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Media and Communication Open Access Journal | ISSN: 2183-2439 Media and Communication Open Access Journal | ISSN: 2183-2439 Volume 7, Issue 4 (2019) VideoVideo GamesGames asas DemandingDemanding TechnologiesTechnologies Editors Nicholas David Bowman Media and Communication, 2019, Volume 7, Issue 4 Video Games as Demanding Technologies Published by Cogitatio Press Rua Fialho de Almeida 14, 2º Esq., 1070-129 Lisbon Portugal Academic Editor Nicholas David Bowman (Texas Tech University, USA) Available online at: www.cogitatiopress.com/mediaandcommunication This issue is licensed under a Creative Commons Attribution 4.0 International License (CC BY). Articles may be reproduced provided that credit is given to the original and Media and Communication is acknowledged as the original venue of publication. Table of Contents Editorial: Video Games as Demanding Technologies Nicholas David Bowman 144–148 Modality-Specific Effects of Perceptual Load in Multimedia Processing Jacob Taylor Fisher, Frederic René Hopp and René Weber 149–165 Harder, Better, Faster, Stronger? The Relationship between Cognitive Task Demands in Video Games and Recovery Experiences Tim Wulf, Diana Rieger, Anna Sophie Kümpel and Leonard Reinecke 166–175 Between a Troll and a Hard Place: The Demand Framework’s Answer to One of Gaming’s Biggest Problems Christine L. Cook 176–185 Audible Efforts: Gender and Battle Cries in Classic Arcade Fighting Games Milena Droumeva 186–197 Cognitive and Behavioral Correlates of Achievement in a Complex Multi-Player Video Game Adam M. Large, Benoit Bediou, Sezen Cekic, Yuval Hart, Daphne Bavelier and C. Shawn Green 198–212 (A)morally Demanding Game? An Exploration of Moral Decision-Making in a Purpose-Made Video Game Sarah E. Hodge, Jacqui Taylor and John McAlaney 213–225 Interaction Tension: A Sociological Model of Attention and Emotion Demands in Video Gaming Sebastian Deterding 226–236 Elements of Infrastructure Demand in Multiplayer Video Games Alexander Mirowski and Brian P. Harper 237–246 Reducing Extrinsic Burdens on Players of Digital Games: An Integrated Framework Harry Agius and Damon Daylamani-Zad 247–259 Acknowledgments 260 Media and Communication (ISSN: 2183–2439) 2019, Volume 7, Issue 4, Pages 144–148 DOI: 10.17645/mac.v7i4.2684 Editorial Editorial: Video Games as Demanding Technologies Nicholas David Bowman College of Media and Communication, Texas Tech University, Lubbock, TX 79410, USA; E-Mail: [email protected] Submitted: 2 December 2019 | Published: 20 December 2019 Abstract From the middle-20th century to today, video games have grown from an idiosyncratic interest of computer programmers and engineers to a globally dominant form of media entertainment. Advances in technology and creativity have combined to present players with interactive experience that vary in their cognitive, emotional, physical, and social complexity. That video games constitute co-authored experiences—dialogues between the player and the system—is at least one explana- tion for their appeal, but this co-authorship brings with it an enhanced set of requirements for the player’s attention. For this thematic issue, researchers were invited to debate and examine the cognitive, emotional, physical, and social demands of video games; their work (as well as the impetus for this work) is summarized below. Keywords interactivity-as-demand; media history; media psychology; video games Issue This editorial is part of the issue “Video Games as Demanding Technologies” edited by Nicholas David Bowman (Texas Tech University, USA). © 2019 by the author; licensee Cogitatio (Lisbon, Portugal). This article is licensed under a Creative Commons Attribu- tion 4.0 International License (CC BY). 1. Introduction tures in motion” (Leslie, 2001) before moving towards basic recordings of standard Vaudeville and other single- It could be said that a driving motivation behind the de- stage theatre performance. Decades would pass until velopment of mediated technologies is to close myriad film directors understood how to splice from several dif- gaps between users and spaces, events, and agents (or ferent film rolls (each recording their own scenes) to tell some combination of each). Ancient stones allowed gov- more compelling stories unique to the film medium: the ernments to communicate rules and regulations through- theory of montage in film commonplace in modern cin- out their domains of influence (such as the Rosetta ema (Harrah, 1954). Stone; Bierbrier, 1999). Written and printed texts pro- The earliest video game technologies also began as vided (depending on the medium, variably) permanent technological demonstrations, largely designed as “in- access to the stories and values of far-away and by- teractive television” systems (U.S. Patent No. 2,455,992, gone generations (much to the chagrin of Socrates, who 1948) in which users could exercise a degree of control fears that mediation would remove the author from their over the form and content of what was portrayed on- work; Plato as translated by Jowett, 1999). Advances in screen: User input had a direct impact on on-screen out- broadcasting technologies (such as radio and television) put (Steuer, 1992). However, early game development allowed at-home audiences to follow their favorite sport- quickly focused more on “interactive” than “television” ing events happening hundreds of miles away, and social and by the middle of the 20th century, video game de- media allowing for nearly unfettered access to the ath- signed operated on three principles: to tax computa- letes themselves (Bowman, 2013). In closing these gaps, tional resources; to generate a unique experience for emerging media technologies follow a similar pattern each run; and to actively involve users in a pleasurable of evolution: First improving on existing media before way (Graetz, 1981). By the start of the 21st century, video emerging as (relatively speaking) “new” media of their games had overtaken films and television (and other own (Stober, 2004). To highlight one example, the earli- screen-based media) as the most profitable form of en- est films began as technological demonstrations of “pic- tertainment media. As described by Meier (2012), good Media and Communication, 2019, Volume 7, Issue 4, Pages 144–148 144 video games provide players with “a series of interest- 2. Contributions to the Thematic Issue ing decisions.’’ Here, video games break from contemporary film Several of the manuscripts in this thematic issue ex- and television in that they shift authorial control to the panded on one or more of the demand concepts. For ex- players, or at least invite players to co-author variably ample, in “Modality-Specific Effects of Perceptual Load unique experiences (Wellenreiter, 2015), and these plea- in Multimedia Processing,” Fisher and colleagues (2019) sures of control are generally assumed to explain the demonstrate the importance of a more nuanced ap- popularity of video games (Grodal, 2000). Conversely, proach to cognitive demands informed from a neural Bowman (2016) argued that although this authorial con- perspective, cleaving perceptual load (attentional de- trol is a potentially powerful source of entertainment, it mands placed on sensory systems, such as hearing and could also be viewed as requirements—demands foisted sight) from cognitive load (processing demands which on users that might not always be so well-received or, involve higher-order systems, such as working memory; at least, not universally so. At least four sources of see Fisher, Huskey, Keene, & Weber, 2018). Their key find- demand were proposed in Bowman (2016), refined in ing suggested that while increased cognitive loads (more Bowman (2018), and examined empirically in Bowman, aligned with how cognitive demand was explicated in Wasserman, and Banks (2018): cognitive demands as- Bowman, 2018) depleted attentional resources in both sociated with understanding in-game challenges; emo- auditory and visual channels, the influence of perceptual tional demands associated with investment into the load was modality-dependent (in this study, restricted to game’s unfolding narrative; physical demands associated visual systems). Given the multimodal nature of video with fine and gross motor control of the game’s controls; games, Fisher et al.’s (2019) work speaks to the critical- and social demand associated with variable social rela- ity of examining how gamers both perceive and process tions with in-game characters and other players. From a information. As an added bonus, this article—or rather, nascent interactivity-as-demand model, these (at least) the proposed study—was also preregistered, with study four sources of demand are proposed as critical media- predictions, materials, and data analysis files freely avail- tors of interactive media content and their resultant ef- able at https://osf.io/as2u5. fects (Figure 1). Likewise, the work of Large and colleagues (2019), In response to these notions, and using Bowman “Cognitive and Behavioral Correlates of Achievement in (2018) as animus, nearly three-dozen authorship teams a Complex Multi-Player Video Game,” found that experi- submitted manuscript abstracts for potential inclusion in enced layers of the multiplayer online battle arena game this thematic issue, and through several rounds of editor League of Legends exhibited superior performance at and peer review, nine manuscripts were retained for pub- a number of cognitive demand tasks that could be un- lication. Those manuscripts expanded demand concepts derstood both in terms of perceptual load (speed of into empirical observations,
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