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Books on the topic 'Video games – Research'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2022

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1

Bibliography: Research on video and computer games : a selection (1970- ). UNESCO International Clearinghouse on Children and Violence on the Screen at Nordicom, 2000.

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2

Integrating video game research and practice in library and information science. Information Science Reference (an imprint of IGI Global), 2015.

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3

Embrick, David G. Social exclusion, power and video game play: New research in digital media and technology /. Lexington Books, 2012.

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4

Embrick, David G. Social exclusion, power and video game play: New research in digital media and technology /. Lexington Books, 2012.

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5

Sanger, Jack. Screen-based entertainment technology and the young learner: A research study. British Library Research and Innovation Centre, 1997.

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6

Swoboda, Wolfgang H. Bildschirmspiele und Automatenspielstätten im Freizeitalltag junger Erwachsener: Analysen zum Forschungsstand mit einer qualitativen Explorationsstudie über Freizeit-, Spiel- und Mediengebrauch. Böhlau, 1990.

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7

Position papers: Research and argument. Heinemann, 2014.

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8

Behavioral mathematics for game AI. Charles River Media, Course Technology, Cengage Learning, 2009.

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9

ERIC Clearinghouse on Elementary and Early Childhood Education., ed. Video games: Research, ratings, recommendations. ERIC Clearinghouse on Elementary and Early Childhood Education, University of Illinois, 1998.

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10

Chamberlin, Barbara, and Ann Maloney. Active Video Games: Impacts and Research. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780195398809.013.0018.

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11

Games User Research. Oxford University Press, 2018.

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12

Martell, Caroline. Advances in Game Design and Development Research. Nova Science Publishers, Incorporated, 2014.

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13

Drachen, Anders, Pejman Mirza-Babaei, and Lennart E. Nacke. Introduction to Games User Research. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198794844.003.0001.

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This chapter provides an introduction to the field of Games User Research (GUR) and to the present book. GUR is an interdisciplinary field of practice and research concerned with ensuring the optimal quality of usability and user experience in digital games. GUR inevitably involves any aspect of a video game that players interface with, directly or indirectly. This book aims to provide the foundational, accessible, go-to resource for people interested in GUR. It is a community-driven effort—it is written by passionate professionals and researchers in the GUR community as a handbook and guide for everyone interested in user research and games. We aim to provide the most comprehensive overview from an applied perspective, for a person new to GUR, but which is also useful for experienced user researchers.
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14

Lukacs, Andras. Social Exclusion, Power, and Video Game Play: New Research in Digital Media and Technology. Lexington Books/Fortress Academic, 2013.

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15

1954-, Soria Agustin, and Maldonado Julián, eds. Computer games: Learning objectives, cognitive performance, and effects on development. Nova Science Publisher's, 2009.

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16

Zammitto, Veronica. Games User Research as part of the development process in the game industry. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198794844.003.0002.

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Practising Games User Research within a video game company possesses unique challenges, ranging from tight turnaround of findings to collaborating with the development team and incorporating the needs of the rest of company. This chapter describes processes and best practices for applying GUR in the industry while identifying and avoiding potential pitfalls.
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17

Williams, Dimitri, and Adam S. Kahn. Games, Online and off. Edited by William H. Dutton. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199589074.013.0010.

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This chapter, which discusses the evolution of innovative research on game playing in the household and online, such as in studies of massive multiplayer, three-dimensional Internet game environments, demonstrates the need for Internet Studies to deal with the ebbs and flows of the market and the rapid pace of technical change. The video game industry is one of the most profitable and dynamic industries in entertainment. Its future will possibly add a mix of social connectivity and continuing advances in technology as players seek each other as much as they seek games. Casual games are frequently incorporated into pre-existing social networks. Serious games did result in a change in knowledge, opinions, and possible future actions. The research community surrounding games comes from communication, psychology, cultural and critical studies, sociology, and now even business, economics, and computer science.
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18

Orero, Pilar, Carmen Mangiron, and Minako O'Hagan. Fun for All: Translation and Accessibility Practices in Video Games. Lang AG International Academic Publishers, Peter, 2014.

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19

Orero, Pilar, Carmen Mangiron, and Minako O'Hagan. Fun for All: Translation and Accessibility Practices in Video Games. Lang AG International Academic Publishers, Peter, 2014.

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20

Orero, Pilar, Carmen Mangiron, and Minako O'Hagan. Fun for All: Translation and Accessibility Practices in Video Games. Lang AG International Academic Publishers, Peter, 2014.

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21

Orero, Pilar, Carmen Mangiron, and Minako O'Hagan. Fun for All: Translation and Accessibility Practices in Video Games. Lang AG International Academic Publishers, Peter, 2014.

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22

Violent Video Game Effects on Children and Adolescents: Theory, Research, and Public Policy. Oxford University Press, USA, 2006.

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23

Game localization : translating for the global digital entertainment industry. John Benjamins Publishing Company, 2013.

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24

Siyahhan, Sinem, and Elisabeth Gee. Families at Play. The MIT Press, 2018. http://dx.doi.org/10.7551/mitpress/9780262037464.001.0001.

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Video games have a bad reputation in the mainstream media. They are blamed for encouraging social isolation, promoting violence, and creating tensions between parents and children. In this book, Sinem Siyahhan and Elisabeth Gee offer another view. They show that video games can be a tool for connection, not isolation, creating opportunities for families to communicate and learn together. Siyahhan and Gee offer examples of how video games, like smartphones, Skype, and social media, help families stay connected. Further, they describe how families express their feelings and share their experiences and understanding of the world through playing video games like Sims, Civilization, and Minecraft. When designed intentionally to support families, video games can also create conversations around such real-world issues and sensitive topics as bullying and peer pressure. Siyahhan and Gee draw on a decade of research to look at how learning and teaching take place when families play video games together. With video games, they argue, the parents are not necessarily the teachers and experts; all family members can be both teachers and learners. They suggest video games can help families form, develop, and sustain their learning culture as well as develop skills that are valued in the twenty-first century workplace. Finally, Siyahhan and Gee share recommendations for educators and game designers who are interested in supporting intergenerational play around video games.
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25

Information Dynamics In Virtual Worlds Gaming And Beyond. Woodhead Publishing Ltd, 2011.

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26

Chalfoun, Pierre, and Jonathan Dankoff. Developing actionable biometric insights for production teams. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198794844.003.0017.

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In this chapter we describe the challenges and learnings in establishing processes for developing actionable biometric procedures for production teams. The chapter, divided in four main sections, describes the ongoing efforts of recent years to facilitate the incorporation of the science of biometrics into the culture of video game production, as illustrated through several case studies. The end goal is making biometric data an accessible option in the tool chest of user researchers and an ally in the team’s decision-making processes. Throughout the chapter, references to related work in games user research and academia are presented.
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27

Elkins, Evan. Locked Out. NYU Press, 2019. http://dx.doi.org/10.18574/nyu/9781479830572.001.0001.

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“This content is not available in your country.” Media consumers around the world regularly run into this reminder of geography’s imprint on digital culture. Despite utopian hopes of a borderless digital society in an era of globalization, DVDs, video games, and streaming platforms include digital rights management mechanisms like region codes and IP address detection systems that block media access within certain territories. Although propped up by national and transnational intellectual property regulation, these technologies of “regional lockout” are designed primarily to keep the entertainment industries’ global markets distinct. Beyond this, they frustrate consumers around the world and place certain territories on a hierarchy of global media access. Drawing on extensive research of media-industry strategies, consumer and retailer practices, and media regulation, Locked Out explores regional lockout in DVDs, console video games, and streaming video and music platforms. The book argues that regional lockout has shaped global media culture over the past few decades in three interrelated ways: as technological regulation, media distribution, and geocultural discrimination. As a form of digital rights management, regional lockout builds in limitations on the affordances of digital software and hardware. As distribution, it seeks to ensure that digital technologies accommodate media industries’ traditional segmentation of markets. Finally, as a cultural system, regional lockout shapes and reflects long-standing global hierarchies of power and discrimination.
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28

Bulut, Ergin. A Precarious Game. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501746529.001.0001.

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This book is an ethnographic examination of video game production. The developers that were researched for almost three years in a medium-sized studio in the United States loved making video games that millions play. Only some, however, can enjoy this dream job, which can be precarious and alienating for many others. That is, the passion of a predominantly white-male labor force relies on material inequalities involving the sacrificial labor of their families, unacknowledged work of precarious testers, and thousands of racialized and gendered workers in the Global South. The book explores the politics of doing what one loves. In the context of work, passion and love imply freedom, participation, and choice, but in fact they accelerate self-exploitation and can impose emotional toxicity on other workers by forcing them to work endless hours. The book argues that such ludic discourses in the game industry disguise the racialized and gendered inequalities on which a profitable transnational industry thrives. Within capitalism, work is not just an economic matter, and the political nature of employment and love can still be undemocratic even when based on mutual consent. As the book demonstrates, rather than considering work simply as a matter of economics based on trade-offs in the workplace, we should consider the question of work and love as one of democracy rooted in politics.
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29

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

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This chapter reviews recent literature on uses, effects, and gratifications of media during emerging adulthood. The authors examine traditional media forms, including television, films, video games, music, and books, and also newer media, such as cell phones, social networking sites, and other Internet use, finding that emerging adults spend more time using media than they spend doing any other activity, with most time being spent on the Internet and listening to music. They also find that exposure to certain types of media content can influence both positive and negative outcomes in emerging adulthood, including aggressive and prosocial behavior, body image, sexual behavior, friendship quality, and academic achievement. The authors show that emerging adults use media to gratify certain needs, key among them entertainment, autonomy, identity, and intimacy needs. The authors discuss areas for future research involving media and emerging adulthood.
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30

Collins, Karen. Implications of Interactivity. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.0011.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. This chapter explores concepts of interactivity as they relate to sound production in video games. A guiding assumption of the chapter is that interactivity is a definitive paper of new digital aesthetics in general and gaming in particular. And yet, the question of interactivity has not been addressed with sufficient stringency in scholarly research. At the heart of the chapter are these questions: What makes interactive sound different from noninteractive sound? Where doesinteracting withsound fit into our understanding of our experience of sound and music in media? How do we begin to approach interactive sound from a theoretical perspective? The implications of interactivity are examined, specifically the notion of sound as a feedback device and as a control mechanism. . In these ways the chapter works toward a more comprehensive understanding of sounds in new media contexts that addresses their particularity in interactive contexts rather than resting on previous assumptions about the primacy of sounds as narrative devices.
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31

Vorderer, Peter, and Christoph Klimmt, eds. The Oxford Handbook of Entertainment Theory. Oxford University Press, 2021. http://dx.doi.org/10.1093/oxfordhb/9780190072216.001.0001.

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This handbook provides a strong collection of communication- and psychology-based theories and models on media entertainment, which can be used as a knowledge resource for any academic and applied purpose. Its 41 chapters offer explanations of entertainment that audiences find in any kind of ‘old’ and ‘new’ media, from classic novels to VR video games, from fictional stories to mediated sports. As becomes clear in this handbook, the history of entertainment research teaches us not to forget that even if a field is converging to a seemingly dominant perspective, paradigm, and methodology, there are more views, alternative approaches, and different yet equally illuminative ways of thinking about the field. Young scholars may find here innovative ways to reconcile empirical-theoretical approaches to the experience of entertainment with such alternative views. And there are numerous entertainment-related phenomena in contemporary societies that still fit the „bread and circuses-“ perspective of the initial Frankfurt School thinking. So while the mission of the present handbook is to compile and advance current theories about media entertainment, scholars active or interested in the topic are invited to also consider the historic roots of the field and the great diversity it has featured over the past nearly 100 years. Many lessons can be learned from this history, and future innovations in entertainment theory may just as likely emerge from refining those approaches compiled in the present handbook as from building on neglected, forgotten, or marginalized streams of scholarship.
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32

Rafter, Nicole, and Michelle Brown, eds. The Oxford Encyclopedia of Crime, Media, and Popular Culture. Oxford University Press, 2018. http://dx.doi.org/10.1093/acref/9780190494674.001.0001.

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Over 120 scholarly articlesCrime and punishment fascinate. Overwhelming in their media dominance, they present us with our most popular television programs, films, novels, art works, video games, podcasts, social media streams and hashtags. This encyclopedia, a massive and unprecedented undertaking, offers a foundational space for understanding the cultural life and imaginative force and power of crime and punishment. Across five areas foundational to the study of crime and media, leading scholars from five continents engage cutting edge scholarship in order to provide definitive overviews of over 120 topics. In the context of an unprecedented global proliferation in the production of images, they take up the perennial and emergent problems of crime's celebrity and fascination; stereotypes and innovations in portrayals of crime and criminals; and the logics of representation that follow police, courts, capital punishment, prisons, and legal systems across the world. They also engage new, timely, and historically overlooked categories of offense and their representations, including child sexual abuse, violence against women, and human trafficking. A series of entries on mediums and methods provide a much needed set of critical approaches at a historical moment when doing media and visual research is a daunting, formidable undertaking. This is also a project that stretches our understanding of conventional categories of crime representation. One example of this is homicide, where entries include work on the ever-popular serial killer but also extend to filicide, infanticide, school shootings, aboriginal deaths in custody, lynchings, terrorism and genocide. Readers will be will be hard-pressed to find a convention, trope, or genre of crime representation that is not, in some way, both present and enlarged. From film noir to police procedurals, courtroom dramas and comedies to comic books, crime news to true crime and reality tv, gaming to sexting, it is covered in this encyclopedia.
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33

Manzo, V. J. Max/MSP/Jitter for Music. Oxford University Press, 2011. http://dx.doi.org/10.1093/oso/9780199777679.001.0001.

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In Max/MSP/Jitter for Music, expert author and music technologist V. J. Manzo provides a user-friendly introduction to a powerful programming language that can be used to write custom software for musical interaction. Through clear, step-by-step instructions illustrated with numerous examples of working systems, the book equips you with everything you need to know in order to design and complete meaningful music projects. The book also discusses ways to interact with software beyond the mouse and keyboard through use of camera tracking, pitch tracking, video game controllers, sensors, mobile devices, and more. This book will be of special value for everyone who teaches music at any level, from classroom instructors to ensemble directors to private studio instructors. Whether you want to create simple exercises for beginning performers or more complex programs for aspiring composers, this book will show you how to write customized software that can complement and even inspire your instructional objectives. No specialist foreknowledge is required to use this book to enliven your experience with music technology. Even musicians with no prior programming skills can learn to supplement their lessons with interactive instructional tools, to develop adaptive instruments to aid in composition and performance activities, and to create measurement tools with which to conduct research. This book allows you to: -Learn how to design meaningful projects for composition, performance, music therapy, instruction, and research -Understand powerful software through this accessible introduction, written for beginners -Follow along through step-by-step tutorials -Grasp the principles by downloading the extensive software examples from the companion website This book is ideal for: -Music educators at all levels looking to integrate software in instruction -Musicians interested in how software can improve their practice and performance -Music composers with an interest in designing interactive music -Music therapists looking to tailor programs to the needs of specific groups or individuals And all who are interested in music technology. Visit the companion website at www.oup.com/us/maxmspjitter
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