Relevant bibliographies by topics / Video game/s

Contents

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

Academic literature on the topic 'Video game/s'

Author: Grafiati
Published: 4 June 2021
Last updated: 13 February 2022

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Journal articles on the topic "Video game/s"

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Cler, Gabriel J., Talia Mittelman, Maia N. Braden, Geralyn Harvey Woodnorth, and Cara E. Stepp. "Video Game Rehabilitation of Velopharyngeal Dysfunction: A Case Series." Journal of Speech, Language, and Hearing Research 60, no. 6S (June 22, 2017): 1800–1809. http://dx.doi.org/10.1044/2017_jslhr-s-16-0231.

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Purpose Video games provide a promising platform for rehabilitation of speech disorders. Although video games have been used to train speech perception in foreign language learners and have been proposed for aural rehabilitation, their use in speech therapy has been limited thus far. We present feasibility results from at-home use in a case series of children with velopharyngeal dysfunction (VPD) using an interactive video game that provided real-time biofeedback to facilitate appropriate nasalization. Method Five participants were recruited across a range of ages, VPD severities, and VPD etiologies. Participants completed multiple weeks of individual game play with a video game that provides feedback on nasalization measured via nasal accelerometry. Nasalization was assessed before and after training by using nasometry, aerodynamic measures, and expert perceptual judgments. Results Four participants used the game at home or school, with the remaining participant unwilling to have the nasal accelerometer secured to his nasal skin, perhaps due to his young age. The remaining participants showed a tendency toward decreased nasalization after training, particularly for the words explicitly trained in the video game. Conclusion Results suggest that video game–based systems may provide a useful rehabilitation platform for providing real-time feedback of speech nasalization in VPD. Supplemental Material https://doi.org/10.23641/asha.5116828
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Abraham, Benjamin. "Video Game Visions of Climate Futures." Games and Culture 13, no. 1 (September 21, 2015): 71–91. http://dx.doi.org/10.1177/1555412015603844.

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This article discusses ARMA 3 (2013), a military simulation game from Bohemia Interactive. Through the prominent placement of visual representations of renewable power generation the game offers a compelling vision of the future in which current resistance to low-carbon and renewable economies have been overcome. I argue that the potential of this vision to challenge cultural futures and imaginaries is dependent on its presentation aesthetically and not, as is often suggested, on game mechanics operating in a “persuasive” mode. Instead, I argue that ARMA 3’s aesthetic vision can skirt around the ideological resistances players may have against accepting more didactic modes of engagement with the highly charged and ideologically contested reality of anthropogenic climate change. In this way, I suggest ARMA 3 offers a compelling challenge to current theories about games ability to persuade or influence players.
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Ortiz, Luz, Héctor Tillerias, Christian Chimbo, and Veronica Toaza. "Impact on the video game industry during the COVID-19 pandemic." Athenea 1, no. 1 (September 25, 2020): 5–13. http://dx.doi.org/10.47460/athenea.v1i1.1.

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This work presents trends and comparisons that show a change in the consumption and production of video games in times of confinement due to the health emergency. The video game industry has modified its philosophy and adapted its products to the new requirements and trends of consumers who see in this activity a way to appease the psychological and social impact due to quarantine and isolation. There is evidence of a 65% increase in the use of online video games, which has broken a world record. Products that have new aspects and considerations never before proposed by this great industry have been developed and offered, such as thematic games related to the COVID-19 pandemic. Keywords: Video game, pandemic, online games, confinement. References [1]M. Olff, Screening for consequences of trauma–an update on the global collaboration on traumatic stress.European Journal of Psychotraumatology, 2020. [2]Z. Li, China’s Digital Content Publishing Industry: The 2019 Annual Report on Investment Insights and Market Trends. Publishing Research Quarterly, 2020. [3]R. Agis, An event-driven behavior trees extension to facilitate non-player multi-agent coordination in video games, Expert Systems with Applications, 2020. [4]O. Wulansari, Video games and their correlation to empathy: How to teach and experience empathic emotion. Advances in Intelligent Systems and Computing, 2020. [5]C. Bachen, Simulating real lives: Promoting Global Empathy and Interest in Learning Through SimulationGames. Sage Journal, 2012. [6]S. Fowler, Intercultural simulation games: A review (of the united states and beyond). Sage Journals, 2010. [7]G. Chursin, Learning game development with Unity3D engine and Arduino microcontroller. Journal ofPhysics: Conference Series, 2019. [8]K. Hewett, The Acquisition of 21st-Century Skills Through Video Games: Minecraft Design Process Modelsand Their Web of Class Roles. Sage Journal, 2020. [9]R. Bayeck, Exploring video games and learning in South Africa: An integrative review. Educational TechnologyResearch and Development, 2020. [10]K. Hewett, The 21st-Century Classroom Gamer. Games and Culture, 2021.
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Trépanier-Jobin, Gabrielle. "Toward a Foucauldian Genealogy of Video Game (Pre)history." International Public History 4, no. 1 (June 1, 2021): 25–34. http://dx.doi.org/10.1515/iph-2021-2022.

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Abstract This paper highlights the distortive nature of narrative models that are often employed in video game historiographies to produce captivating tales. More precisely, it argues against: the search for video games’ origin(s); the “chronological-teleological” model based on linear progressions; the “chronological-organic” narrative revolving around a biological-like evolution; the “epistemic breaks” structure based on radical transformations; the “bi-polar” model involving a dialectic of oppositions; and the “cyclical” narrative revolving around postmodern tropes of return, recycling, and retrofitting. In addition to explaining why the uncritical use of these emplotment techniques is problematic, this paper argues in favor of a Foucault-inspired genealogical approach which avoids the quest for the media’s origin(s) and articulates video game history around coexistence, overlaps, interferences, synergies, networks of influences, and discontinuities. This genealogical method also restores the missing inventors, devices, and games in historical records while highlighting the power relations that led to their omission in the first place.
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Sax, Marijn, and Jef Ausloos. "Getting under your skin(s): a legal-ethical exploration of Fortnite's transformation into a content delivery platform and its manipulative potential*." Interactive Entertainment Law Review 4, no. 1 (August 2021): 3–26. http://dx.doi.org/10.4337/2021.0001.

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This article investigates the ethical and legal implications of increasingly manipulative practices in the gaming industry by looking at one of the currently most popular and profitable video games in the world. Fortnite has morphed from an online game into a quasi-social network and an important cultural reference point in the lifeworld of many (young) people. The game is also emblematic of the freemium business model, with strong incentives to design the game in a manner which maximizes microtransactions. This article suggests that to properly understand Fortnite's practices – which we predict will become more widely adopted in the video game industry in the near future – we need an additional perspective. Fortnite is not only designed for hyper-engagement; its search for continued growth and sustained relevance is driving its transformation from being a mere video game into a content delivery platform. This means that third parties can offer non game-related services to players within Fortnite's immersive game experience. In this paper, we draw on an ethical theory of manipulation (which defines manipulation as an ethically problematic influence on a person's behaviour) to explore whether the gaming experience offered by Fortnite harbours manipulative potential. To legally address the manipulative potential of commercial video game practices such as the ones found in Fortnite, we turn to European data protection and consumer protection law. More specifically, we explore how the European Union's General Data Protection Regulation and Unfair Commercial Practices Directive can provide regulators with tools to address Fortnite's manipulative potential and to make Fortnite (more) forthright.
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Wajid, Abdul, Nasir Kamal, Muhammad Sharjeel, Raaez Muhammad Sheikh, Huzaifah Bin Wasim, Muhammad Hashir Ali, Wajahat Hussain, Syed Taha Ali, and Latif Anjum. "A First Look at Private Communications in Video Games using Visual Features." Proceedings on Privacy Enhancing Technologies 2021, no. 3 (April 27, 2021): 433–52. http://dx.doi.org/10.2478/popets-2021-0055.

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Abstract Internet privacy is threatened by expanding use of automated mass surveillance and censorship techniques. In this paper, we investigate the feasibility of using video games and virtual environments to evade automated detection, namely by manipulating elements in the game environment to compose and share text with other users. This technique exploits the fact that text spotting in the wild is a challenging problem in computer vision. To test our hypothesis, we compile a novel dataset of text generated in popular video games and analyze it using state-of-the-art text spotting tools. Detection rates are negligible in most cases. Retraining these classifiers specifically for game environments leads to dramatic improvements in some cases (ranging from 6% to 65% in most instances) but overall effectiveness is limited: the costs and benefits of retraining vary significantly for different games, this strategy does not generalize, and, interestingly, users can still evade detection using novel configurations and arbitrary-shaped text. Communicating in this way yields very low bitrates (0.3-1.1 bits/s) which is suited for very short messages, and applications such as microblogging and bootstrapping off-game communications (dialing). This technique does not require technical sophistication and runs easily on existing games infrastructure without modification. We also discuss potential strategies to address efficiency, bandwidth, and security constraints of video game environments. To the best of our knowledge, this is the first such exploration of video games and virtual environments from a computer vision perspective.
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Pallavicini, Federica, Alessandro Pepe, and Fabrizia Mantovani. "Commercial Off-The-Shelf Video Games for Reducing Stress and Anxiety: Systematic Review." JMIR Mental Health 8, no. 8 (August 16, 2021): e28150. http://dx.doi.org/10.2196/28150.

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Background Using commercial off-the-shelf video games rather than custom-made computer games could have several advantages for reducing stress and anxiety, including their low cost, advanced graphics, and the possibility to reach millions of individuals worldwide. However, it is important to emphasize that not all commercial video games are equal, and their effects strongly depend on specific characteristics of the games. Objective The aim of this systematic review was to describe the literature on the use of commercial off-the-shelf video games for diminishing stress and anxiety, examining the research outcomes along with critical variables related to computer game characteristics (ie, genre, platform, time of play). Methods A systematic search of the literature was performed following the PRISMA (Preferred Reporting Items for Systematic Reviews and Meta-Analysis) guidelines. The search databases were PsycINFO, Web of Science, Medline, IEEExplore, and the Cochrane Library. The search string was: [(“video game*”) OR (“computer game*”)] AND [(“stress”) OR (“anxiety”) OR (“relaxation”)] AND [(“study”) OR (“trial”) OR (“training”)]. Results A total of 28 studies met the inclusion criteria for the publication period 2006-2021. The findings demonstrate the benefit of commercial off-the-shelf video games for reducing stress in children, adults, and older adults. The majority of the retrieved studies recruited young adults, and fewer studies have involved children, middle-aged adults, and older adults. In addition to exergames and casual video games, other genres of commercial off-the-shelf games helped to reduce stress and anxiety. Conclusions Efficacy in reducing stress and anxiety has been demonstrated not only for exergames and casual video games but also for other genres such as action games, action-adventure games, and augmented reality games. Various gaming platforms, including consoles, PCs, smartphones, mobile consoles, and virtual reality systems, have been used with positive results. Finally, even single and short sessions of play had benefits in reducing stress and anxiety. Trial Registration International Platform of Registered Systematic Review and Meta-analysis Protocols INPLASY202130081; https://inplasy.com/?s=INPLASY202130081
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Сапицька, О. М. "The role of video games in obtaining and disseminating historical knowledge." ВІСНИК СХІДНОУКРАЇНСЬКОГО НАЦІОНАЛЬНОГО УНІВЕРСИТЕТУ імені Володимира Даля, no. 3(259) (February 18, 2020): 62–70. http://dx.doi.org/10.33216/1998-7927-2020-259-3-62-70.

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The formation of the historical background in video games is provided by spatial narratives. In recent years, they are more and more amenable to adjustments in the direction of maximally exact correspondence to socio-economic, political, cultural, domestic, geographical, climatic and so on elements of the localized on the scenario of the game`s chronotop. This may indicate another qualitative transformation of video games as a socio-technical and socio-cultural phenomenon, as well as about the positive cultural and intellectual dynamics of the modern “consumer society”. Computer video games, as part of the digital, educational and entertainment industry as a whole, are in a state of constant high-speed dynamic transformation in the context of global digitalization of all aspects of society and a lot of competition in the field of video games in particular. Based on the analytics of the results of direct surveys, statistical and factual data, in article an attempt was made to assess the use of video games as a non-formal education tool for relaying and consolidating historical knowledge for different age and social groups of game products consumers, as well as the appropriateness of their use in the classical educational system at different levels. Computer video games with the most accurate historical content as well as “alternative” historical content can become highly effective additional pedagogical tools for acquiring basic and in-depth knowledge of history both for self-education and in academic institutions. As part of the study of academic history, whole historical digital laboratories can be created that study both the multivariance of history and bring “alternative realities” into the linear real history of the development of human civilization. The success of using video games with historical content for the needs of academic history is high only if the teacher understands not only historical but also technical terms, knows the features of developmental psychology, knows the scenario and features of the video game proposed for modeling, and can develop their own teaching methods based on an interdisciplinary approach.
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Kelshaw, P. M., A. E. Lincoln, L. H. Hepburn, D. C. Herman, H. K. Vincent, N. Cortes, and S. V. Caswell. "The Effect of Protective Headgear on Frequency and Magnitude of Impacts in Girls’ High School Varsity Lacrosse." Archives of Clinical Neuropsychology 34, no. 5 (July 2019): 742. http://dx.doi.org/10.1093/arclin/acz026.12.

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Abstract Purpose In an effort to reduce head and facial injuries in girls’ lacrosse, ASTM F3137-approved headgear for girls’ lacrosse was developed. However, the effect of wearing headgear on impacts during girls’ lacrosse game play is unknown. This study aimed to evaluate differences in impact rates and magnitudes across two conditions (No Headgear, and Headgear) during girls’ lacrosse games. Methods Thirty-five female participants (16.2±1.2years, 1.66±0.05m, 61.2±6.4kg) volunteered for this study during 18 games in the 2016 (No Headgear), and 15 games in the 2017 (Headgear) lacrosse seasons. All participants were instrumented with wearable sensors (X2 Biosystems) prior to each game paired with video verification. Results There were a total of 700 sensor-instrumented player-games. A total of 204 impacts ≥ 20g recorded by the wearable sensors were verified using video analysis (102 No Headgear; 102 Headgear). Impact rates did not vary between the No Headgear and Headgear conditions (0.27 vs 0.31 AEs/per team game, IRR=0.87, 95% CI=0.66, 1.14). The No Headgear condition experienced higher magnitudes (median peak linear acceleration (PLA)=26.9g and peak rotational velocity (PRV)=1578.6 deg/s) than the Headgear conditions (median PLA=24.7g; Z= –2.6, P<. 0.01 and PRV=1304.2 deg/s; Z = –2.6, P<. 0.01). No game-related concussions were reported during this two-year study. Conclusion There were no meaningful differences between impact rates and only slight differences in impact magnitudes in the No Headgear and Headgear groups. Further research should be conducted with a larger sample and different levels of play to evaluate the consequences of ASTM F3137-approved headgear on impacts, injury risk, and game play.
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Shelstad, William J., Barbara S. Chaparro, and Joseph R. Keebler. "Assessing the User Experience of Video Games: Relationships Between Three Scales." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 63, no. 1 (November 2019): 1488–92. http://dx.doi.org/10.1177/1071181319631300.

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With so many video games being released, there is strong competition among developers to create the most successful games. Questionnaires are one tool that can be used to measure aspects of a video game like perceived flow, presence, engagement, and controls. The current study investigated the relationship between several user experience scales and their subscales: UEQ-S, GUESS-24, and the ENJOY for six popular video games. Participants were recruited through Amazon Mechanical Turk (MTurk) and a university online research pool. Scale reliability analysis was conducted to ensure for internal consistency of the scales with Cronbach’s α. The relationships between the scales and subscales were analyzed using Pearson’s product correlations. Overall, the analysis showed a number of significant correlations between the UEQ-S, GUESS-24, and ENJOY. Evidence of uniqueness with each scale was also shown. Recommendations on which scale to use are discussed.
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Dissertations / Theses on the topic "Video game/s"

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Habbari, Samia, Arreola Alfredo Hidalgo, and Petrova Antoniya Georgieva. "Business Dynamics and Innovation in the Home Video Game Industry." Thesis, Jönköping University, JIBS, EMM (Entrepreneurship, Marketing, Management), 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-12836.

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The purpose of this thesis is to present and analyze the innovations in the home video game industry and their impact on the competitive strategies of the companies in the indus-try. The existing literature about business cycles and business dynamics is scarce from busi-ness administrative perspective. This thesis contributes to fill the gap in the academic literature. The choice of the home video game industry has been done, due to its fast growing economic nature and the rapid changes that can be noticed, especially for the last decade. A qualitative research method with secondary qualitative and quantitative data and primary qualitative data through interviews has been used for this thesis. The home video game industry is highly driven by technological product innovations. Incremental innovations do not affect in a significant way the dynamics within the industry. Radical innovations create a competitive advantage through differentiation and they increase market share for the company which followed this strategy. Disruptive innovations open new markets, change the business environment for every firm and generate a shift in consumer preferences. Hence, the company which implements a disruptive innovation gains extensive market share. Innovations are possible due to the strategic orientation a company aims to pursue. If a company pursues a high market orientation and a low inno-vation orientation it manufactures an upgraded product to keep customers satisfied. When the firm pursues a high market and innovation orientation, the final product includes cha-racteristics that the customers desire. While at the same time the product created offers services and features hard to be matched by the competition. Finally, if a firm pursues a high innovation orientation and a low market orientation strategy, it creates an easier and more convenient alternative on the existing products while being cheaper. At the same time this strategic orientation disregards the established customers' desires.The purpose of this thesis is to present and analyze the innovations in the home video game industry and their impact on the competitive strategies of the companies in the indus-try. The existing literature about business cycles and business dynamics is scarce from busi-ness administrative perspective. This thesis contributes to fill the gap in the academic litera-ture. The choice of the home video game industry has been done, due to its fast growing economic nature and the rapid changes that can be noticed, especially for the last decade. A qualitative research method with secondary qualitative and quantitative data and primary qualitative data through interviews has been used for this thesis.The home video game industry is highly driven by technological product innovations. Incremental innovations do not affect in a significant way the dynamics within the industry. Radical innovations create a competitive advantage through differentiation and they increase market share for the company which followed this strategy. Disruptive innovations open new markets, change the business environment for every firm and generate a shift in consumer preferences. Hence, the company which implements a disruptive innovation gains extensive market share. Innovations are possible due to the strategic orientation a company aims to pursue. If a company pursues a high market orientation and a low inno-vation orientation it manufactures an upgraded product to keep customers satisfied. When the firm pursues a high market and innovation orientation, the final product includes cha-racteristics that the customers desire. While at the same time the product created offers services and features hard to be matched by the competition. Finally, if a firm pursues a high innovation orientation and a low market orientation strategy, it creates an easier and more convenient alternative on the existing products while being cheaper. At the same time this strategic orientation disregards the established customers' desires.

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Smith, Nathan J. "Does Video Game Content Matter? An Examination of Two Competing Ideas." BYU ScholarsArchive, 2015. https://scholarsarchive.byu.edu/etd/6026.

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The current paper addresses the associations between video game content (i.e., physically aggressive, relationally aggressive, and prosocial) and physical aggression, relational aggression, and prosocial behavior in two distinct developmental periods. The purpose of the paper is to test whether playing video games with a particular type of content influences behaviors over time, or whether individuals who have higher levels of physical aggression, relational aggression, or prosocial behavior prefer to play games with similar content. Two theories will be simultaneously examined and tested in order to determine the relative merit in using each in research examining the relationships between video game content and positive and negative behaviors. More specifically, this paper will address the General Aggression Model/General Learning Model (GAM/GLM) and the Uses and Gratification Theory. The GAM/GLM, at their core, predict that exposure to video game content will build a cognitive schema which will guide how an individual should behave when confronted with a later social encounter (Anderson & Bushman, 2002). Contrarily, Uses and Gratification would suggest that a person chooses to play video games with a particular type of content, and that video games should not influence behavior. Specifically, according to the theory, individuals should seek out video games in order to fulfill their inward feelings and motivations (e.g., an individual with aggressive tendencies would play games with more violent and aggressive content) (Katz, Blumler, & Gurevitch, 1973; Whiting & Williams, 2013). A careful analysis showed a significant relationship between each type of video game content and its' corresponding behavior among adolescents, which supports the assumptions of the GAM and GLM. There was no relationship between video game content and behavior among preschoolers. With the exception of relational aggression of physically aggressive content, there was no support for Uses and Gratification Theory, in that preschoolers' and adolescents' levels of physical aggression, relational aggression, and prosocial behavior were not related to the preference for video games with different types of content. The analysis adds significantly to the current literature by showing a relationship between video game content and behavior over a four year period.
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Norman, Fredrik. "“A peaceful world is a boring world” : a study in narrative structure and mythological elements in Squaresoft‟s Chrono Trigger." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-8534.

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The focuses of this paper are narrative structures and mythological elements in the video game Chrono Trigger. A qualitative method was used to code the game world's seven eras into themes of symbolism, quest-themes, and, characters. These themes were compared with Northrop Frye's archetypal myth theory from Anatomy of Criticism. The results show that each age relates to a season and moves due to the player's influence according to a cyclical pattern. Six out of seven epochs show high correlation to Frye's archetypal model whereas options such as to discard the main hero illustrates the player's control. The seventh era pictures a more female symbolism than the male dominant template proposed by Frye. A hypothesis is presented with the concept of a fluent surface which argues that the player manipulates the basic story to build a personal narrative. Furthermore, the hypothesis emphasizes that the specific game mechanics stimulates the player's sensitivity to the narrative elements when constructing an individual ideal story.
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Bello, Robson Scarassati. "O videogame como representação histórica: narrativa, espaço e jogabilidade, em Assassin\'s Creed (2007-2015)." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-19122016-103439/.

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O objetivo deste trabalho é investigar as relações entre a representação da História e os jogos eletrônicos (Videogames) através da análise dos jogos da série, produzidos entre 2007 e 2015, Assassins Creed. A série representou múltiplos tempos históricos em narrativas, jogabilidades e espaços virtuais que reconstituíram cenários do passado para exploração e interação de um jogador que controla o avatar de um Assassino. Nossa investigação pretende compreender este produto, ainda pouco estudado nas ciências humanas, em sua especificidade, estabelecendo sua posição dentro da Indústria Cultural em seus suportes materiais e distintos gêneros e em relação a outros jogos. Utilizamos um dos episódios em específico, Assassins Creed III (2012), para nos aprofundarmos sobre o desenvolvimento da narrativa de acontecimentos, a elaboração do espaço, a interatividade proposta, para então compreender como as várias temporalidades são sistematizadas em uma estrutura narrativa e lúdica no conjunto da série, que expressa uma determinada visão sobre o multiculturalismo e a História.
The goal of this work is to investigate relations between the representation of History and electronic games (Videogames) by analyzing the game series Assassins Creed (between 2007 and 2015), which has representations of multiple historic times in narratives, gameplays and virtual spaces that reconstitute sceneries of the past for a player to explore and interact controlling the character of an Assassin. Our investigation intends to understand this product, which has been very little studied in the Humanities, within its specificity, and to pinpoint its position within the Culture Industry with its material supports and many genres as well as in relation to other games. One specific episode of the game, Assassins Creed III (2012), has been used for in-depth analysis of the narrative development of events, the creation of space and the proposed interactivity, so as to understand how the many temporalities are systemized in a ludic and narrative structure throughout the whole series, which expresses a specific view on multiculturalism and History itself.
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Almén, Peter, Iman Hazheer, and Sandra Schöld. "”Känsliga tittare varnas” : En uppsats om medier, makt och moralpanik." Thesis, University of Kalmar, School of Communication and Design, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hik:diva-2775.

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Sweden. 1980. The term ‘video violence’ becomes public through the debates show Studio S. The show urges and obligates politicians to stop, regulate and ban video films with violent content from the market. 29 years later, the debates show Debatt raises concerns regarding a similar topic, ‘video game violence’. Both shows were produced and aired by the Public Service channels of Sveriges Television in Sweden.

The purpose of this thesis was to study and examine if the media encourages and nourishes moral panics to the general public through debates shows. How does the host/journalist interact to steer the debate to the media agenda and how has the power structure changed in the debate genre over the years? Do the media nurture the root of moral panics?

We based the study on a qualitative content analysis. We analyzed one episode from each of the two debate shows Studio S and Debatt. The method of analysis we used was discourse analysis with emphasis on relations and power structures. We also analyzed the episodes by using Goode and Ben-Yehudas five criteria’s for creating moral panic.

The study shows that both debates shows fail to mention the problem in a larger societal context. They tend to only portray a scapegoat. Furthermore, they often show one-sided and violent sequences from the cultural phenomena. They use discourses to maintain the firm power in the debates to fulfill their pre-constructed bias agenda. We’ve also observed that it has become much more difficult for a moral panic to gain momentum compared with 1980, because of the medias decentralization.

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BRANDÃO, ROBERTA PURPER. "PLAYING BEYOND: THE INTERPLAY BETWEEN THE MAGIC OF VIDEO GAMES AND THE PLAYER S CREATIVE PLAY." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2012. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=27844@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE DOUTORADO SANDUÍCHE NO EXTERIOR
PROGRAMA DE DOUTORADO NO PAÍS COM ESTÁGIO NO EXTERIOR
Como no passado, as crianças e os jovens de hoje gostam de jogar e brincar, mas indo além das formas tradicionais, as gerações contemporâneas também jogam e brincam de novas maneiras, já que a invenção do computador e a propagação da conexão em rede difundiram não só a tecnologia digital, como o que pode ser considerado o jogo ou brinquedo mais complexo inventado até hoje: o jogo eletrônico. No entanto, em contraste ao consagrado sucesso comercial da indústria de jogos eletrônicos, ainda estamos buscando estabelecer uma linguagem unificada e um vocabulário capaz de descrever a experiência do jogador. O objetivo geral do trabalho foi realizar um estudo psicológico – apoiando-se nos resultados de uma pesquisa de campo qualitativa sobre a experiência de 10 jovens cariocas nos jogos multiplayer – para compreender o que está em jogo quando o jogador vai além das estratégias planejadas pelo designer, descobre táticas e ocorre um interjogo entre jogo e jogador. Objetivamente, o trabalho fornece uma conceituação psicológica sobre o ato de jogar e brincar, capaz de descrever a experiência nos jogos multiplayer, apoiada em diversos eixos conceituais gerados a partir das categorias de análise das entrevistas. A proposta é subsidiar caminhos para futuras diretrizes de design, e nortear a análise e o desenvolvimento de projetos que abram espaços para o interjogo entre a mágica proporcionada pelo jogo eletrônico e o brincar criativo do jogador.
As always, new generations find enjoyment and fun through play. In addition to playing with traditional games and toys, however, today we can also create and discover new and unique experiences through play. The popularized spread of computers, digital networks, and distributed technology has invented the most complex game or toy yet: the video game. Yet for all the acclaimed commercial success of the video game industry, we are still searching for a unified language and vocabulary capable of describing these new player experiences. This dissertation presents a psychological study – based on the results of a qualitative field research with 10 young participants of multiplayer games in Rio de Janeiro, Brazil – of what is at play when the player goes beyond game strategies and discovers individual tactics. The study presents a psychological framework of the interplay between player and gameplay built upon several conceptual axes, which emerged from the categories of research analysis. The objective purpose of the psychological study was to support the future development of game design guidelines, and provide a framework for the research, production, and description of experiences that foster interplay between the magic of video games and the player s creative play.
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Věčorek, David. "Mobilní aplikace s predikcemi výsledků e-Sports utkání." Master's thesis, Vysoké učení technické v Brně. Fakulta informačních technologií, 2016. http://www.nusl.cz/ntk/nusl-255452.

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E-Sports, also known as progaming (professional gaming) has grown a lot in the last few years. Professional gamers are regularly attending tournaments watched by hundreds of thousands of fans and with prize pools of millions of dollars. There are many video broadcasts of those events and recently betting on e-Sports has also become available. The main goal of this thesis was to create a mobile app for OS Android, which aims to utilize this growth and create a service of providing predictions of results of the e-Sports matches, similar to that existing in regular sports. The application in its current form receives the predictions via Google Cloud Messaging service and shows an Android notification on their arrival. The predictions are then stored on the device into SQLite database so they are available for further view and filtering. After the matches are finished, their results are shown in comparison to the predictions and balance of the predictions is calculated. Users can display information about their subscriptions and predictions under that subscriptions. The app was created in Android Studio IDE with appearance based on the material design guidelines. The app was tested on several devices of different brand and Android version, then it was placed on Google Play for open beta testing. In the future the app will be offered to the users of the service of providing predictions of results of the e-Sports matches.
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Huang, Kuo-Wei, and 黃國偉. "Discussion on Taiwan''s video game entertainment industry." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/rctuqd.

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碩士
國立中山大學
財務管理學系研究所
107
Enterprises pursue sustainable development, and now face social, environmental and economic challenges, consumer behavior is constantly changing, and how companies respond and manage becomes an important issue. If enterprises want to continue to operate and last for a long time, they need to continuously invest in resource development. R&D and innovation will keep the company from being replaced by the trend of the times. In recent years, Taiwan''s high-tech industry is facing ups and downs, network connections have developed to 5G networks, but many traditional information electronics industries are facing digital shocks. However, through a series of financial and business strategies to transform into video game concept stocks, companies can continue to persevere. Operating. This paper collects and organizes the case company data and summarizes the development of the electronic industry strategy. The content of this research explores the origin of the game, the development of the game, the current situation of the e-sports industry, and the legal system management. It reflects the current strategy, management and management of the enterprise, and enhances the value of the enterprise through industrial transformation and financial analysis.
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Cheng, Li-hua, and 鄭麗華. "The Research and Creation of 3D Video Game of Zheng Chenggong''s Legend." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/17251918215554416705.

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碩士
國立屏東教育大學
視覺藝術學系
100
Using games to combine different cultural , not only al low student more focus on study, but create many unbelievable works, it also can bring more intension and experience to people. Now Taiwan’s 3D video game player is influence by foreign culture, we gradually forget how beautiful our culture is. This has already critical effect Taiwan’s cultural . Taiwan’s game design is fall behind in this few years; there is no new idea in our game. We didn’t create better story, art , style or the way to control the game. As result , to study other countries 3D video games, to more understand how they develop their game, and how the game become famous, hope that Taiwan can learn for their merit and improve our defect , to make Taiwan’s 3D video game can be more marketability. 　　This research has collected some related document and analyzed. To confer other countries 3D game develop and to learn how to improve. Analyze different countries cultural story, to know the possibility and creative to combine different cultural to game; analyze their style, to better know the different between our video games and theirs. The author purpose to create a cultural game, to confer Taiwan’s popular legend and choose some historic, legend and mythology to create a game about Zheng Chenggong''s legend. 　　The creativity between Taiwan’s cultural games is insufficient than other countries , the author collected and imerged some personal opinion. To know if want to use Taiwan’s cultural to create a game, we need to create more on the game art , it will be very originality and to show our culture to public. In the future, by combining culture and art will become more diversified. Taiwan still have many culture resources which can use to create better games . Zheng Chenggong and many legend stories can be used to create feature games; author is based on Zheng Chenggong and Taiwan legend stories bring an intent ion for Taiwan’s cultural games.
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Lavier, Quentin. "Jeu vidéo et mort(s) : analyse de l’imaginaire de la mort dans le jeu vidéo." Thesis, 2019. http://hdl.handle.net/1866/24163.

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Dans notre société où la mort est taboue, où le deuil doit être vécu en cachette et le sujet évité dans les sphères publiques, deux sphères ont cependant le loisir de l’aborder de manière attendue : la religion et l’art. L’art qui a retenu mon attention est le jeu vidéo pour sa capacité à mettre le joueur au contrôle de sa mort. Chaque œuvre vidéoludique présente un univers différent et chacune traitera différemment le joueur lorsqu’il échoue à une tâche. En m’intéressant à ces punitions et aux morts numériques qui en découlent, je traite de l’imaginaire mythique auquel est confronté le joueur en jouant à des jeux vidéo. Ce mémoire se découpe en quatre chapitres. Le premier chapitre pose les thématiques et les concepts opératoires de la recherche. Une première section porte sur le jeu, puis plus spécifiquement sur le jeu vidéo. Une fois les définitions posées, je me suis intéressé à la possibilité du jeu à influencer le joueur. Dans une deuxième section, j’aborde la mort ainsi que les discours sur celle-ci (eschatologiques) et je commence à l’associer avec le jeu vidéo. Dans le deuxième chapitre, j’aborde la problématique, à savoir que si la plupart des arts présentent une mort définitive, le joueur ne peut mourir dans le jeu vidéo. Cette problématique s’articule autour de la notion de l’évolution et de l’atteinte de l’immortalité. Le troisième chapitre présente mon cadre théorique et ma méthodologie. J’explique la formation de mon corpus de jeux vidéo et j’explique comment il a été analysé. Le jeu vidéo est appréhendé comme un récit mythique capable de nous informer sur les mystères de la mort. Dans ce contexte, j’utilise la mythanalyse développée par Gilbert Durand pour déterminer dans chacun des jeux le rapport entre le joueur et la mort. Le dernier chapitre présente mes résultats en regroupant les jeux par types. Je présente le rapport entre le joueur et la mort dans chacun des types ainsi que dans les jeux présentant un rapport unique à la mort.
In our society where death is a taboo, where mourning must be lived in secret and the topic avoided in public spheres, two spheres have the leisure to approach it without difficulty: religion and art. The art that caught my attention is the video game for its ability to put the player in control of his death. Each video game presents a different universe, and each will treat the player differently when he fails a task. By taking an interest in these punishments and the digital deaths that ensue, I examine the mythical imaginary that the gamer faces while playing video games. This thesis is divided into four chapters. The first chapter sets out the themes and concepts of my research. The first section deals with games, then more specifically with video games. I then address the ways by which the game can influence the player. In a second section, I discuss death and the discourses on it (eschatological) and I begin to associate it with video games. In the second chapter, I develop my problematic, namely that if most of the arts present a final death, the player cannot truly die in video games. This issue is woven around the notion of evolution and the attainment of immortality. The third chapter presents my theoretical framework and my methodology. I explain the formation of my video game corpus and explain how it was analyzed. The video game is understood as a mythical story capable of informing us about the mysteries of death. In this context, I use the mythanalysis developed by Gilbert Durand to determine in each game the relationship between the player and death. The last chapter presents my results by grouping the games by type. I present the relationship between player and death in each of the types, as well as in the games with a unique relationship to death.
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Books on the topic "Video game/s"

1

Ichbiah, Daniel. La saga des jeux vidéo. [Triel-sur-Seine]: Pix'n Love éditions, 2009.

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Inc, Game Counselor. Game Counselor's Answer Book for Nintendo Players. Redmond, USA: Microsoft Pr, 1991.

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Bell, Kyle W., and Angel Cortes. Game Freaks 365's Video Game Guide 2011. CreateSpace Independent Publishing Platform, 2011.

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Game Freaks 365's PS3 Review Guide. Smashwords, 2010.

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Game Freaks 365's Wii Review Guide. Smashwords, 2010.

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Game Freaks 365's PSP Review Guide. Smashwords, 2010.

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Game Freaks 365's Xbox 360 Review Guide. Smashwords, 2010.

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Game Freaks 365's Nintendo DS Review Guide. Smashwords, 2010.

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Gibbons, William. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190265250.003.0001.

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This introduction establishes the core concepts of the book, setting the stage for the chapters that follow. It describes the significance of replaying both in video games and in classical music and introduces the concept of replay value. The chapter offers some instances of classical music appearing in 1980s video games, such as the opening theme of the Toccata and Fugue in D Minor by J. S. Bach, which is used in a key moment in the game The Battle of Olympus. It then sketches an outline of the organization of the book, including a brief description of each of the later chapters.
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Borelli, Melissa Blanco, ed. The Oxford Handbook of Dance and the Popular Screen. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199897827.001.0001.

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This anthology offers contemporary perspectives on dance in the context of the popular screen. It analyzes the role played by the dancing body in popular culture and its multi-layered meanings in film, television, music videos, video games, commercials, and Internet sites such as YouTube. It explores how dance and choreography function within the filmic apparatus, and how the narrative, dancing bodies, and/or dance style set in motion multiple choreographies of identity such as race, gender, sexuality, class, and nation. It also considers the types of bodies that are associated with specific dances and their relation to power, access, and agency, as well as the role(s) of a specific film in the genealogy of Hollywood dance films. The book is divided into five sections that examine dance in films such asMoulin Rouge!, Dance Girl Dance, Dirty Dancing, and Save the Last Dance; the different aspects of commercial dance films in the context of identity politics, technology, commercialism, and the politics of moving bodies; how dance and its practice are constructed in films as a form of self-discovery and individual expression; the impact of music videos on popular dance and its dissemination; and how dance video games such as Dance Central influence concepts of choreography, embodiment, and dance pedagogy.
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Book chapters on the topic "Video game/s"

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Verständig, Dan, and Jens Holze. "It’s not just a game – Subversive Praktiken in digitalen Spielkulturen." In Phänomen Let´s Play-Video, 225–39. Wiesbaden: Springer Fachmedien Wiesbaden, 2016. http://dx.doi.org/10.1007/978-3-658-12936-1_16.

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Schemer-Reinhard, Timo. "Let’s Play without Controller. Zu den Effekten des Verschwindens der Steuerung im remediatisierten Game." In Phänomen Let´s Play-Video, 55–69. Wiesbaden: Springer Fachmedien Wiesbaden, 2016. http://dx.doi.org/10.1007/978-3-658-12936-1_5.

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Clayton, Aaron. "The Lion, the Witch, and the Wii: Lewis’s Theology in the Narnia Video Game." In C. S. Lewis, 126–41. London: Macmillan Education UK, 2012. http://dx.doi.org/10.1007/978-1-137-28497-6_8.

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Alberti, John. "The Game of Facebook and the End(s) of Writing Pedagogy." In Rhetoric/Composition/Play through Video Games, 9–23. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137307675_2.

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Olgado, Benedict Salazar. "Save Point/s: Competing Values and Practices in the Field of Video Game Preservation." In Information in Contemporary Society, 411–18. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-15742-5_39.

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Heuser, Svenja, Béatrice Arend, and Patrick Sunnen. "Reading Aloud in Human-Computer Interaction: How Spatial Distribution of Digital Text Units at an Interactive Tabletop Contributes to the Participants’ Shared Understanding." In Lecture Notes in Computer Science, 117–34. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-60117-1_9.

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Abstract This paper is concerned with how the spatial distribution of written informings in a serious game activity at an interactive tabletop (ITT) induces participants to read aloud interactionally relevant information to each other in the process of co-constructing a shared understanding. Engaging in an unfamiliar game activity, the participants are all equally dependent on written informings from the interface that serve as a game manual and provide crucial information for jointly achieving the game task(s). When it comes to making use of these written informings, we find the participants to read them aloud, making them accountable within the group. Our findings from multimodal video analysis of two reading-aloud cases suggest that the written informing’s directionality and distribution (here, either designed as ‘distributed’ or ‘shared’ among the interface) regulate the participants’ access to information. And that participants who cannot visually access the information they are interested in reading (aloud) co-organize fine-grained joint successive actions build on and actualized by read-aloud utterances. These joint actions allow them to align their orientation and share their understanding of game activity-relevant content.
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Toh, Weimin. "Gameplay II—Loop, Phase Types, and Stage(s)." In A Multimodal Approach to Video Games and the Player Experience, 204–23. New York : Routledge, 2017. | Series: Routledge studies in multimodality ; 26: Routledge, 2018. http://dx.doi.org/10.4324/9781351184779-11.

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Rockenberger, Annika. "Video Game Framings." In Advances in Human and Social Aspects of Technology, 252–86. IGI Global, 2014. http://dx.doi.org/10.4018/978-1-4666-6002-1.ch013.

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This chapter discusses the applicability of the concept of ‘paratext' (as coined by Gérard Genette) to audio-visual media in general and to video games in particular. In the first section, some potential elements of a video game's ‘paratext' are singled out by means of ‘auto-ethnographic' description of the introductory sequence(s) of the first-person shooter game BioShock Infinite. Several segments of the game's ‘threshold' are differentiated employing a rather tentative ad-hoc terminology. In the second section, Genette's definitional stipulations, posing the point of reference for everyone actually using the term ‘paratext,' are reconstructed, clarified and constructively criticized. Here, the author also discusses potential objections to Genette's definitional criteria and briefly touches upon some media-theoretical constraints of his approach. Ensuing from these meta-terminological considerations, the author turns to the questionable use of ‘paratext' in video game studies. As critical examination reveals, the terminology in this field of research is rather vaguely connected to, and sometimes even completely detached from, Genette's definition. As an objection to such redefinitions of the term, the chapter suggests (1) that its use be restricted to communicative signals meeting the following criteria only: (a) functionally subservient to (which obviously implies specifically referring to) ‘the game proper,' (b) authorized by entitled members of the game's production collective, (c) verbal, (d) (at least partly) extra-diegetic. Additionally, (2) the chapter proposes supplementing ‘paratext' as an analytical tool with the higher-order umbrella term ‘framings' (as coined by Werner Wolf).
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Rockenberger, Annika. "Video Game Framings." In Gamification, 49–82. IGI Global, 2015. http://dx.doi.org/10.4018/978-1-4666-8200-9.ch004.

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This chapter discusses the applicability of the concept of ‘paratext' (as coined by Gérard Genette) to audio-visual media in general and to video games in particular. In the first section, some potential elements of a video game's ‘paratext' are singled out by means of ‘auto-ethnographic' description of the introductory sequence(s) of the first-person shooter game BioShock Infinite. Several segments of the game's ‘threshold' are differentiated employing a rather tentative ad-hoc terminology. In the second section, Genette's definitional stipulations, posing the point of reference for everyone actually using the term ‘paratext,' are reconstructed, clarified and constructively criticized. Here, the author also discusses potential objections to Genette's definitional criteria and briefly touches upon some media-theoretical constraints of his approach. Ensuing from these meta-terminological considerations, the author turns to the questionable use of ‘paratext' in video game studies. As critical examination reveals, the terminology in this field of research is rather vaguely connected to, and sometimes even completely detached from, Genette's definition. As an objection to such redefinitions of the term, the chapter suggests (1) that its use be restricted to communicative signals meeting the following criteria only: (a) functionally subservient to (which obviously implies specifically referring to) ‘the game proper,' (b) authorized by entitled members of the game's production collective, (c) verbal, (d) (at least partly) extra-diegetic. Additionally, (2) the chapter proposes supplementing ‘paratext' as an analytical tool with the higher-order umbrella term ‘framings' (as coined by Werner Wolf).
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"Writing Tutorials, or Press Start. . . to Start (Andrew S. Walsh)." In Professional Techniques for Video Game Writing, 135–52. A K Peters/CRC Press, 2008. http://dx.doi.org/10.1201/b10640-14.

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Conference papers on the topic "Video game/s"

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Farhana, Mosarrat, and Daniel Swietlicki. "Digitalization as a Game-Changer: A Study on Swedish Video Game Industry." In The 2st Linnaeus Student Conference on Information Technology: Digital Transformation in the Contemporary World. Lnu Press, 2021. http://dx.doi.org/10.15626/lscit2020.01.

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The purpose of this study is to extend the understanding of the business model of video game retailers using online and physical stores. It focuses on the impact of digitalization on the retailing industry considering different actors like retailers and consumers. This is a qualitative multiple-case study based on deductive reasoning. Two cases of click-and-mortar retailers operating in the Swedish video game industry have been considered along with feedback from customers. Online personal interviews and semi-structured interviews have been conducted with retailers and customers respectively. Both primary and secondary data have been used. Findings show that video game retailers need to encourage engagement through incentives and other activities to create value and change up their formats and sales strategies through pricing to reach new customers and focus on design of their online store fronts to convey trustworthiness. It offers some insightful practical suggestions to retailers who are struggling hard to adopt digital transformations in the industry. Authors’ proposed research model, based on Sorescu et al. (2011)’s retail business model and the empirical findings, contributes in the less explored domain of research on business models from retailer’s perspectives. Moreover, it adds values in industry specific study like the video game industry in Sweden considering all actors, which is argued as scarce.
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Orekh, Ekaterina. "PARENTS� BELIEFS ABOUT CHILDREN�S VIDEO GAMES IN CONTEMPORARY RUSSIA: �FULLNESS OF LIFE� VERSUS �QUALITY OF LIFE�." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018/3.3/s12.063.

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Fullerton, Anne M., Thomas C. Fu, and Edward S. Ammeen. "Distribution of Wave Impact Forces From Breaking and Non-Breaking Waves." In ASME 2009 28th International Conference on Ocean, Offshore and Arctic Engineering. ASMEDC, 2009. http://dx.doi.org/10.1115/omae2009-79978.

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Impact loads from waves on vessels and coastal structures are highly complex and may involve wave breaking, making these changes difficult to estimate numerically or empirically. Results from previous experiments have shown a wide range of forces and pressures measured from breaking and non-breaking waves, with no clear trend between wave characteristics and the localized forces and pressures that they generate. In 2008, a canonical breaking wave impact data set was obtained at the Naval Surface Warfare Center, Carderock Division, by measuring the distribution of impact pressures of incident non-breaking and breaking waves on one face of a cube. The effects of wave height, wavelength, face orientation, face angle, and submergence depth were investigated. A limited number of runs were made at low forward speeds, ranging from about 0.5 to 2 knots (0.26 to 1.03 m/s). The measurement cube was outfitted with a removable instrumented plate measuring 1 ft2 (0.09 m2), and the wave heights tested ranged from 8–14 inches (20.3 to 35.6 cm). The instrumented plate had 9 slam panels of varying sizes made from polyvinyl chloride (PVC) and 11 pressure gages; this data was collected at 5 kHz to capture the dynamic response of the gages and panels and fully resolve the shapes of the impacts. A Kistler gage was used to measure the total force averaged over the cube face. A bottom mounted acoustic Doppler current profiler (ADCP) was used to obtain measurements of velocity through the water column to provide incoming velocity boundary conditions. A Light Detecting and Ranging (LiDAR) system was also used above the basin to obtain a surface mapping of the free surface over a distance of approximately 15 feet (4.6 m). Additional point measurements of the free surface were made using acoustic distance sensors. Standard and high-speed video cameras were used to capture a qualitative assessment of the impacts. Impact loads on the plate tend to increase with wave height, as well as with plate inclination toward incoming waves. Further trends of the pressures and forces with wave characteristics, cube orientation, draft and face angle are investigated and presented in this paper, and are also compared with previous test results.
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