Trang chủ / Noindex / DiGRA ’09 – Proceedings of the 2009 DiGRA International Conference: Breaking New Ground: Innovation in Games, Play, Practice and Theory | DiGRA

DiGRA ’09 – Proceedings of the 2009 DiGRA International Conference: Breaking New Ground: Innovation in Games, Play, Practice and Theory | DiGRA

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time-image (1) epic theatre (1) Epidemiology (1) epiphenomenon (1) epistemic games (1) epistemology (2) ergodic (1) ergodic literature (1) Ergodics (1) ergonomics (1) Erotica (1) Errata (1) Escape game (1) escapism (2) eSport (2) eSports (25) esports chants (1) Estrangement (1) Ethereum (2) ethical reasoning (2) ethics (22) ethics of positioning (1) ethnicity (1) Ethnography (16) ethnomethodology (2) Eufloria (1) Europe (1) evaluation (4) evaluation function (1) Evaluation methods (1) EVE Online (8) events (2) EverQuest (8) everyday history (1) everyday life (2) Everyday Space (1) Evocative games (1) Evocative object (1) evolution (2) Excessive and Compulsive Gaming (1) exclusivity (1) Execution Labs (1) exergaming (1) exertion game (1) exhibition (2) existential ludology (1) existentialism (3) expectations (1) Experience (13) experience design (2) Experience goods (1) experience point (1) experiential gestalt (1) experiential marketing (1) Experiential Modes (1) Experiential Narrative (1) Experiment (1) Experiment-Game (1) Experimental Art Games (1) experimental design (1) experimental game design (1) Experimental Methods (1) experimental player studies (1) experimental prototypes (1) experimental psychology (1) experimentation (2) expert interviews (1) expert play (1) expert survey (1) expertise (1) experts (1) exploit (1) exploitation (1) Exploration (5) exploratory factor analysis (1) exploratory search (1) Exposure to gambling (2) Expression (2) expressive AI (3) expressive computing (1) external grammars. 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Poetry and games (1) game affordances (1) Game AI (1) Game Analysis (13) Game Analytics (3) GAME APPRECIATION (1) game appropriation (1) Game Architecture Design (1) game archiving (1) game art (1) game atoms (1) Game Balance (1) game balancing (1) Game Boy Advance® (1) Game café (1) game capital (1) game centers (1) Game Challenges (1) Game character (1) game characteristics (1) Game characters (2) game clubs (1) game communities (1) game community (1) game composition (1) game concept (1) Game Construction (1) game consumption (1) game content (1) Game Content Generation (1) game context (1) Game Control (1) game controller (1) game creation tools (1) Game criticism (3) Game critique (1) game culture (9) game culture in Japan (1) game cultures (1) Game currency (1) Game definition (1) Game definitions (2) game design (144) Game design and development (1) Game Design Education (3) Game Design Elements (1) Game Design Framework (2) game design literature (2) game design patterns (4) game design pedagogy (1) Game design research (4) game design; 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methodology (1) optimistic execution (1) Optimization of Experience (1) oranda (1) Orchestration (1) order (1) Organisations (1) organization (2) organizational culture (1) organizational design (1) organizational structures (1) Oriental Philosophy (1) Orientalism (3) original experience (1) Oscillating Engrossment (1) otaku (1) Othering (2) otome games (1) OuLiPo (1) Overwatch (3) ownership (2) Pac-Man (1) pachinko (1) pacifism (1) paid co-player (1) paid co-playing practice (1) paidea (1) Paidia (2) paidiaic play (1) pandemic (1) panel study (1) Paper puzzle games (2) paper tray (1) papers please (1) Para-Ludic (1) PARACINEMA (1) paradigms (1) Paradox of Failure (1) Paradox of Horror (1) Paradox of Tragedy (1) PARAGAMING (1) parallax (1) parallel projection (1) paraludic (1) Parasites (1) paratelic (2) Paratext (4) paratexts (2) Paratextuality (3) parents (3) parents/guardians (1) participation (6) participation motivation (1) participative action research (1) participative observation (1) participatory culture (12) participatory design (6) passionate work (1) patch (2) Patch notes (1) Patching (1) patent (1) paternity (1) path (1) Path of Exile (1) Pathfinding (2) pathos formula (1) Patreon (1) Pattern (1) Pattern language; 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(2) popular history (1) porgraphic games (1) porn (1) Pornography (5) port (2) Portugal (2) positive negative experience (1) positive negative experiences (3) possible world theory (1) possible worlds (2) Post-Anthropocene (1) post-apocalypse (1) Post-Colonial (1) Post-digital (2) post-ludology (1) Post-match accounts (1) post-phenomenology (3) post-self (1) post-structuralism (1) postdigital (1) posthuman (1) posthuman animals (1) posthumanism (11) Postindustrial Society (1) postwar Japan (2) power (8) power gamers (1) power gaming (1) Power Laws (1) Power-ups (1) practical (1) practice (1) practice based (1) practice of agency (1) practice theory (3) practices (2) pragmatic-uses-of-gaming (1) pragmatism (1) pranks (1) praxis (1) pre-production (1) precarity (2) preference (1) preferences (1) Preferred Play (1) premium (1) presence (8) preservation (5) preservation of the cultural heritage (1) pricing models (1) primary school education (1) principles (1) Prior gaming experience (1) private servers (1) pro-player (1) pro-social behavior (1) Problem Based Learning (1) problem solving (3) procedural (2) procedural aesthetics (1) procedural content generation (6) Procedural cultural sign systems generation (1) procedural culture (1) procedural expression (1) Procedural form (1) Procedural generation (1) Procedural Representation (1) procedural rhetoric (11) procedural rhetorics (1) proceduralism (2) Process Assessment of the Learner: Testing Battery for Reading and Writing (PAL-RW) (1) process drama (1) Procrustes (1) producer (1) Product lifecycle (1) product placement (1) Production of Culture (1) production pipeline (1) production studies (8) productivity (3) produsers (1) profession (1) professional (1) professional gaming (2) professional knowledge (1) professional players (1) Professional Vision (1) professional wrestling (1) professional wrestling videogames (1) Professionalization (2) Progetto Ustica (1) program. 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(1) social construction (2) social context effects (1) social contexts (1) Social Control (2) social death (1) social dilemma (1) social dilemmas (1) social dynamics (1) Social emotion (1) social expansion (1) social experience (1) Social Features (1) social games (9) social gaming (4) social history (1) social impact games (1) social interaction (8) social interaction in games (1) social issues (3) social justice (2) social kinds (1) social live streaming services (1) social media (4) social mores (1) SOCIAL NATWORKS (1) Social Network (1) Social Network Analysis (2) Social network games (3) social networked media (1) social networking (1) social networks (5) social normative theory (1) social norms (1) social perception (1) Social Play (8) social practice (2) Social Pressure (1) social relationships (1) social robot (1) social sciences (2) social sculpture (1) social structure (1) Social views on information (1) Social VR (1) socialisation (1) SocialIssues (1) sociality (1) socialization (2) socially inept (1) society (1) socio-cultural (1) socio-spatial (1) Socio-technical (1) socio-technical systems (1) Socioeconomic (1) sociolinguistics (1) sociological imagination (1) sociology (3) sociology of digital play (1) sociotechnical assemblage (1) Sociotechnical Development Approach (1) software (2) software architecture (1) Software Piracy (1) software studies (1) Solo play (1) sonic art (1) sonification (1) Sony (1) sound (2) sound design (2) Sound Processing (1) sound taxonomy (1) soundtrack (1) Source code (1) South Korea (2) space (17) Space Invaders (1) spaces (3) Spatial and temporal representation (1) spatial concepts (1) spatial configuration (1) Spatial context (1) spatial design (1) spatial generation (1) spatial narrative (1) spatial politics (2) spatial practices (1) spatial representation (1) spatiality (2) spawncamping (1) speaker series (1) Spec Ops: The Line (1) spectacle (2) spectating (1) spectatorship (7) spectatorship diversity (1) Speculative Realism (1) Speech (1) speech acts (1) speech community (1) speech recognition (1) speeches (1) speed (1) Speed run (1) Speedrun (1) speedrunning (2) Spore (1) sports (2) sports tourism (1) spreadable media (1) Square Enix (1) squid game (1) staging-play (1) standardization (1) standpoint feminism (1) Stanislavski (1) Stardew Valley (1) startle (1) statistics (1) status (2) stealth (1) Steam (1) STEM (1) STEM Education (1) stepped care (1) stereotype (2) stereotyping (1) Stigma (3) stigma management (1) stigma theory (1) Stigmatization (1) stimulated recall (1) stimulus (1) story (4) Story Construction (1) story placement (1) story simulation (1) story telling (1) Story-Based Games (1) story-driven video games (1) storygames (2) storytelling (7) storytelling agents (1) storytelling system (1) strategic management (1) strategies (1) strategy (4) strategy games (5) stream culture (1) streamer (2) streaming (5) streamviewing context (1) stress (2) Stress Management (1) Structural Analysis (1) structuralism (1) structure (1) students (1) Study (2) study design (1) study of audience (1) style (2) styles of play (1) subculture (1) subcultures (1) Subfield (1) subjectification (1) Subjective Avatars (1) subjectivity (8) subscription gifting (1) subversion (3) Subversive Game Design (1) Subversive Play (1) success (1) Sudoku (2) sugoroku (1) Super Meat Boy (1) Super Monkey Ball (3) Super Smash Bros. 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Using an RFID game to phenomenologically test a theoretical systemic model for describing ambient games

Eyles Mark Eglin Roger

2009 DiGRA ’09 – Proceedings of the 2009 DiGRA International Conference: Breaking New Ground: Innovation in Games, Play, Practice and Theory

2009

Imagine what Brian Eno’s genre defining 1978 album Music for Airports (Eno, 1978) would be if it were a game. The game might produce a mood in an environment; the player able to dip in and out of play, which could be facilitated by not having to carry gaming devices, allowing periods of disengagement from the game. The player’s everyday actions would generate data to move the game forward, causing game events. However, it should also be possible for the player to change their behaviour in order to participate more actively in the game, varying their involvement with the game from intense engagement to forgetting they are even playing. The proposed game would span both real and virtual worlds, with player actions in the real world affecting events in the virtual world. We have named this imagined game genre ‘ambient games’ (M. Eyles & Eglin, 2007a). Ambient games may be considered a type of pervasive game (‘a radically new game form that extends gaming experiences out into the physical world’ (Waern, 2006)) in which the game is embedded in the environment and the player may not need to carry digital equipment around with them and, crucially, can continue to actively play while ignoring the game. This paper proposes a systemic domain (Eglin, Eyles, & Dansey, 2007) theoretical model for understanding the underlying properties of ambient games, comparing and contrasting them with computer and video games. The theoretical models of both computer and video games and ambient games are used to generate player activity gameflow diagrams, in which the progress a player makes through the domains in the systemic models while playing a game are clearly shown. A game design research methodology (M. Eyles, Eglin, R., 2008) is used to investigate the ambient game systemic domain model and player activity gameflows. Ambient games, using RFID technology and pedometers, allow players to experience a game in which they are able to vary their involvement while engaged in other everyday activities. In order to discover the lived experience of players of ambient games existential phenomenological methods and in particular template analysis (King, 2008) are used. Studies and observations are described in which ambient games are used within the overarching game design research methodological framework.

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“I Like the Idea of Killing But Not the Idea of Cruelty”: How New Zealand youth negotiate the pleasures of simulated violence

Schott Gareth

2009 DiGRA ’09 – Proceedings of the 2009 DiGRA International Conference: Breaking New Ground: Innovation in Games, Play, Practice and Theory

2009

‘For all its horror, you can’t help but gape at the awful majesty of combat … It fills the eye. It commands you. You hate it, yes, but your eyes do not’. The aim of this paper is to account for the experience of a two-year research project, funded by the Royal Society of New Zealand. This project sought to interrogate commonly articulated beliefs concerning the contribution of games to the ‘debauched innocence of our young’. Akin to the seemingly incompatible sentiments expressed in the opening quotation, the project broadly acknowledged the complexity of players’ relationship with violence as it is articulated in interactive digital games. To achieve this the project prioritized the experiences and perspectives of young people on the nature and function of what is commonly understood as ‘violent’ content within games. Despite forming the readership of popular culture, young people are commonly denied a voice by the very ‘authorities and opinion makers’ that chastise their practices. This paper highlights how players variously contested the term ‘violence’ for its expansive nature and the appropriateness of the way it is unquestioningly and legitimately employed to express what happens in games.

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Agency Reconsidered

Wardrip-Fruin Noah Mateas Michael Dow Steven Sali Serdar

2009 DiGRA ’09 – Proceedings of the 2009 DiGRA International Conference: Breaking New Ground: Innovation in Games, Play, Practice and Theory

2009

The concept of “agency” in games and other playable media (also referred to as “intention”) has been discussed as a player experience and a structural property of works. We shift focus, considering agency, instead, as a phenomenon involving both player and game, one that occurs when the actions players desire are among those they can take (and vice versa) as supported by an underlying computational model. This shifts attention away from questions such as whether agency is “free will” (it is not) and toward questions such as how works evoke the desires agency satisfies, employ computational models in the service of player action and ongoing dramatic probability, use interfaces and mediation to encourage appropriate audience expectation, shift from initial audience expectation to an understanding of the computational model, and can be shaped with recognition of the inherently improvisational nature of agency. We focus particularly on agency in relation to the fictional worlds of games and other playable media.

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The Game Frame: Systemizing a Goffmanian Approach to Video Game Theory [Extended Abstract]

Deterding Sebastian

2009 DiGRA ’09 – Proceedings of the 2009 DiGRA International Conference: Breaking New Ground: Innovation in Games, Play, Practice and Theory

2009

This paper offers a review, explication and defense of Erving Goffman’s Frame Analysis (1974) as a valid contemporary sociological theory of play, games, and video games. To this end, it provides an introduction the frame analytic conception of play, games and video games. It demonstrates that this account provides an explanatory (rather than merely descriptive) model for the sociality of the game/non-game boundary or ‘magic circle’, as well as phenomena that trouble said boundary, like pervasive games or ARGs. To substantiate the timeliness of a frame analytic approach to games, the paper compares it to and partially takes issue with practice theory, specifically Thomas Malaby‘s recent “new approach to games”. The conclusion summarizes the key characteristics, advantages and limitations of a frame analytic account of video games.

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‘Remembering How You Died’: Memory, Death and Temporality in Videogames [Extended Abstract]

Mukherjee Souvik

2009 DiGRA ’09 – Proceedings of the 2009 DiGRA International Conference: Breaking New Ground: Innovation in Games, Play, Practice and Theory

2009

Death is an intrinsic part of gameplay. On considering the role of killing, dying and negotiating the ‘undead’ in videogames, one cannot be faulted for noting in them an obsessive engagement with the act of dying. It is almost a prerequisite that the player’s avatar has to ‘die’ many times in the process of unravelling the plot. Instead of the traditional tying and untying (desis and lusis) of narrative plots, held sacrosanct since Aristotle, videogame narratives are characterised by ‘dying and undying’. The sense of an ending, as literary theorist Sir Frank Kermode calls it, is constantly frustrated by its absence in videogames. Western conceptions of ending, whether Hellenic or Judaeo- Christian, are based on telos and a linear temporality. In a culture where death is a grim finality and where resurrection is only possible by the divine, videogames seem to shockingly trivialise death by adding to it the perspective of multiplicity. Videogame theorist, Gonzalo Frasca, observes that from the perspective of real life, this reversibility can be seen as something that trivializes the “sacred” value of life. This paper argues against such a conception and in doing so, it shows how videogames point to a different but equally serious view of death and endings that has so far been largely ignored due to an occidental bias.

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Ethically Notable Videogames: Moral Dilemmas and Gameplay

Zagal José P.

2009 DiGRA ’09 – Proceedings of the 2009 DiGRA International Conference: Breaking New Ground: Innovation in Games, Play, Practice and Theory

2009

In what ways can we use games to make moral demands of players and encouraging them to reflect on ethical issues? In this article we propose an ethically notable game as one that provides opportunities for encouraging ethical reasoning and reflection. Our analysis of the videogames Ultima IV, Manhunt, and Fire Emblem: Radiant Dawn highlights the central role that moral dilemmas can play towards creating ethically notable games. We discuss the different ways that these are implemented, such as placing players in situations in which their understanding of an ethical system is challenged, or by creating moral tension between the player’s goals and those posed by the narrative and the gameplay of a game. We conclude by noting some of the challenges of creating ethically notable games including ensuring that the ethical framework in a game is both discernable and consistent as well as ensuring that the dilemma is actually a moral one and that the player, rather than the game characters, is the one facing it.

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Boys’ Play in the Fourth Space: Freedom of Movements in a Tween Virtual World

Searle Kristin A. Kafai Yasmin B.

2009 DiGRA ’09 – Proceedings of the 2009 DiGRA International Conference: Breaking New Ground: Innovation in Games, Play, Practice and Theory

2009

Over a decade ago, Henry Jenkins wrote “‘Complete freedom of movement’: Video Games as gendered play spaces” in which he argued that video games provide a contemporary alternative to the out of doors freedom of movement boys historically accessed. Video games operate like a ‘fourth space’ (a term coined by Van Vliet), a muchneeded alternative to the adult-supervised and structured spaces of home, schools and playgrounds. These findings echoed the work of many developmental psychologists and others who have long understood that children’s access to play in particular spaces is gendered. We draw on Jenkins’ understanding of “freedom of movement” and developmental psychologists’ research into gender play and gendered play spaces to examine boys’ play within Whyville.net, a virtual world that had 1.5 million registered users between the ages of 8 and 16 at the time of our study. While we have a lot of quantitative information about boys’ play in video games and virtual worlds, we know little qualitatively about how they play. This stands in contrast to our nuanced understandings of why girls and women do or do not play, and how they play. Our goal was to extend Jenkins’ notion of “freedom of movement” into virtual worlds, which differ from console games in that players are responsible for constructing much of the content and they often lack a finite goal and story. Combining quantitative and qualitative methods, we analyzed logfile data of 595 players involved in online gaming over a sixmonth period. Twenty-one players also participated in an afterschool gaming club with online and offline spaces. We looked at activity frequencies across 13 categories and analyzed logfile data qualitatively, supplementing our understandings with data from field notes, interviews, and video. Three case studies of boy players were developed, with each player representing a different level of expertise and participation (core, semi-core, peripheral). In extending “freedom of movement” into virtual worlds, we address boys’ navigation of virtual spaces as a process with geographical, personal and social dimensions. We also view these play spaces as gendered along three dimensions; mobility within the space, access to the space, and control over the space. An overview of the boys’ day-to-day activities in Whyville and discussion of their establishment of “home bases,” or spaces which they used as platforms for further exploration in Whyville, shows commonalities across boys’ play. These overviews are supplemented with in-depth analyses of boys’ activities in Whyville, which show nuanced differences connected to their varying levels of expertise. The fact that boy players have “home bases” where they settle for greater or lesser periods of time is compelling and contrasts with the perpetual motion of boys playing console video games. It also contrasts with previous studies of gendered play, which emphasized girls playing closer to home while boys ventured further afield. Along the social dimensions of boys play we found echoes of Jenkins’ characteristics of boys’ historical outdoors play and monster chasing in console video games. Finally, we found it difficult to compare the personal dimension because the possibilities offered to boys for gender play through avatar design activities are more expansive than their ability to choose from a set number of stock characters in console video games. The increased importance of body image in relation to masculinity was also evident in the boys’ attention to avatar design. We conclude that virtual worlds allow for freedom of movement, but in slightly different ways than console video games. Without a finite goal to their play, boys are able to place an increased emphasis on historical dimensions of boys play and create their adventures through interaction with one another and the space of the virtual world simultaneously, rather than through following a prescribed adventure.

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The new gatekeepers: The occupational ideology of game journalism

Sihvonen Tanja

2009 DiGRA ’09 – Proceedings of the 2009 DiGRA International Conference: Breaking New Ground: Innovation in Games, Play, Practice and Theory

2009

This paper will contextualize the occupational ideology of game journalism by providing a brief introduction to the political economy of game publications. The role of various industry actors (e.g. game publishers, PR agents and brand managers) will be positioned against those of the peripheral industry (e.g. critics, journalists, and editors). Because the game industry is the principal advertiser for many game publications, and because of its tight grip on the most valuable source material, i.e. (early) access to games and restricted insider information, the job of a game journalist consists in many ways of balancing acts between a perceived loyalty to the reading public and a dependency on industry material.

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