The convergence of play: interrelations of social casino gaming, gambling, and digital gaming in Finland

2020 ◽  
Vol 20 (3) ◽  
pp. 414-435 ◽  
Author(s):  
Joseph Macey ◽  
Jani Kinnunen
Keyword(s):  
Animation ◽  
2021 ◽  
Vol 16 (1-2) ◽  
pp. 83-95
Author(s):  
Raz Greenberg

Produced throughout the 1980s using the company’s Adventure Game Interpreter engine, the digital adventure games created by American software publisher Sierra On-Line played an important and largely overlooked role in the development of animation as an integral part of the digital gaming experience. While the little historical and theoretical discussion of the company’s games of the era focuses on their genre, it ignores these games’ contribution to the relationship between the animated avatars and the gamers that control them – a relationship that, as argued in this article, in essence turns gamers into animators. If we consider Chris Pallant’s (2019) argument in ‘Video games and animation’ that animation is essential to the sense of immersion within a digital game, then the great freedom provided to the gamers in animating their avatars within Sierra On-Line’s adventure games paved the way to the same sense of immersion in digital. And, if we refer to Gonzalo Frasca’s (1999) divide of digital games to narrative-led or free-play (ludus versus paidea) in ‘Ludology meets narratology: Similitude and differences between (video) games and narrative’, then the company’s adventure games served as an important early example of balance between the two elements through the gamers’ ability to animate their avatars. Furthermore, Sierra On-Line’s adventure games have tapped into the traditional tension between the animator and the character it animated, as observed by Scott Bukatman in ‘The poetics of Slumberland: Animated spirits and the animated spirit (2012), when he challenged the traditional divide between animators, the characters they animate and the audience. All these contributions, as this articles aims to demonstrate, continue to influence the role of animation in digital games to this very day.


Author(s):  
Zimu Xu ◽  
Arun Sukumar ◽  
Vahid Jafari Sadeghi ◽  
Richard Tomlins ◽  
Fujia Li

Author(s):  
Anna Craft

The early twenty-first century is characterised by rapid change. Commentators note how permeating digital technologies engage increasing numbers of children, young people and adults as consumers and also producers. In the shifting technological landscape, childhood and youth are changing. Connectivity around the clock, with a parallel existence in virtual space, is seamlessly integrated with actual lives. Young people are skilful collaborators, navigating digital gaming and social networking with ease, capably generating and manipulating content, experimenting virtually with versions of their 'social face'. They are implicit, inherent and immersed consumers. They are digital possibility thinkers posing 'what if?' questions and engaging in 'as if' activity. This paper seeks to theorise such possibility thinking in a digital, marketised age, using two competing discourses: young people as vulnerable and at risk; or alternatively as capable and potent. The former perspective imbues anxiety about the digital revolution; the latter embraces it as exciting and enabling. As education providers seek to re-imagine themselves, neither is sufficient. Local and global challenges urgently demand our creative potential and wisdom. Drawing from work with schools, the paper argues for co-creating with students their education futures through dialogue to nurture the 4 Ps: plurality, playfulness, participation and possibilities.


CHANCE ◽  
2005 ◽  
Vol 18 (2) ◽  
pp. 41-47 ◽  
Author(s):  
Robert C. Hannum
Keyword(s):  

2018 ◽  
Author(s):  
Linda Katherine Kaye ◽  
Jo Bryce

This study examined differences in flow experiences and post-gameplay Positive and Negative Mood between solo and social digital gaming. This was achieved by obtaining gamers’ (N = 302) retrospective ratings of the experience of flow and post-gameplay mood based on recent solo and social gaming experiences, through the use of an online questionnaire. Positive mood was found to be significantly higher following social compared with solo gameplay, suggesting that playing games with others enhances enjoyment of the activity. Different levels of flow in gameplay were also found to be related to positive mood following both solo and social gameplay. There were no observed differences in experiences of flow and post-gameplay mood between online and offline, or competitive and cooperative gaming contexts. The findings suggest that “group flow” may be a useful concept in understanding the dynamics of social gaming as this has not been sufficiently examined in the current videogame literature.


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