three mythic identities that have shaped audience’s understandings of Chopin and his music and that play a role in Eternal Sonata and Frederic: the salon composer, the Romantic composer, and the Slavic composer. To address the challenges of creating a compelling video game narrative about a real-world composer, both games employ innovative but problematic narrative strategies to transform Chopin into a more stereotypically heroic character. Moreover, both games include his music in ways designed to reinforce its musical greatness and increase the music’s appeal to younger audiences.
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14

Gibbons, William. Allusions of Grandeur. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190265250.003.0005.

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This chapter explores how video games can seek to raise their artistic profile by using classical music to allude to cinema history. After describing some of the visual elements that can be incorporated in games to create a cinematic feeling for players, the chapter traces the use of classical compilation scores in games, connecting the practice to early cinema history. It then turns to more specific topics: first, video game versions of the Disney film Fantasia, such as the Atari 2600 title Sorcerer’s Apprentice (1983) and the Sega Genesis platformer Fantasia (1991), followed by the incorporation of Philip Glass’s score to the film Koyaanisqatsi in Grand Theft Auto IV.
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15

Weinel, Jonathan. Virtual Unreality. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190671181.003.0008.

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This chapter explores altered states of consciousness in interactive video games and virtual reality applications. First, a brief overview of advances in the sound and graphics of video games is provided, which has led to ever-more immersive capabilities within the medium. Following this, a variety of games that represent states of intoxication, drug use, and hallucinations are discussed, in order to reveal how these states are portrayed with the aid of sound and music, and for what purpose. An alternative trajectory in games is also explored, as various synaesthetic titles are reviewed, which provide high-adrenaline experiences for ravers, and simulate dreams, meditation, or psychedelic states. Through the analysis of these, and building upon the previous chapters of Inner Sound, this chapter presents a conceptual model for ‘Altered States of Consciousness Simulations’: interactive audio-visual systems that represent altered states with regards to the sensory components of the experience.
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16

Gibbons, William. Playing with Music History. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190265250.003.0003.

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This chapter traces how classical music works can create a sense of time and place in video games. Beginning with a case study of how music establishes the eighteenth-century setting of Assassin’s Creed III, it then explores both how games build on frameworks of musical signification established in early cinema. It identifies games, such as Punch-Out!!, which use classical works to indicate a specific nation, as well as those that do the same for chronological setting, such as Versailles 1685. The chapter culminates in a study of games in which the music is misleading, suggesting the “wrong” time or place.
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17

Coyne, Sarah M., Laura M. Padilla-Walker, and Emily Howard. Media Uses in Emerging Adulthood. Edited by Jeffrey Jensen Arnett. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199795574.013.003.

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This chapter reviews recent literature on uses, effects, and gratifications of media during emerging adulthood. The authors examine traditional media forms, including television, films, video games, music, and books, and also newer media, such as cell phones, social networking sites, and other Internet use, finding that emerging adults spend more time using media than they spend doing any other activity, with most time being spent on the Internet and listening to music. They also find that exposure to certain types of media content can influence both positive and negative outcomes in emerging adulthood, including aggressive and prosocial behavior, body image, sexual behavior, friendship quality, and academic achievement. The authors show that emerging adults use media to gratify certain needs, key among them entertainment, autonomy, identity, and intimacy needs. The authors discuss areas for future research involving media and emerging adulthood.
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18

Kassabian, Anahid. The End of Diegesis As We Know It? Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.032.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. The distinction between diegetic and nondiegetic music and its critiques have become something of an industry in film music studies lately. There are articles, sections of journal issues, conference sessions, and other activities organized on the topic. As I argued inHearing Film(2001), I have never found the terminology particularly useful, though as many have suggested, we can’t throw out all sense of the distinction that the vocabulary tries to describe. The problem, however, amps up exponentially when video games and Web sites are added to the mix. The use of music in “new media” challenges most of film music studies’ assumptions and presumptions, and these new practices demand new approaches and vocabulary. This chapter focuses on the challenges posed to film music studies models by digital media practices.
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19

Sagan, Meredith, and Timothy Fong. Integrative Approach to Behavioral Addictions: Internet Gaming Disorder (IGD) and Compulsive Buying Disorder (CBD). Edited by Shahla J. Modir and George E. Muñoz. Oxford University Press, 2018. http://dx.doi.org/10.1093/med/9780190275334.003.0010.

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In recent years, awareness and concern has grown within the psychological and medical communities regarding “behavioral addictions”: these are defined as the compulsive performance of otherwise normal everyday activities such as sex, gambling, use of the Internet and online video games, and shopping. This chapter examines 3 such addictive disorders: gambling disorder, compulsive buying disorder (CBD), and Internet gaming disorder (IGD), exploring their definitions, prevalence, diagnoses, consequences, and treatment. All 3 disorders share similar neurobiological mechanisms, acting on the pleasure centers of the brain and having potentially severe social, mental, and psychological repercussions, including loss of interest in life and withdrawal symptoms as intense as those felt by substance abusers when quitting drugs. Certain pharmaceuticals, CBT, and treatment principles similar to those followed by substance abusers, as well as various non-traditional modalities such as acupuncture and yoga, all have shown promise in treating these disorders.
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20

Weinel, Jonathan. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190671181.003.0001.

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This introduction to Inner Sound: Altered States of Consciousness in Electronic Music and Audio-Visual Media outlines the background, aims, and scope of the book. The chapter begins by introducing altered states of consciousness through a description of visual hallucinations, which may have provided a basis for some of the oldest-known artworks. Next, a brief historical overview of altered states is given, from ancient shamanic traditions and cults, to modern-day use of psychedelic drugs such as LSD. The use of altered states in these contexts has resulted in a variety of associated art, literature, music, films, and video games, which in recent years have been rendered with the aid of new sound and audio-visual technologies. These works provide the main focus of Inner Sound, which explores the relationship of altered states of consciousness with electronic music and audio-visual media, in order to develop a conceptual theory of ‘Altered States of Consciousness Simulations’.
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21

Weinel, Jonathan. Inner Sound. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190671181.001.0001.

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Inner Sound explores how altered states of consciousness have shaped the design of electronic music and audio-visual media. The book begins by discussing consciousness, and how this may change during states such as dreaming, psychedelic experience, meditation, and trance. Next, a variety of shamanic traditions are reviewed, in order to explore how indigenous societies have reflected visionary experiences through visual art and music. This provides the necessary background from which to consider how analogue and digital audio technologies enable specific capabilities for representing or inducing altered states of consciousness in psychedelic rock, electronic dance music, and electroacoustic music. Developing the discussion to consider sound in the context of audio-visual media, the role of altered states of consciousness in films, visual music, VJ performances, interactive video games, and virtual reality applications is also discussed. Through the analysis of these examples, the author uncovers common mechanisms, and ultimately proposes a conceptual model for ‘Altered States of Consciousness Simulations’. This theoretical model describes how sound can be used to simulate various subjective states of consciousness from a first-person perspective, in an interactive context. Throughout the book, the ethical issues regarding altered states of consciousness in electronic music and audio-visual media are also explored, ultimately allowing the reader to consider not only the design of Altered States of Consciousness Simulations, but also the implications of their use for digital society. In this way, Inner Sound explores the limits of technology for representing and manipulating consciousness, at the frontiers of electronic music and art.
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