Framing Mental Health Within Digital Games: an Exploratory Case Study of Hellblade
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Reality Inspired Games: Expanding the Lens of Games’ Claims to Authenticity
Reality Inspired Games: Expanding the Lens of Games’ Claims to Authenticity Robyn McMillan, Darshana Jayemanne, Iain Donald School of Design and Informatics, Division of Games and Arts University of Abertay Bell Street, Dundee DD1 1HG +44 1382 308000 [email protected] [email protected] [email protected] ABSTRACT This paper considers the potentials of contemporary games staking claims to realism through documentary and journalistic techniques as part of a wide-ranging cultural and technological phenomenon– ‘Reality Inspired Games’ or RIGs (Maurin, 2018). We argue that RIGs employ design techniques and strategies of legitimation that are valuable to the reactive development cycles in the indie sector, whilst also being beneficial for academic research and development. Through examining traditional documentary and the concept of Bruzzi’s performative documentary (2006) we highlight how this concept may allow developers to negotiate performativity and authenticity in their videogames. We discuss examples of such games in the realm of indie productions, such as That Dragon, Cancer (2016), This War of Mine (2014), and My Child Lebensborn (2018) and Bury Me, My Love (2017). All of which represent new ground for game design, documentary and journalistic techniques that have influenced our work on the MacMillan project. Keywords Reality Inspired Games, Documentary, Performativity, Indie “Much like photographs, paintings, literature and music are capable of transmitting the full range of the human experience from one human to another, so too can games. Due to their interactivity, games are capable of a higher form of communication, one which actively engages the participant and makes them a part of the experience rather than a passive observer” (Brathwaite & Sharp, 2010, p315). -
The Development and Validation of the Game User Experience Satisfaction Scale (Guess)
THE DEVELOPMENT AND VALIDATION OF THE GAME USER EXPERIENCE SATISFACTION SCALE (GUESS) A Dissertation by Mikki Hoang Phan Master of Arts, Wichita State University, 2012 Bachelor of Arts, Wichita State University, 2008 Submitted to the Department of Psychology and the faculty of the Graduate School of Wichita State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2015 © Copyright 2015 by Mikki Phan All Rights Reserved THE DEVELOPMENT AND VALIDATION OF THE GAME USER EXPERIENCE SATISFACTION SCALE (GUESS) The following faculty members have examined the final copy of this dissertation for form and content, and recommend that it be accepted in partial fulfillment of the requirements for the degree of Doctor of Philosophy with a major in Psychology. _____________________________________ Barbara S. Chaparro, Committee Chair _____________________________________ Joseph Keebler, Committee Member _____________________________________ Jibo He, Committee Member _____________________________________ Darwin Dorr, Committee Member _____________________________________ Jodie Hertzog, Committee Member Accepted for the College of Liberal Arts and Sciences _____________________________________ Ronald Matson, Dean Accepted for the Graduate School _____________________________________ Abu S. Masud, Interim Dean iii DEDICATION To my parents for their love and support, and all that they have sacrificed so that my siblings and I can have a better future iv Video games open worlds. — Jon-Paul Dyson v ACKNOWLEDGEMENTS Althea Gibson once said, “No matter what accomplishments you make, somebody helped you.” Thus, completing this long and winding Ph.D. journey would not have been possible without a village of support and help. While words could not adequately sum up how thankful I am, I would like to start off by thanking my dissertation chair and advisor, Dr. -
Activist Critical Making in Electronic Literature
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2019 Hearing the Voices of the Deserters: Activist Critical Making in Electronic Literature Laura Okkema University of Central Florida Part of the Digital Humanities Commons, and the Game Design Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Doctoral Dissertation (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Okkema, Laura, "Hearing the Voices of the Deserters: Activist Critical Making in Electronic Literature" (2019). Electronic Theses and Dissertations, 2004-2019. 6361. https://stars.library.ucf.edu/etd/6361 HEARING THE VOICES OF THE DESERTERS: ACTIVIST CRITICAL MAKING IN ELECTRONIC LITERATURE by LAURA OKKEMA M.Sc. Michigan Technological University, 2014 A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Arts and Humanities in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Spring Term 2019 Major Professor: Anastasia Salter © 2019 Laura Okkema ii ABSTRACT Critical making is an approach to scholarship which combines discursive methods with creative practices. The concept has recently gained traction in the digital humanities, where scholars are looking for ways of integrating making into their research in ways that are inclusive and empowering to marginalized populations. This dissertation explores how digital humanists can engage critical making as a form of activism in electronic literature, specifically in the interactive fiction platform Twine. -
Links to the Past User Research Rage 2
ALL FORMATS LIFTING THE LID ON VIDEO GAMES User Research Links to Game design’s the past best-kept secret? The art of making great Zelda-likes Issue 9 £3 wfmag.cc 09 Rage 2 72000 Playtesting the 16 neon apocalypse 7263 97 Sea Change Rhianna Pratchett rewrites the adventure game in Lost Words Subscribe today 12 weeks for £12* Visit: wfmag.cc/12weeks to order UK Price. 6 issue introductory offer The future of games: subscription-based? ow many subscription services are you upfront, would be devastating for video games. Triple-A shelling out for each month? Spotify and titles still dominate the market in terms of raw sales and Apple Music provide the tunes while we player numbers, so while the largest publishers may H work; perhaps a bit of TV drama on the prosper in a Spotify world, all your favourite indie and lunch break via Now TV or ITV Player; then back home mid-tier developers would no doubt ounder. to watch a movie in the evening, courtesy of etix, MIKE ROSE Put it this way: if Spotify is currently paying artists 1 Amazon Video, Hulu… per 20,000 listens, what sort of terrible deal are game Mike Rose is the The way we consume entertainment has shifted developers working from their bedroom going to get? founder of No More dramatically in the last several years, and it’s becoming Robots, the publishing And before you think to yourself, “This would never increasingly the case that the average person doesn’t label behind titles happen – it already is. -
It's About Ethics in Games Journalism? Gamergaters and Geek
SMSXXX10.1177/2056305116672484Social Media + SocietyBraithwaite 672484research-article2016 SI: Making Digital Cultures Social Media + Society October-December 2016: 1 –10 It’s About Ethics in Games Journalism? © The Author(s) 2016 Reprints and permissions: sagepub.co.uk/journalsPermissions.nav Gamergaters and Geek Masculinity DOI: 10.1177/2056305116672484 sms.sagepub.com Andrea Braithwaite Abstract #Gamergate is an online movement ostensibly dedicated to reforming ethics in video games journalism. In practice, it is characterized by viciously sexual and sexist attacks on women in and around gaming communities. #Gamergate is also a site for articulating “Gamergater” as a form of geek masculinity. #Gamergate discussions across social media platforms illustrate how Gamergaters produce and reproduce this gendered identity. Gamergaters perceive themselves as crusaders, under siege from critics they pejoratively refer to as SJWs (social justice warriors). By leveraging social media for concern-trolling about gaming as an innocuous masculine pastime, Gamergaters situate the heterosexual White male as both the typical gamer and the real victim of #Gamergate. #Gamergate is a specific and virulent online node in broader discussions of privilege, difference, and identity politics. Gamergaters are an instructive example of how social media operate as vectors for public discourses about gender, sexual identity, and equality, as well as safe spaces for aggressive and violent misogyny. Keywords Gamergate, gaming cultures, geek masculinity, online harassment, social media At the end of August 2014, many online gaming communities situate themselves as the “real” victims, oppressed by calls erupted into vicious arguments—ostensibly about ethics in for diversity and at risk of losing “their” games to more video game journalism, but more pointedly about gender, inclusive ones. -
EXTENDED FICTION in GAME DESIGN Austin Anderson (Michael Young) Department of Computer Science
University of Utah UNDERGRADUATE RESEARCH JOURNAL UNMASKING THE PLAYER: EXTENDED FICTION IN GAME DESIGN Austin Anderson (Michael Young) Department of Computer Science INTRODUCTION In any story, an element being diegetic means that it is an element of the story that the characters of the fiction can sense. The simplest example is that of music in a movie; if there is a radio playing music in the scene, that music is diegetic. If a musical soundtrack plays over the scene but is something the characters cannot hear, it is non-diegetic(DIEGETIC). The border between the diegetic and non-diegetic is most commonly referred to as “the fourth wall” (Webster), in reference to the imaginary fourth wall of a play set, where the sides and back of the room that events are taking place in are fully represented on the theater stage, but the opening through which the audience observes the events of the play is an imaginary barrier. This barrier isn’t just literally a completion of the four walls in a traditional room of a building, but also metaphorically separates the reality from the fiction, quarantining both from each other as to not interfere. The problem with this boundary is that it can’t fully encompass the medium of video games. Video games, at their very essence, are an interactive medium. They require some breach of the fourth wall for them to function, as the game could not proceed to tell its story without a player’s input, which is an addressing of the audience due to the necessity of their action. -
Graph-Based Generation of Action-Adventure Dungeon Levels Using Answer Set Programming
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Bath Research Portal Citation for published version: Smith, T, Padget, J & Vidler, A 2018, Graph-based Generation of Action-Adventure Dungeon Levels using Answer Set Programming. in S Deterding, M Khandaker, S Risi, J Font, S Dahlskog, C Salge & CM Olsson (eds), Proceedings of the 13th International Conference on the Foundations of Digital Games., 52, Proceedings of the International Conference on the Foundations of Digital Games, Association for Computing Machinery, pp. 52:1-52:10, Foundations of Digital Games 2018, Malmö, Sweden, 7/08/18. https://doi.org/10.1145/3235765.3235817 DOI: 10.1145/3235765.3235817 Publication date: 2018 Document Version Publisher's PDF, also known as Version of record Link to publication Permission to make digital or hard copies of all or part of this work for personal or classroom use is granted without fee provided that copies are not made or distributed for profit or commercial advantage and that copies bear this notice and the full citation on the first page. Copyrights for components of this work owned by others than ACM must be honored. Abstracting with credit is permitted. To copy otherwise, or republish, to post on servers or to redistribute to lists, requires prior specific permission and/or a fee. Request permissions from [email protected]. University of Bath General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. -
The Tragedy of the Gamer: a Dramatistic Study of Gamergate By
The Tragedy of the Gamer: A Dramatistic Study of GamerGate by Mason Stephen Langenbach A thesis submitted to the Graduate Faculty of Auburn University in partial fulfillment of the requirements for the Degree of Master of Arts Auburn, Alabama May 5, 2019 Keywords: dramatism, scapegoat, mortification, GamerGate Copyright 2019 by Mason Stephen Langenbach Approved by Michael Milford, Chair, Professor of Communication Andrea Kelley, Professor of Media Studies Elizabeth Larson, Professor of Communication Abstract In August 2014, a small but active group of gamers began a relentless online harassment campaign against notable women in the videogame industry in a controversy known as GamerGate. In response, game journalists from several prominent gaming websites published op-eds condemning the incident and declared that “gamers are dead.” Using Burke’s dramatistic method, this thesis will examine these articles as operating within the genre of tragedy, outlining the journalists’ efforts to scapegoat the gamer. It will argue that game journalists simultaneously engaged in mortification not to purge the guilt within themselves but to further the scapegoating process. An extension of dramatistic theory will be offered which asserts that mortification can be appropriated by rhetors seeking to ascend within their social order’s hierarchy. ii Acknowledgments This project was long and arduous, and I would not have been able to complete it without the help of several individuals. First, I would like to thank all of my graduate professors who have given me the gift of education and knowledge throughout these past two years. To the members of my committee, Dr. Milford, Dr. Kelley, and Dr. -
Vulnerability and Growth in Video Game Narratives 2019
Master's thesis Thomas Fusdahl Vulnerability and Growth in Video Game Narratives 2019 Master's thesis Approaches to Storytelling in Dark Souls 3 and Thomas Fusdahl Hellblade: Senua's Sacrifice NTNU May 2019 Faculty of Humanities Department of Design Norwegian University of Science and Technology Vulnerability and Growth in Video Game Narratives Approaches to Storytelling in Dark Souls 3 and Hellblade: Senua's Sacrifice Thomas Fusdahl Medievitenskap Submission date: May 2019 Supervisor: Sara Brinch Norwegian University of Science and Technology Thomas Fusdahl Vulnerability and Growth in Video Game Narratives Approaches to Storytelling in Dark Souls 3 and Hellblade: Senua's Sacrifice Master’s thesis in Medievitenskap Master’s thesis Master’s Supervisor: Sara Brinch May 2019 NTNU Faculty of Humanities Faculty of Humanities Faculty Norwegian University of Science and Technology of Science University Norwegian Thomas Fusdahl Vulnerability and Growth in Video Game Narratives Approaches to Storytelling in Dark Souls 3 and Hellblade: Senua's Sacrifice Master’s thesis in Medievitenskap Supervisor: Sara Brinch May 2019 Norwegian University of Science and Technology Faculty of Humanities Faculty of Humanities Acknowledgments: After finally finishing I want to thank the people who believed in me when I didn’t. Most of all my parents for both financial and moral support. I couldn’t have done it without you. Additionally, I want to thank my supervisor Sara Brinch for her understanding and support and helping me believe in the project. Lastly, I want to give a shout out to the Easy Allies, an online media outlet that has made it fun to stay engaged in both the culture and business of video games. -
Rewriting the Story: Videogames Within the Post-Gamergate Society
Jones 1 Abigail Jones English 4995 Joanna Hearne Rewriting the Story: Videogames within the Post-Gamergate Society “Begin like this: If photographs are images, and films are moving images, then video games are actions.” - Gaming: Essays on Algorithmic Culture, Alexander Galloway Staring through the scope in Call of Duty Modern Warfare (2007), as you navigate through the boggy swamps of some exotic jungle, there is never any doubt that you are in control. The operator’s thumbs roll over the toggles of the controller signaling to the consul how the character on screen must move. By enacting actions within the real world, players affect the actions of the avatar within the game world. To any well-versed videogame player, this is common knowledge; when one plays a videogame it is to be engaged within the world of the game and to ultimately achieve the programmed goal of the game. Up until the creation of the videogame, mediums of entertainment were largely spectator based. While reading a book you may turn the page, but you do not affect the ending of the book. When viewing a movie you may be actively watching, but you are not able to change the ending of the movie. But when playing a videogame the decisions made within the game determine whether the goal is reached, or if it is not: game over. In Alexander Galloway’s essay, “Gaming: Essays on Algorithmic Culture,” he defines videogames as a medium based upon action; “There has emerged in recent years a whole new medium, computers and in particular videogames, whose foundation is not in looking and reading but in the instigation of material change through action.” It is this Jones 2 action that appeals to players--the level of interactivity and agency. -
Im Geschichtsunterricht & in Der Politischen Bildung
DIGITALE SPIELE IM GESCHICHTSUNTERRICHT & IN DER POLITISCHEN BILDUNG Florian Aumayr Alexander Preisinger Stefan Ancuta 1 INHALT TEIL 1: EINLEITUNGSTEXTE von Florian Aumayr und Alexander Preisinger 4 Digitale Spiele als Unterrichtsmittel 6 Digitale Spiele in den Unterricht integrieren – Ideen für die Umsetzung 8 Allgemeine und historische Spieleanalyse In der Reihe „Digitales Lernen und Politische Bildung“ bereits erschienen: Politische Bildung und Klimawandel im digitalen digitales Lernen – Institu Spiel tionen, Tools und Spiele Andreas Endl, Alexander Alexander Preisinger, Christine Preisinger. Wien: Edition polis, Ottner. Wien: Edition polis, 2018. 12 Seiten. 2019. 28 Seiten. ISBN 978-3-902659-15-6. ISBN 978-3-902659-17-0. Das Heft für Lehrkräfte stellt Die Broschüre liefert Lehr- sechs Spiele zum Klimawan- kräften Ideen für den Einsatz del vor und prüft sie auf ihre digitaler Angebote und Basis- Einsetzbarkeit im Unterricht. informationen zu entsprechenden Einrichtungen. Der Dazu haben SchülerInnen der Schumpeter BHAK/ Aufbau des Hefts gliedert sich in Institutionen, exemp- BHAS (1130 Wien) mit Experten der Universität larische Tools und digitale Spiele. Bei der Auswahl Wien (Geschichtsdidaktik) und der Wirtschafts- wurde auf die rasche Einsetzbarkeit im Unterricht, die universität Wien (Nachhaltigkeitsmanagement) ein leichte Anwendbarkeit und den nach Möglichkeit kos- Analysesetting entwickelt und an Spielen in der Praxis tenlosen Zugang geachtet. Das elektronische Angebot erprobt. Die Texte der SchülerInnen dokumentieren soll dazu anregen, nicht einfach Altbewährtes zu ihre Spielerfahrung. Möglichst einfach wird so auch digitalisieren, sondern in neuen Bearbeitungsformen NichtspielerInnen vermittelt, dass es digitalen Spielen zu denken und handlungsorientiertes Unterrichten zu gelingen kann, ein anspruchsvolles Thema wie den Kli- gewährleisten. mawandel „erfahrbar“ zu machen. Zu jedem Spiel wird www.politik-lernen.at/pbunddigitaleslernen auch eine didaktische Umsetzung vorgeschlagen. -
GAMING GLOBAL a Report for British Council Nick Webber and Paul Long with Assistance from Oliver Williams and Jerome Turner
GAMING GLOBAL A report for British Council Nick Webber and Paul Long with assistance from Oliver Williams and Jerome Turner I Executive Summary The Gaming Global report explores the games environment in: five EU countries, • Finland • France • Germany • Poland • UK three non-EU countries, • Brazil • Russia • Republic of Korea and one non-European region. • East Asia It takes a culturally-focused approach, offers examples of innovative work, and makes the case for British Council’s engagement with the games sector, both as an entertainment and leisure sector, and as a culturally-productive contributor to the arts. What does the international landscape for gaming look like? In economic terms, the international video games market was worth approximately $75.5 billion in 2013, and will grow to almost $103 billion by 2017. In the UK video games are the most valuable purchased entertainment market, outstripping cinema, recorded music and DVDs. UK developers make a significant contribution in many formats and spaces, as do developers across the EU. Beyond the EU, there are established industries in a number of countries (notably Japan, Korea, Australia, New Zealand) who access international markets, with new entrants such as China and Brazil moving in that direction. Video games are almost always categorised as part of the creative economy, situating them within the scope of investment and promotion by a number of governments. Many countries draw on UK models of policy, although different countries take games either more or less seriously in terms of their cultural significance. The games industry tends to receive innovation funding, with money available through focused programmes.