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Journal articles on the topic 'Video game developers'
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ANGELIA, JUANDA MARIA, ANNISA AYU MULIA, and DETANTI ASMANINGAYU PRAMESTI. "Copyright Protection of Video Game for Game Developer in Indonesia." Notaire 2, no. 2 (August 8, 2019): 213. http://dx.doi.org/10.20473/ntr.v2i2.13097.
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This study aimed to firstly, analyze the frequent infringements related to copyright of video games, as well as the legal protection for game developers who create video games. Secondly, to determine the factors that impede the copyright protection of video games in Indonesia. This research employs empirical approach or sociolegal, with library research and field studies to collect data. In the literature, the author uses the legal resources to support the analysis. The study was based primarily on Law no. 28 of 2014 regarding Copyright. In the field study, the author interviewed several game developers in Indonesia, as well as the practitioner from Directorate General Intellectual Property Right Jakarta and academician from Faculty of Law Universitas Gadjah Mada. Analysis of the research was conducted using qualitative data analysis, with the results compiled by descriptive-analysis to achieve the research objectives. Results of this study indicates that the laws and regulations of Indonesia has virtually provided legal protection for game developers as the creator of the video game, but there are still uncertainties in settings, such as obscurity any part of the video game that is protected by the copyright laws of Indonesia, considering that the video game consists of several constituent.
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WIKHAMN, BJÖRN REMNELAND, ALEXANDER STYHRE, JAN LJUNGBERG, and ANNA MARIA SZCZEPANSKA. "EXPLORATION VS. EXPLOITATION AND HOW VIDEO GAME DEVELOPERS ARE ABLE TO COMBINE THE TWO." International Journal of Innovation Management 20, no. 06 (July 13, 2016): 1650045. http://dx.doi.org/10.1142/s1363919616500456.
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This paper reports an in-depth qualitative study about innovation work in the Swedish video game industry. More specifically, it focuses on how video game developers are building ambidextrous capabilities to simultaneously addressing explorative and exploitative activities. The Swedish video game industry is a particularly suitable case to analyze ambidexterity, due to it’s extreme market success and continuous ability to adapt to shifts in technologies and demands. Based on the empirical data, three ambidextrous capabilities are pointed out as particularly valuable for video game developers; (1) the ability to separate between a creative work climate and the effectiveness in project organizing; (2) the balancing of inward and outward ideation influences, and (3) the diversity in operational means and knowledge paired with shared goals and motivations, derived from the love of video games and video game development.
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Kristanto, Damar. "The Impact of Game Avatar Customization in Improving User Experience and Gamer Loyalty: Experiment in Role Playing Game (RPG) Based Video Game." TIJAB (The International Journal of Applied Business) 2, no. 2 (February 26, 2019): 86. http://dx.doi.org/10.20473/tijab.v2.i2.2018.86-106.
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The increasing number of video game titles raises competition between video game developers getting tighter and more competitive, this encourages the game developers to be more creative in designing their games so that players become loyal to play and not quickly switch to playing other games. While we know that game development is very difficult, time consuming and requires a lot of costs for the RPG genre. So that the loyalty of game players in playing games becomes a crucial problem.This study aims to explain how the customization of game avatars can increase the loyalty of video game players in playing role-playing games (RPGs).This study uses the within-subject experimental method with participants who are RPG video game players who have played for at least 1 year, 24 participants participated in the 8 experiment session throughout the study. The results of this study indicate that avatar customization is very important because it can improve the player's self-identification in the game, improve the playing experience, improve the perceived quality of the video game played, increase the flow and immersion of players, and increase gamer loyalty. Another result that was raised was that the use of avatars that were the same gender with players (male players using male avatars) did not have higher flow and immersion than when using different genders (male players use female avatars) so that this raises new issues of gander swapping in the role playing video game that can be continued for further research.
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Roy, Nandita. "Applying Kant’s Ethics to Video Game Business Models." Business and Professional Ethics Journal 40, no. 1 (2021): 109–27. http://dx.doi.org/10.5840/bpej202115106.
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This article expands on existing models of analyzing business ethics of monetization in video games using the concept of categorical imperatives, as posited by the philosopher Immanuel Kant. A model is advanced to analyze and evaluate the business logics of video game monetization using a Kantian framework, which falls in the deontological category of normative ethics. Using two categorical imperatives, existing models of game monetization are divided into ethical or unethical, and presented using the case example of Star Wars: Battlefront II (2017). This analysis aims to provide video game developers and businesses with ethical guidelines for game monetization which may also be profitable for them in the long term. Within the framework of video game monetization, a deontological analysis is relevant due to the fact that the game developer is engaged in a continuous role of making the game more playable/payable. This article applies Kantian business ethics to the context of a new sector, that of video game businesses, and thereby presents a broader ethical perspective to video game developers, which will help them monetize games in an ethical manner which is also profitable in the long run.
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Styhre, Alexander, and Björn Remneland-Wikhamn. "The ambiguities of money-making." Qualitative Research in Organizations and Management: An International Journal 15, no. 3 (October 18, 2019): 215–34. http://dx.doi.org/10.1108/qrom-02-2019-1733.
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Purpose Indie developers are part of the creative fringe of the video game industry, fashioning an identity for themselves as a community committed to the development of video games as a cultural expression and art form. In playing this role, money-making is ambiguous inasmuch as economic return is honorable if such interests remain unarticulated and execute minimal influence on the development work process, while the possibility of producing a successful commercial video game is simultaneously one of the primary motivations for new industry entrants. The paper aims to discuss this issue. Design/methodology/approach The paper reports on the empirical material drawn from a study of indie video game developers in Sweden, a leading country for video game development. Findings To reconcile tensions between video game development in terms of being both cultural/and artistic production and business activity, easily compromising the perceived authenticity of the subject in the eyes of audiences (e.g. hardcore gamers), indie developers distinguish between monetary motives ex ante and compensation ex post the release of the game. Indie developers thus emphasize the metonymic function of money as this not only indicates economic value and currency but also denotes a number of business practices that indie developers have otherwise avoided in their career planning as they believe these practices would restrain their creativity and skills. Originality/value The study contributes to the scholarship on video game development, the literature on creative industries, and the economic sociology literature examining the social meaning of money and how social norms and values are manifested in professional ideologies and practices.
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Weststar, Johanna. "Understanding video game developers as an occupational community." Information, Communication & Society 18, no. 10 (April 20, 2015): 1238–52. http://dx.doi.org/10.1080/1369118x.2015.1036094.
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Capasso-Ballesteros, Italo Felipe, and Fernando De la Rosa-Rosero. "Semi-automatic construction of video game design prototypes with MaruGen." Revista Facultad de Ingeniería Universidad de Antioquia, no. 99 (March 27, 2020): 9–20. http://dx.doi.org/10.17533/udea.redin.20200369.
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Machinations Ruleset Generator (MaruGen) is a semi-automatic system for the generation of mechanics, rules, spaces (environments), and missions for video games. The objective of this system is to offer an expression mechanism for the video game designer role based on the definition of rules, and the ability to explore the concepts of progression and emergence in video games by using a formal, usable, and defined tool to design games with innovative and complex elements, and behaviors defined from combinations of basic elements. Based on the expressed designs and with the participation of programmers and video game artists, MaruGen allows the generation of agile video game prototypes in the Unity game engine. These prototypes can be analyzed by the entire workgroup to look for games with diverse complexities that make them attractive to their users. MaruGen is based on the expression of rules on elements of interest in video games and the rewriting mechanism using L-Systems for the generation of procedural content. MaruGen was evaluated in the construction of the Cubic Explorer video game and tested by gamers and video game developers during the Game Jam Ludum Dare 38.
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Klimas, Patrycja. "Key Resources in Game Developers’ Business Models." Journal of Management and Financial Sciences, no. 31 (July 29, 2019): 135–49. http://dx.doi.org/10.33119/jmfs.2018.31.11.
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This paper presents the results of the research on key resources exploited under business models of video game developers. The main attention is paid to the identification and hierarchizing of key resources, as well as their specific types. It should be noticed that the reported study takes into account diversification of video game developers in terms of monetization models exploited, i.e. premium, freemium, or hybrid, which seems to be novel.In general, the findings locate people together with their tacit, experience-based knowledge at the top of the key resources hierarchy. Nevertheless, the results show that there are differences in perception and exploitation of the key resources among the considered types of game developers. Interestingly, only those with the premium monetization model point at tacit organizational knowledge as a specific type of key resources exploited under their business model. Moreover, the identified relational resources – although not considered in the business model canvas approach – are acknowledged only by developers using the hybrid monetization model. Last but not least, physical resources are seen as non-key ones by all the considered types of game developers.
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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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Safadi, Firas, Raphael Fonteneau, and Damien Ernst. "Artificial Intelligence in Video Games: Towards a Unified Framework." International Journal of Computer Games Technology 2015 (2015): 1–30. http://dx.doi.org/10.1155/2015/271296.
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With modern video games frequently featuring sophisticated and realistic environments, the need for smart and comprehensive agents that understand the various aspects of complex environments is pressing. Since video game AI is often specifically designed for each game, video game AI tools currently focus on allowing video game developers to quickly and efficiently create specific AI. One issue with this approach is that it does not efficiently exploit the numerous similarities that exist between video games not only of the same genre, but of different genres too, resulting in a difficulty to handle the many aspects of a complex environment independently for each video game. Inspired by the human ability to detect analogies between games and apply similar behavior on a conceptual level, this paper suggests an approach based on the use of a unified conceptual framework to enable the development of conceptual AI which relies on conceptual views and actions to define basic yet reasonable and robust behavior. The approach is illustrated using two video games,RavenandStarCraft: Brood War.
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Bettivia, Rhiannon. "Enrolling Heterogeneous Partners in Video Game Preservation." International Journal of Digital Curation 11, no. 1 (October 5, 2016): 17–32. http://dx.doi.org/10.2218/ijdc.v11i1.339.
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This article extends previous work known as Preserving Virtual Worlds II (PVWII), funded through a grant from the Institute of Museum and Library Services. The author draws on interview data collected from video game developers, content analysis of several long-running video game series, as well as the project’s advisory board and researcher reports. This paper exposes two fundamental challenges in creating metrics and specifications for the preservation of virtual worlds; namely, that there is no one type of user or designated video game stakeholder community, and that significant properties of games cannot always be located in code or platform. The PVWII data serve to explain why existing ideas about preservation of video games are inadequate when games are treated as digital cultural heritage. Preservation specialists need to bind nebulous and dynamic digital objects, a process that is necessary while inherently artificial.
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Hofman-Kohlmeyer, Magdalena. "Brand-Related User-Generated Content in Simulation Video Games: Qualitative Research Among Polish Players." Central European Management Journal 29, no. 1 (March 15, 2021): 61–87. http://dx.doi.org/10.7206/cemj.2658-0845.41.
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Purpose: The article sought to answer research questions regarding investigated branded content generated by players in simulation video games. How does the process work in video games? What are the characteristics of branded user-generated content in video games? To what extent players are willing to participate in branded content creation? Methodology: I conducted 20 in-depth interviews among Polish players, with the application of snowball sampling. The study participants were adult users of chosen simulation video games: The Sims, Second Life, and Euro Truck Simulator 2. Findings: We can distinguish content based on game mechanism, official add-ons, or game modding. Players frequently check some brands from a set offered by game developers and create content (e.g. in The Sims users can design house interiors with IKEA furniture). Some players are not satisfied by what a game offers and generate content based on modding (e.g. DHL trucks or McDonald’s restaurants inside the Euro Truck Simulator 2). In this respect, the article refers to Smith’s, Fischer’s, and Yongjian’s content dimensions. Branded game modifications described by respondents are characterized by a high level of similarity towards real brands and positive brand sentiment (valence). I noted no statement about player and marketer (brand) communication in gathered material. The biggest challenge for practitioners in the field of UGC in video games is how to manage brand messages. Practical Implications: Brand-related user-generated content is an important phenomenon in terms of the brand-building process and its impact on brand reception, which all require marketers’ attention. For game developers, such a content is a source of information about customer expectations. Players show their personal expectations by game modding. Originality/Value: Brand-related content generated by users is frequently associated with social media. The scholarship shows a lack of knowledge of branded user-generated content in video games.
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Kopaniecki, Jakub. "Walking the streets of a virtual metropolis. The audiosphere of the game Grand Theft Auto IV." Interdisciplinary Studies in Musicology, no. 19 (December 31, 2019): 173–84. http://dx.doi.org/10.14746/ism.2019.19.12.
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On the basis of works devoted to the topic of sound studies and video games, the author presents ways of processing and using sounds in order to create virtual phonic spaces. He examines the means by which contemporary game developers influence immersivity, i.e., the process of immersing the gamer in virtual environments, as well as indicating the mutual influences of audial and visual spheres. Analysig the video game Grand Theft Auto IV from the perspective of the sound which accompanies the action, he compares in this respect three areas of the game’s Liberty City with their equivalents in New York on which the virtual city is modelled. The similarities and differences between the digital and virtual spaces are identified, and the reasons for them explained. This makes it possible to show how the use of the tools (explained earlier) employed by the developers of the game enable them to create a credible sounding virtual metropolis.
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Chaichitwanidchakol, Pitsanu, and Witcha Feungchan. "Exploring Mobile Game Interactions." International Journal of Electrical and Computer Engineering (IJECE) 8, no. 5 (October 1, 2018): 3954. http://dx.doi.org/10.11591/ijece.v8i5.pp3954-3965.
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The mobile game industry has been growing rapidly in both the number of games and revenues. Choosing the right interactions for a game has become a major challenge for developers. Some developers use inappropriate interactions in their games which causes them to be less fun than they should be. This research focuses on gathering and defining possible mobile game interactions so as to guide and enable designers and developers to choose the right interactions for their games. The researchers have extensively reviewed and explored various mobile game interactions both through research studies and through existing mobile games. Subsequent to observations, mobile game interactions were then categorized as follows: 1) Touch interaction 2) Motion/Movement interaction 3) Video interaction 4) Sound interaction 5) Special purpose interaction 6) Location interaction 7) Electroencep-halography (EEG) interaction 8) Date/Time interaction 9) Weather interaction 10) Light interaction 11) Proximity interaction 12) Network interaction 13) Social interaction and 14) Bioinformatics interaction. These 14 interactions can be used to support gameplay, ideas, and innovation of mobile games.
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Mirowski, Alexander, and Brian P. Harper. "Elements of Infrastructure Demand in Multiplayer Video Games." Media and Communication 7, no. 4 (December 20, 2019): 237–46. http://dx.doi.org/10.17645/mac.v7i4.2337.
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With the advent of organized eSports, game streaming, and always-online video games, there exist new and more pronounced demands on players, developers, publishers, spectators, and other video game actors. By identifying and exploring elements of infrastructure in multiplayer games, this paper augments Bowman’s (2018) conceptualization of demands in video games by introducing a new category of ‘infrastructure demand’ of games. This article describes how the infrastructure increasingly built around video games creates demands upon those interacting with these games, either as players, spectators, or facilitators of multiplayer video game play. We follow the method described by Susan Leigh Star (1999), who writes that infrastructure is as mundane as it is a critical part of society and as such is particularly deserving of academic study. When infrastructure works properly it fades from view, but in doing so loses none of its importance to human endeavor. This work therefore helps to make visible the invisible elements of infrastructure present in and around multiplayer video games and explicates the demands these elements create on people interacting with those games.
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Phan, Mikki H., Joseph R. Keebler, and Barbara S. Chaparro. "The Development and Validation of the Game User Experience Satisfaction Scale (GUESS)." Human Factors: The Journal of the Human Factors and Ergonomics Society 58, no. 8 (September 27, 2016): 1217–47. http://dx.doi.org/10.1177/0018720816669646.
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Objective: The aim of this study was to develop and psychometrically validate a new instrument that comprehensively measures video game satisfaction based on key factors. Background: Playtesting is often conducted in the video game industry to help game developers build better games by providing insight into the players’ attitudes and preferences. However, quality feedback is difficult to obtain from playtesting sessions without a quality gaming assessment tool. There is a need for a psychometrically validated and comprehensive gaming scale that is appropriate for playtesting and game evaluation purposes. Method: The process of developing and validating this new scale followed current best practices of scale development and validation. As a result, a mixed-method design that consisted of item pool generation, expert review, questionnaire pilot study, exploratory factor analysis ( N = 629), and confirmatory factor analysis ( N = 729) was implemented. Results: A new instrument measuring video game satisfaction, called the Game User Experience Satisfaction Scale (GUESS), with nine subscales emerged. The GUESS was demonstrated to have content validity, internal consistency, and convergent and discriminant validity. Conclusion: The GUESS was developed and validated based on the assessments of over 450 unique video game titles across many popular genres. Thus, it can be applied across many types of video games in the industry both as a way to assess what aspects of a game contribute to user satisfaction and as a tool to aid in debriefing users on their gaming experience. Application: The GUESS can be administered to evaluate user satisfaction of different types of video games by a variety of users.
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Costello, Robert, and Jodie Donovan. "How Game Designers Can Account for Those With Autism Spectrum Disorder (ASD) When Designing Game Experiences." International Journal of End-User Computing and Development 8, no. 2 (July 2019): 29–55. http://dx.doi.org/10.4018/ijeucd.20190701.oa1.
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Autism Spectrum Disorder (ASD) is a prevalent neurodevelopmental disability among gamers where individuals belonging to this group of conditions have difficulty understanding non-verbal cues. Though game accessibility is a focal point in the games industry, there has been a keen focus placed on developing accessibility. Consequently, this study examines the perspective of video games from individuals who have autism to gain further insight into the needs of these individuals. The preliminary study is to discover if autistic users' difficulty reading non-verbal cues extends to their perception of a game environment and if these individuals can experience sensory distress while playing video games. A prototype was created to further understand the non-verbal cues to help shape the foundation of accessibility framework. The preliminary results concluded that autistic users frequently misread or fail to pick up on the non-verbal cues used by developers to drive game flow and narrative (e.g., sign-posting), in addition to experiencing sensory distress while playing video games.
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Klimas, Patrycja, and Wojciech Czakon. "Organizational innovativeness and coopetition: a study of video game developers." Review of Managerial Science 12, no. 2 (December 11, 2017): 469–97. http://dx.doi.org/10.1007/s11846-017-0269-5.
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Anfinogenov, M. V., and I. S. Antyasov. "EVOLUTION OF INFORMATION SECURITY SYSTEMS IN VIDEO GAMES." Journal of the Ural Federal District. Information security 20, no. 3 (2020): 59–68. http://dx.doi.org/10.14529/secur200307.
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This article covers the video games as a unique phenomenon in the information environ-ment, the development of security technologies and unauthorized access methods since the first video game release until the position of the video game industry in our time. Represented a step change in the interaction systems, the technical features of both hardware and software security which were used by video game developers and companies producing platforms. The analysis of the hacking techniques and methods intended for these protection systems and re-lated global incidents is made. Illustrated the formation and development of security systems of the video game consoles of subsequent generations under the influence of the mistakes and shortcomings in the data security of the prior console generations. The process of centralization and generalization of the user data integrity systems in the modern world is considere
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Tie, Anna-Lisa. "Copyright law issues in the context of video game Let's Plays and livestreams." Interactive Entertainment Law Review 3, no. 2 (December 23, 2020): 121–30. http://dx.doi.org/10.4337/ielr.2020.02.04.
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Video game content has grown increasingly popular on internet service providers such as YouTube and Twitch. This genre of uploaded material includes the gameplay of internet users, in the form of pre-recorded ‘Let's Play’ videos, as well as livestreamed playthroughs. However, the application of current copyright law principles to these kinds of content is still a grey area. This legal uncertainty can be attributed to the absence of binding judicial precedent on whether video game Let's Plays and livestreams constitute copyright infringement or fair use. More recent legislative provisions intended to update copyright law for current digital technology provide little assistance, as their implementation by internet platforms has perpetuated a practice of favouring the interests of game developers over users who produce Let's Plays and livestreams. This article discusses the problems of applying existing copyright law to video game playthroughs uploaded online, as well as the drawbacks of the automated tools YouTube and Twitch have developed to manage these types of content in their systems. In order to address these issues, suggestions for copyright law reform will be explored. However, in the absence of imminent legislative amendments, I conclude that compulsory licensing arrangements, and making modifications to YouTube's and Twitch's content scanning tools are the most viable means of achieving a better balance between the interests of game developers, the internet platforms, and Let's Play creators and game streamers.
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Tie, Anna-Lisa. "Copyright law issues in the context of video game Let's Plays and livestreams." Interactive Entertainment Law Review 3, no. 2 (December 23, 2020): 121–30. http://dx.doi.org/10.4337/ielr.2020.02.04.
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Video game content has grown increasingly popular on internet service providers such as YouTube and Twitch. This genre of uploaded material includes the gameplay of internet users, in the form of pre-recorded ‘Let's Play’ videos, as well as livestreamed playthroughs. However, the application of current copyright law principles to these kinds of content is still a grey area. This legal uncertainty can be attributed to the absence of binding judicial precedent on whether video game Let's Plays and livestreams constitute copyright infringement or fair use. More recent legislative provisions intended to update copyright law for current digital technology provide little assistance, as their implementation by internet platforms has perpetuated a practice of favouring the interests of game developers over users who produce Let's Plays and livestreams. This article discusses the problems of applying existing copyright law to video game playthroughs uploaded online, as well as the drawbacks of the automated tools YouTube and Twitch have developed to manage these types of content in their systems. In order to address these issues, suggestions for copyright law reform will be explored. However, in the absence of imminent legislative amendments, I conclude that compulsory licensing arrangements, and making modifications to YouTube's and Twitch's content scanning tools are the most viable means of achieving a better balance between the interests of game developers, the internet platforms, and Let's Play creators and game streamers.
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Peticca-Harris, Amanda, Johanna Weststar, and Steve McKenna. "The perils of project-based work: Attempting resistance to extreme work practices in video game development." Organization 22, no. 4 (June 29, 2015): 570–87. http://dx.doi.org/10.1177/1350508415572509.
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This article examines two blogs written by the spouses of game developers about extreme and exploitative working conditions in the video game industry and the associated reader comments. The wives of these video game developers and members of the game community decry these working conditions and challenge dominant ideologies about making games. This article contributes to the work intensification literature by challenging the belief that long hours are necessary and inevitable to make successful games, discussing the negative toll of extreme work on workers and their families, and by highlighting that the project-based structure of game development both creates extreme work conditions and inhibits resistance. It considers how extreme work practices are legitimized through neo-normative control mechanisms made possible through project-based work structures and the perceived imperative of a race or ‘crunch’ to meet project deadlines. The findings show that neo-normative control mechanisms create an insularity within project teams and can make it difficult for workers to resist their own extreme working conditions, and at times to even understand them as extreme.
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Grieman, Keri. "Lakitu's world: proactive and reactive regulation in video games." Interactive Entertainment Law Review 2, no. 2 (December 2019): 67–77. http://dx.doi.org/10.4337/ielr.2019.02.02.
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Regulating a population is difficult, and no easier when that population has grenade launchers. Video game publishers and developers face the unenviable challenge of balancing their game's playability with regulating the individuals within it. This is done proactively (by game design) and reactively (by punishing or rewarding player behaviour). What players encounter affects the game's age rating, but also the player's desire to continue playing. Even games focusing on violence impose taboos on unsportsmanlike behaviour, and real-world referential behaviour or attacks. Games can become known for their toxic player behaviour, rather than the gameplay itself. In examining pro and reactive regulation in online multiplayer games, such as type of communication and moderation, there appears to be a correlation between highly proactive in-game regulation and low age ratings, and highly reactive in-game regulation and high age ratings. While further study is needed, this suggests potential avenues for future regulatory efforts.
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Crawford, Garry, Daniel Muriel, and Steven Conway. "A feel for the game: Exploring gaming ‘experience’ through the case of sports-themed video games." Convergence: The International Journal of Research into New Media Technologies 25, no. 5-6 (May 10, 2018): 937–52. http://dx.doi.org/10.1177/1354856518772027.
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Video gaming is often understood and narrated as an ‘experience’, and we would suggest that this is particularly notable with sports-themed video games. However, we would argue that how the game experience is curated and consumed, and how this relates to wider social process and forces, is rarely given any detailed consideration within the existing game research literature. Hence, this article explores how game experiences can be understood and articulated around four key themes. First, we begin with the argument that video games connect with, but also lead, a wider social trend: understanding social reality as a set of designed experiences. The real is progressively becoming a repository of technologically mediated experiences, and the logic of video games is anticipating this process. Second, we suggest video games are translations of phenomenological worlds: When successful, key aspects of the meaning of things remain similar even as one moves between spaces, domains, mediums and platforms. Developers often seek to bring others’ experiences into a game environment, such as translating the geography and mechanisms of sporting locations and competitions into a game environment. Third, following this translation of meaning across domains, gamers often narrate their encounters with video games as they would with any other experience, such as winning the Champions League in Football Manager becomes recounted by gamers like any other achievement. Fourth, video games are interactive and explicit bodily experiences because they must be enacted in order to exist.
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Waszkiewicz, Agata, and Martyna Bakun. "Towards the aesthetics of cozy video games." Journal of Gaming & Virtual Worlds 12, no. 3 (October 1, 2020): 225–40. http://dx.doi.org/10.1386/jgvw_00017_1.
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While among game journalists and developers the term ‘cozy games’ has recently been gaining popularity, the concept still rarely is discussed in detail in academic circles. While game scholars put more and more focus on the new types of casual games that concentrate mostly on starting discourses on mental health, trauma and the experiences of marginalized people (often referred to as ‘empathy games’), the discussion would benefit from the introduction of the concept of coziness and the use of more precise definitions. The article discusses cozy aesthetics, showing that their popularity correlates with sociopolitical changes especially in Europe and the United States. First, cozy games are defined in the context of feminist and inclusive design. Second, it proposes three types of application of coziness in games depending on their relationship with functionality: coherent, dissonant and situational.
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Bosman, Frank G. "The Sacred and the Digital. Critical Depictions of Religions in Digital Games." Religions 10, no. 2 (February 22, 2019): 130. http://dx.doi.org/10.3390/rel10020130.
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In this editorial, guest editor Frank Bosman introduces the theme of the special issue on critical depictions of religion in video games. He does so by giving a tentative oversight of the academic field of religion and video game research up until present day, and by presenting different ways in which game developers critically approach (institutionalized, fictional and non-fictional) religions in-game, of which many are discussed by individual authors later in the special issue. In this editorial, Bosman will also introduce all articles of the special issue at hand.
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Dannenberg, Ross, and Josh Davenport. "Top 10 video game cases (US): how video game litigation in the US has evolved since the advent of Pong." Interactive Entertainment Law Review 1, no. 2 (December 2018): 89–102. http://dx.doi.org/10.4337/ielr.2018.02.02.
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Video game litigation in the United States is neither new nor infrequent, and video game developers can learn valuable lessons from cases won, and lost, by others before them. This article examines the evolution of United States intellectual property law from historically narrow roots to classifying video games as an art form deserving broad free speech protection. This article examines seminal cases in a variety of IP areas, including not only copyrights, but also reverse engineering, derivative works, patents, trademarks, rights of publicity, the Digital Millennium Copyright Act, contracts, and freedom of speech. These cases explore the factual and legal limits of American jurisprudence in video game law, including how one's own expression can be limited by the rights of others, permissible and fair use and of others' IP, and the impact these cases have had in the industry. As video games have leveled up into a multi-billion dollar industry, the law has leveled up, too, and this article is the primer you need to level up with it.
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Statham, Nataska. "Use of Photogrammetry in Video Games: A Historical Overview." Games and Culture 15, no. 3 (July 3, 2018): 289–307. http://dx.doi.org/10.1177/1555412018786415.
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In 2014, the developers of The Vanishing of Ethan Carter revealed that the stunning settings in the game were created using photogrammetry, a modeling technique up to then generally disregarded as being too cumbersome for the technical limitations of game engines. Shortly after, EA DICE announced that its 2015 flagship title Star Wars Battlefront would be adopting photogrammetry extensively not only to capture key props and costumes but also to recreate key locations beloved to Star Wars fans. Since then, the games industry has been flooded with articles, tutorials, and new software dedicated to the use of photogrammetry to create 3-D game assets. This article examines the key developments in the field since 2014, how the technique is being adopted by game studios, what are the current and future trends, and how the use of photogrammetry is likely to disrupt the well-established game development pipelines.
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Atmaja, Pratama Wirya, Daniel Oranova Siahaan, and Imam Kuswardayan. "Game Design Document Format For Video Games With Passive Dynamic Difficulty Adjustment." Register: Jurnal Ilmiah Teknologi Sistem Informasi 2, no. 2 (July 1, 2016): 86. http://dx.doi.org/10.26594/r.v2i2.551.
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AbstrakPermainan video adalah perangkat lunak hiburan, sehingga kepuasan pemainnya adalah tolok ukur utama kualitasnya. Satu elemen penting dari kepuasan pemain adalah tingkat kesulitan yang tepat, yang tidak terlalu mudah maupun sukar. Dewasa ini, cara termutakhir untuk menerapkan tingkat kesulitan yang tepat adalah Pengaturan Kesulitan Dinamis (PKD), yang dapat memodifikasi tingkat kesulitan permainan pada saat run-time. Tipe PKD yang paling populer pada saat ini adalah PKD pasif. Di sisi lain, Dokumen Desain Permainan (DDP) adalah artefak penting dalam pengembangan perangkat lunak permainan video, dan belum ditemukan format DDP yang mendukung perancangan mekanisme PKD pasif. Tujuan penelitian ini adalah menemukan format DDP baru yang mendukung perancangan tersebut. Kami memodifikasi sebuah format DDP yang bersifat umum dengan menambahkan bagian-bagian baru untuk perancangan mekanisme PKD pasif. Format hasil modifikasi tersebut diuji dalam proses pengujian yang melibatkan sejumlah pengembang dan sejumlah pemain. Para pengembang mengembangkan sejumlah permainan video menggunakan format DDP yang dimodifikasi dan format yang umum. Proses pengembangan yang mereka jalani diamati dan dinilai kelancarannya. Permainan-permainan video yang dihasilkan dengan kedua format DDP dimainkan oleh para pemain untuk menguji kualitas mekanisme PKD pasifnya. Hasil pengujian oleh para pengembang menyatakan bahwa format DDP yang dimodifikasi lebih baik dari format yang umum. Hasil pengujian oleh para pemain menunjukkan keunggulan permainan-permainan video yang dihasilkan dengan format DDP yang dimodifikasi, walau keunggulan itu tidak signifikan. Berdasarkan hasil tersebut, kami menyatakan bahwa format DDP yang dimodifikasi berhasil mencapai tujuannya.Kata kunci: permainan video, rekayasa kebutuhan, Pengaturan Kesulitan Dinamis, dokumen desain permainan, pengembangan perangkat lunak. AbstractVideo game is a type of entertainment software, and therefore the satisfaction of its players is the primary mean to measure its quality. One important element of player’s satisfaction is a proper difficulty level, which is neither too easy nor too hard. The current state-of-the-art way to implement it is with Dynamic Difficulty Adjustment (DDA), which allows the difficulty level of a video game to be adjusted at run-time. Currently, the most popular type of DDA is the passive one. Meanwhile, Game Design Document (GDD) is an important artefact in the development process of a video game software, and there is still no GDD format that supports the design of passive DDA mechanism. The aim of this research was to find a new GDD format that supports the mechanism. We modified a general purpose GDD format by adding new parts for designing passive DDA mechanism. We tested the usefulness of the modified format in a testing process involving developers and players. The developers developed video games using the modified GDD format and the general purpose one. Their development processes were observed and evaluated to know if there were any difficulties. The resulting video games were played by the players to find which are better in terms of passive DDA mechanism. The result of developer testing showed that the modified format is better than the general purpose one. The result of player testing showed that the video games made with the modified format are better than their counterparts, albeit by an insignificant margin. Based on the results, we declare that the modified GDD format is successful.Keywords: Video game, requirement engineering, game design document, dynamic difficulty adjustment, software development.
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McDaniel, Rudy, and Stephen M. Fiore. "Best Practices for the Design and Development of Ethical Learning Video Games." International Journal of Cyber Ethics in Education 2, no. 4 (October 2012): 1–23. http://dx.doi.org/10.4018/ijcee.2012100101.
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This article builds upon earlier research (McDaniel & Fiore, 2010) in which the authors presented case studies focused on the design and development of two original ethical learning video games. Through this case study and a review of relevant literature, the authors explored the content creation of, and theoretical rationale for, the design and development of ethics games. Both games were geared toward an undergraduate student audience as casual learning games to be completed in a few hours of gameplay. To update and expand this original work, the authors reviewed contemporary research on identity, cognition, and self in relation to video game environments as well as literature dealing more specifically with ethics and video games. From this literature base and their applied design experiences, the authors offer ten guidelines as best practices to follow for aspiring ethics game developers.
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Jankowski, Filip. "The Presence of Female Designers in French Video Game Industry, 1985–1993." Games and Culture 15, no. 6 (April 15, 2019): 670–84. http://dx.doi.org/10.1177/1555412019841954.
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Increasingly, more people do notice that female designers wrote their first games in the 1970s and 1980s. However, there was another country where women did also design games decades before the #GamerGate movement. This article examines the selected works of three French designers: Clotilde Marion, Chine Lanzmann, and Muriel Tramis. The analysis of those games took into account the self-representation of those designers—and women in general—within the game content. The conducted research has proven that within their games, Marion, Lanzmann, and Tramis included their everyday experiences as women. Using such techniques as simulated point of view and authorial signature, those women indicated their own role in the development and showed how females in general face male oppression against them. This means that the United States is not the only country with a long tradition of female game developers. Thus, video game history remains an undiscovered research field.
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Harviainen, J. Tuomas, Janne Paavilainen, and Elina Koskinen. "Ayn Rand’s Objectivist Ethics Applied to Video Game Business." Journal of Business Ethics 167, no. 4 (April 16, 2019): 761–74. http://dx.doi.org/10.1007/s10551-019-04159-y.
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AbstractThis article analyzes the business ethics of digital games, using Ayn Rand’s philosophy of Objectivism. It identifies different types of monetization options as virtuous or nonvirtuous, based on Rand’s views on rational self-interest. It divides the options into ethical Mover and unethical Looter designs, presents those logics in relation to an illustrative case example, Zynga, and then discusses a view on the role of players in relation to game monetization designs. Through our analysis of monetization options in the context of Objectivist ethics, the article contributes to discussions on game revenue ethics. It also expands the still understudied area of applying Rand’s ethics to business, in the context of a new sector, game development, and business. This research enables ethicists to apply a wider-than-before perspective on virtue ethics to online business, and helps game developers act in a virtuous manner, which provides them with a long-term business advantage.
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O'Donnell, Casey. "The Nintendo Entertainment System and the 10NES Chip: Carving the Video Game Industry in Silicon." Games and Culture 6, no. 1 (August 11, 2010): 83–100. http://dx.doi.org/10.1177/1555412010377319.
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This essay makes the argument that the numerous ‘‘networks’’ or ‘‘inter/intranetworks’’ that structure the video game industry have lived local effects for those involved in the production of video games. In particular, this is most visible in the realm of console video game development but is visible in many other contexts as well. It uses the Nintendo Entertainment System (NES) as an index into this complex and highly structured world that frequently disappears from developers perception. The essay uses largely historical data drawn from patent filings, Securities and Exchange Commission (SEC) filings, and court cases to analyze these networks. The essay argues that these inter/intranetworks, as constructed, have been instrumental in the way that the game industry now finds itself structured and that as the industry has ‘‘matured,’’ the networks have become less accessible and less interoperable.
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Álvarez, Ricardo, and Fábio Duarte. "Spatial Design and Placemaking: Learning From Video Games." Space and Culture 21, no. 3 (November 10, 2017): 208–32. http://dx.doi.org/10.1177/1206331217736746.
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Spatial design and placemaking are fundamental to create a vibrant urban life, whereas video games are designed primarily for temporary amusement. However, they both share the same essence of creating large-scale artificial environments for human interaction as their fundamental value. Video game developers have been successfully using spatial design tools to create virtual environments to engage players and build narratives, understanding, and appropriating many characteristics of what makes a place tick. In this article, we argue that spatial design and placemaking could learn from video games development, by incorporating features ranging from storytelling and multiple viewpoints to participatory practices and flexible 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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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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JEDWILLAT, LUISA, and NATALIA NOWACK. "A GAME WITH MUSIC OR MUSIC WITH A GAME? ABOUT THE VIDEO GAME KARMAFLOW." Art and Science of Television 16, no. 4 (2020): 85–108. http://dx.doi.org/10.30628/1994-9529-2020-16.4-85-108.
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Over 70 years ago, Theodor W. Adorno and Hanns Eisler philosophized about functional music in their programmatic script Composing for the Films. In spite of all the social criticism that the authors practiced with relish, it was already about the essential—the determination of a meaningful coexistence of synergetically connected art events. With the spread of video games, the question arises again and again: how to combine action and sound without falling prey to Mickey Mousing effect? As one of the youngest branches of music studies, ludomusicology describes a number of musical application scenarios, systematized according to effects and techniques. Their principles are comprehensible—under normal circumstances. With the Karmaflow—The Rock Opera Videogame, however, a project was started that leads to a new configuration between the media: in this game you play, in a manner of speaking, with or against the music itself. Because of its design, Karmaflow deserves to be considered on its own. Additionally, outside the subgroup of “music-based games”, heavy metal music is an exception among video games. The present essay illustrates the specific concept of the game which indeed can be placed in a range between video games and rock operas. The insights gained through (self-) observation are compared with the results of an exploratory survey. The survey was aimed at revealing the influence of sound on the gaming experience. The majority of respondents confirmed the connection between music and gameplay and the effect of musical characterization on some specific decisions. Test subjects, who, due to their preferences, belonged to the target group of game developers, judged differently than the other experiment participants.
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Ibrahim, Amer, Francisco Luis Gutiérrez Vela, Patricia Paderewski Rodríguez, José Luís González Sánchez, and Natalia Padilla Zea. "Playability Guidelines for Educational Video Games." International Journal of Game-Based Learning 2, no. 4 (October 2012): 18–40. http://dx.doi.org/10.4018/ijgbl.2012100102.
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Learning through play is currently an effective and attractive educational strategy. However, are all educational video games (EVG) successful and do they always keep the player motivated? Here, the authors emphasize that the success of an EVG will be more achievable if the game quality is measured, and suggest the use of playability property as a suitable and effective tool to do this. To this end, they present a set of guidelines that are based on Educational Playability (Playability in EVG), which were compiled by analyzing the existing game guidelines to achieve a good EVG design, to form a basis for evaluating the EVG quality, acting as useful tools for developers to enhance videogame playability. The authors propose that through the use of guidelines an acceptable level of playability can be achieved and this ensures the players’ motivation, which is a complicated process requiring the consideration of many aspects (playful, educational, etc.).
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Kocurek, Carly. "Walter Benjamin on the Video Screen: Storytelling and Game Narratives." Arts 7, no. 4 (October 23, 2018): 69. http://dx.doi.org/10.3390/arts7040069.
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Walter Benjamin’s 1936 essay, “The Storyteller” (2006) defines storytelling as a mode of communication that is defined in part by its ability to offer listeners “counsel”, or meaningful wisdom or advice. This article considers the earmarks of storytelling as defined by Benjamin and by contemporary writer Larry McMurtry and argues this type of narrative experience can be offered via interactive media and, in particular, video games. After identifying the key characteristics of storytelling as set forth by Benjamin, the article proposes and advocates for a set of key characteristics of video game storytelling. In doing so, the article argues that effective narrative immersion can offer what Benjamin calls counsel, or wisdom, by refusing to provide pat answers or neat conclusions and suggests these as strategies for game writers and developers who want to provide educational or transformative experiences. Throughout, the article invokes historic and contemporary video games, asking for careful consideration of the ways in which games focused on sometimes highly personal narratives rely on storytelling techniques that instruct and transform and that can provide a rich framework for the design and writing of narrative games.
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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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Freed, Sara, Briana Sprague, and Lesley Ross. "Feasibility and Enjoyment of Exercise Video Games in Older Adults." Innovation in Aging 4, Supplement_1 (December 1, 2020): 559. http://dx.doi.org/10.1093/geroni/igaa057.1838.
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Abstract Interventions using exercise video games, or exergames, have shown short-term cognitive and physical benefits to older adults, though long-term effects are less promising. Enjoyment of exergames may promote exergame use after the intervention period, though little work has examined older adults’ views of exergames before and after gameplay experience. We invited 20 older adults between 65 and 84 years of age (M=73.30, SD=5.95) to play two Xbox Kinect games, Just Dance and Kinect Sports Rivals, for twenty minutes. In our presentation, we will present qualitative and quantitative findings of this pilot study, including findings that older adults reported that they were not likely to play similar exergames in the future and that they did not find the exergames to be more fun compared to other ways of exercising. We will discuss implications for game design and research relevant to game developers, manufacturers, and researchers. Part of a symposium sponsored by Technology and Aging Interest Group.
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Rydzewski, Rafał. "Market-to-Book Ratio and Creative Industries– Example of Polish Video Games Developers." Economics and Culture 16, no. 1 (June 1, 2019): 137–47. http://dx.doi.org/10.2478/jec-2019-0015.
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Abstract Research purpose. There are many reasons for which a growing interest in research and analysis of video game developers is observed. First, it results from attractive high rates of return on investment in this sector. Second, video games developers, in the author’s opinion, constitute a good combination of business and culture which is a ground for development of creative industry. A capital-intensive process of production and the intangibility of video games cause a problem in valuation of developers. Market participants who value future cash flows are in conflict with a historical cost approach used in accounting. This leads to a question of whether the confrontation of these two extreme ways of valuation could be a valuable measure of unrecognised assets for the analysis of video games sector and, as a consequence, of creative industry. The aim of the study is to explore a possible role and use of market-to-book ratio for analysis of this sector. Design/Methodology/Approach. The study starts with a literature review on market-to-book ratio applied to knowledge-based industries. The second part of the research is a comparison of results obtained for 19 biggest listed representatives of the video games sector in Poland to other sectors of Warsaw Stock Exchange. Further analysis juxtaposes the selected Polish representatives with world’s biggest ones in this sector. This will allow to draw conclusions about the usefulness of the examined ratio. Findings. The research shows that the video games sector represents noticeably higher level of market-to book ratio than other industries in Poland and is comparable to the world’s representatives. It can be stated that the market’s valuation takes into account unrecognised assets (intellectual capital), which are greatly related to possible future cash flows. What is interesting is that, for some of the selected Polish companies, market-to-book ratio keeps decreasing compared to the levels at IPO. This refers to market efficiency in relation to possible speculative bubbles which companies of this sector are often accused of. Originality/Value/Practical implications. The obtained results are applicable to the investors, analysts and managers of this sector. The research conducted enables a better understanding of the market-to-book ratio as an indicator of economic standing of creative industry companies and its earnings’ prediction.
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Babb, Jeffry, Neil Terry, and Kareem Dana. "The Impact Of Platform On Global Video Game Sales." International Business & Economics Research Journal (IBER) 12, no. 10 (September 30, 2013): 1273. http://dx.doi.org/10.19030/iber.v12i10.8136.
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This paper examines video game sales by platform in the global market from a period spanning 2006 through 2011. As the home video game industry has rapidly matured and become established as a forefront facet of interactive entertainment in the home, we seek to determine what aspects of the video game market have the greatest impact on sales. This question is particularly poignant, as the maturation of the video game industry has witnessed efforts at both vertical integration and horizontal expansion on the part of the top game publishers and developers in hopes of solidly grounding the industry. This study employs a Kruskal-Wallis test to compare eight different gaming platforms. The results indicate Nintendos Wii was the top selling global platform; Nintendo DS was the second tier; Xbox 360, Sony PlayStation 3, and the personal computer (PC) are in the third tier; the fourth tier consists of Sony PlayStation 2 and Sony PSP; and the retired sixth generation Nintendo GameCube is the lowest sales tier.
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Burgess, Jacqueline, and Christian M. Jones. "“Is It Too Much to Ask That We’re Allowed to Win the Game?”: Character Attachment and Agency in the Mass Effect 3 Ending Controversy." Bulletin of Science, Technology & Society 37, no. 3 (October 2017): 146–58. http://dx.doi.org/10.1177/0270467618819685.
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The interaction between the concepts of character attachment, agency, and choice in a video game narrative was investigated using BioWare’s Mass Effect trilogy. Posts on a BioWare forum discussing the depiction of their player characters in the ending sequences of Mass Effect 3, the final game in the trilogy, were downloaded and analyzed using thematic analysis. Players demonstrated emotional attachment for the characters and narrative and expected to see the consequences of their choices play out, as in the previous games. Furthermore, players conflated winning the game with achieving a narratively satisfactory ending for the game world and its characters indicating emotional consequences for players that developers should consider when designing games with a high degree of player choice and agency. However, for some players character attachment is incongruous as they described Shepard as “acting out of character,” which needs further research.
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Khalid, Tooba, Syeda Hina Batool, Ayesha Khalid, Henna Saeed, and Syed Waqas Hussain Zaidi. "Pakistani students’ perceptions about their learning experience through video games." Library Hi Tech 38, no. 3 (November 15, 2019): 493–503. http://dx.doi.org/10.1108/lht-03-2019-0068.
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Purpose The emergence of digital technological advances pushes educators for understanding and utilizing these technologies for classroom use. The current generation of teenagers has grown up in a networked world where everyone is immersed in technology-based gadgets in everyday life. Therefore, the purpose of this paper is to investigate video game-based academic and information literacy (IL) learning of teenagers of private schools of Lahore city. Lahore is the capital city of the province of Punjab. Literary works highlighted the importance of video games in developing academic and IL skills; therefore, the current research aims to reveal this fact in local context. Design/methodology/approach The present study adopted qualitative research design and utilized phenomenological research method to achieve study’s objectives. The data were collected through face-to-face interviews. The study participants were teenagers (aged 13‒19 years) of elite economic class of private schools where students normally owned latest video game gadgets. Findings Based on the study findings, it is elucidated that playing video games has a positive impact on teenagers’ learning, and it promotes quick thinking. The participants exert effort to achieve goals, take up challenges for completing different points at various stages of games and interact with online competitors. It enhanced their social communication, problem-solving and IL (searching/locating and evaluating) skills. Research limitations/implications The present study has some limitations. First, sample is limited to elite economic private schools of Lahore. Second, the lack of availability of regular video game players has limited the sample size, as Pakistan is a developing country and limited numbers of teenagers use and can afford gaming gadgets. Lastly, the results of this study are based on students’ perceptions, so there is a need to measure actual learning with assessments. Originality/value The results of the study are beneficial for the game developers, teachers, librarians and parents. The education sector may support video games usability as learning tools.
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Seok, Soonhwa, and Boaventura DaCosta. "The Cyber Awareness of Online Video Game Players." International Journal of Cyber Research and Education 1, no. 1 (January 2019): 69–77. http://dx.doi.org/10.4018/ijcre.2019010108.
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The cyber awareness of online video game players (n = 183) was investigated by examining their online safety practices and the degree to which they were exposed to threats. With findings revealing that gamers engaged in poor online practices, despite expressing concern for their safety, this investigation supports the view that gamers are unaware of the possible consequences of their online actions, and/or continue to show resistance to cybersecurity practices perceived to hinder gameplay. While the findings should be regarded as preliminary, game developers and publishers, policymakers, and researchers may find them valuable in obtaining a clearer understanding of gamers' cyber awareness and online practices. Coupled with ongoing research, these findings may also prove valuable for the identification of strategies that may be used to curb risky online behavior.
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Bulut, Ergin. "One-Dimensional Creativity: A Marcusean Critique of Work and Play in the Video Game Industry." tripleC: Communication, Capitalism & Critique. Open Access Journal for a Global Sustainable Information Society 16, no. 2 (June 4, 2018): 757–71. http://dx.doi.org/10.31269/triplec.v16i2.930.
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Creativity is at the heart of the video game industry. Industry professionals, especially those producing blockbuster games for the triple-A market, speak fondly of their creative labour practices, flexible work schedules, and playful workplaces. However, a cursory glance at major triple-A franchises reveals the persistence of sequel game production and a homogeneity in genres and narratives. Herbert Marcuse’s critique of one-dimensionality may help to account for this discrepancy between the workers’ creative aspirations and the dominant homogeneity in game aesthetics. What I call ‘one-dimensional creativity’ defines the essence of triple-A game production. In the name of extolling the pleasure principle at work, one-dimensional creativity eliminates the reality principle, but only superficially. One-dimensional creativity gives game developers the opportunity to express themselves, but it is still framed by a particular technological rationality that prioritises profits over experimental art. One-dimensional creativity negates potential forms of creativity that might emerge outside the industry’s hit-driven logics. Conceptually, ‘one-dimensional creativity’ renders visible the instrumentalisation of play and the conservative design principles of triple-A game production – a production that is heavily structured with technological performance, better graphics, interactivity, and speed. Multi-dimensional video game production and aesthetics, the opposite of one-dimensional creativity, is emerging from the DIY game production scene, which is more invested in game narratives and aesthetics outside the dominant logics of one-dimensionality in triple-A game production.
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Miner, Joshua D. "Biased Render." Screen Bodies 4, no. 1 (June 1, 2019): 48–71. http://dx.doi.org/10.3167/screen.2019.040105.
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This article explores the digitality of Indigenous bodies within contemporary 3D video games by mainstream and Indigenous developers. Its analysis relies on a critical examination of digital image synthesis via real-time graphics rendering, which algorithmically generates the visible world onscreen from 3D geometries by mapping textures, generating light and shadow, and simulating perceptual phenomena. At a time when physically based, unbiased rendering methods have made photorealistic styles and open-world structures common across AAA games in general, Indigenous game designers have instead employed simplified “low res” styles. Using bias as an interpretive model, this article unpacks how these designers critique mainstream rendering as a cultural-computational practice whose processes are encoded with cultural biases that frame the relation of player and screen body (avatar). The algorithmic production of digitally modeled bodies, as an essential but masked element of video games, offers a territory where Indigenous developers claim aesthetic presence in the medium.
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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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Instr. Angham T. Saleh J. "Using Wordscapes Game as a Tool to Develop EFL Learners’ Vocabulary Repertoire." journal of the college of basic education 25, no. 105 (December 1, 2019): 129–47. http://dx.doi.org/10.35950/cbej.v25i105.4793.
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The most vital part of our lives nowadays is technology. It has changed our lives in many ways. It makes life well-situated for us. At the present time, young people are more expected to be seen playing video games. Some assume that movies, TV, and video games are a bad influence on kids, and they hold responsible on these media for causing different problems. Supposed negative effects such as addiction, increased aggression, and various health consequences such as obesity and repetitive strain injuries tend to get far more media coverage than the positives. While there are some negatives on playing video games, there’s no denying that they stop us from getting outside. There are also some benefits. Surprisingly, playing video games can help our physical, mental, and emotional health. A growing number of researchers believed that if used in the right way, video and computer games have the potential to inspire learning. And they can help players improve organization and visual skills.
Thus, when learning is channeled into an enjoyable game, they are very often willing to invest considerable time and effort in playing it. Moreover, in view of diverse learning styles and preferences the students display, benefits from games seem to cater for everyone as learners find playing activities much richer language studying work than doing other kinds of practice. If games are properly designed, they may become an excellent and essential part of a learners’ learning programme. On the other hand, it is noteworthy that games like any other activity or tool can be overused when exploited too much so that the motivating element disappears rapidly.
ABSTRACT
Playing games such as puzzle games, word search, crosswords, mix and matching, scrabble, etc. are brain motivating problems that test one’s creativity. These games increase brain power which makes them a proper choice for use in educational purposes besides just providing mere entertainment. They educate, improve your intelligence proportion, improve your cognitive ability, improve your concentration, develop motor skills, improve your problem solving skills, improve productivity and can improve your social skills.
The most preferred game at the moment is the game developed by People Fun! named “WordScapes”. The game starts with easy puzzles and becomes challenging. There are over 800 puzzles in this game which is really astonishing. Despite the fact that, the developers call it up-to-the-minute word game, it’s quite regular word games. In addition, not too much only one of its kind like Alpha Swipe or Under a Spell. But, it’s really pleasurable and one of the most addicting word puzzle game.
In addition to the distraction significance of games, they have great didactic latent. Games exclusively intended to deal with a specific problem such as developing learners’ vocabulary repertoire or teach a specific skill have been very successful, in particular because they are motivating, engaging, interactive, and provide rewards and strengthening to improve.