Repetition and Ritual Logic in Video Games

2011 ◽  
Vol 6 (6) ◽  
pp. 499-512 ◽  
Author(s):  
Alison Gazzard ◽  
Alan Peacock
Keyword(s):  
Popular Culture ◽  
Video Games ◽  
Video Game ◽  
Real World ◽  
Game Play ◽  
The Real ◽  
Third Person

By moving away from a model of ritual that focuses on magic and fantasy worlds, this article seeks to broaden the discussion of ritual actions, performances, and objects in first- and third-person video games. Ritual will be understood through the idea of a “ritual logic” that enables the wider associations of ritual in the virtual as opposed to the real world to be analyzed, and through the key element of repetition in game play. In part derived from the intertextuality of video game genres and associated popular culture artifacts such as films and novels, ritual logic contributes to the players’ knowledge and understanding of what ritual is and what ritual does in the game, and how ritual can be used to progress its narrative and play trajectories.

scholarly journals Gamecloud - A Platform for Connecting Video Games

2016 ◽  
Vol 9 (1) ◽  
Author(s):  
Janne Parkkila ◽  
Kati Järvi ◽  
Timo Hynninen ◽  
Jouni Ikonen ◽  
Jari Porras
Keyword(s):  
Video Games ◽  
Video Game ◽  
Real World ◽  
The Real ◽  
Platform Architecture ◽  
Mobile Market ◽  
Digital Nature ◽  
Interactive Medium

The growing video game markets, especially the mobile market, have caused problems in terms of new game products being found by players. Cross-promotion and in-game advertising have been used to promote video games inside each other. However, the digital nature of video games as an interactive medium enables deeper collaboration between video games, and could be used in a more profound manner. We interviewed Finnish video game companies to understand if they were interested in creating deeper collaboration between their game products, and how such collaboration could take place. Based on the results, we built a platform called Gamecloud for connecting games together. We present the platform architecture and demonstrate it in use, with examples of connecting games with other games and connecting games with the real world, alongside an example of physical exercising.

Apocalypse and Video Games

2020 ◽  
pp. 432-449
Author(s):  
Rachel Wagner
Keyword(s):  
Video Games ◽  
Video Game ◽  
Real World ◽  
The Real ◽  
The World ◽  
Do So

Though it might seem surprising at first, video games can work a lot like apocalypses. Both offer imaginary visits to otherworldly spaces that were designed to offer metaphysical comfort. Both, through theology or programming, allow us to temporarily enter into structured spaces that are more predictable than our own world. However, instead of depicting God as the means of control over the world, as apocalypses do, some video games place the player in the position of realizing renewed order through the performance of virtual violence. This chapter considers how the video game Darksiders draws on biblical apocalyptic imagery and also utilizes traditional apocalyptic elements like an us-versus-them structure, the glorification of violence, and a desire for renewed order in the world. Darksiders also reorients the agency of order-making, placing the player at the center of the action and depicting God as largely absent from human struggle. Games like Darksiders may comfort uneasy players, just as apocalypses do, by depicting a world that can be controlled. But they typically do so in a way that demands virtual violence of the player, calling us to question what role such games may play in shaping how we see ourselves in the real world.

scholarly journals Taking a <i>Breath of the Wild</i>: are geoscientists more effective than non-geoscientists in determining whether video game world landscapes are realistic?

2019 ◽  
Vol 2 (2) ◽  
pp. 117-124
Author(s):  
Rolf Hut ◽  
Casper Albers ◽  
Sam Illingworth ◽  
Chris Skinner
Keyword(s):  
Video Games ◽  
Video Game ◽  
Real World ◽  
Great Opportunity ◽  
Van Gogh ◽  
Landscape Features ◽  
The Real ◽  
Game World ◽  
Significant Difference ◽  
Missed Opportunity

Abstract. From the wilderness of Hyrule, the continent of Tamriel, and the geographies of Middle Earth, players of video games are exposed to wondrous, fantastic, but ultimately fake, landscapes. Given the time people may spend in these worlds compared to the time they spend being trained in geoscience, we wondered whether expert geoscientists would differ from non-geoscientists in whether they judge the landscapes in these video games to be “realistic”. Since video games present a great opportunity for tangential learning, it would be a missed opportunity if it turns out that features obviously fake to geoscientists are perceived as plausible by non-geoscientists. To satisfy our curiosity and answer this question, we conducted a survey where we asked people to judge both photos from real landscapes as well as screenshots from the recent The Legend of Zelda: Breath of the Wild video game on how likely they thought the features in the picture were to exist in the real world. Since game world screenshots are easily identified based on their rendered, pixelated nature, we pre-processed all pictures with an artistic “Van Gogh” filter that removed the rendered nature but retained the dominant landscape features. We found that there is a small but significant difference between geoscientists and non-geoscientists, with geoscientists being slightly better at judging which pictures are from the real world versus from the video game world. While significant, the effect is small enough to conclude that fantastical worlds in video games can be used for tangential learning on geoscientific subjects.

Only problem gamblers spend less money when loot boxes are removed from a game: A before and after study of Heroes of the Storm

2019 ◽  
Author(s):  
David Zendle
Keyword(s):  
Video Games ◽  
Problem Gambling ◽  
Video Game ◽  
Real World ◽  
Complex Pattern ◽  
Problem Gamblers ◽  
Before And After ◽  
Gambling Severity ◽  
Reliable Correlation ◽  
Before And After Study

Loot boxes are items in video games that may be paid for with real-world money, but which contain randomised contents. There is a reliable correlation between loot box spending and problem gambling severity: The more money gamers spend on loot boxes, the more severe their problem gambling tends to be. However, it is unclear whether this link represents a case in which loot box spending causes problem gambling; a case in which the gambling-like nature of loot boxes cause problem gamblers to spend more money; or whether it simply represents a case in which there is a general dysregulation in in-game spending amongst problem gamblers, nonspecific to loot boxes.The multiplayer video game Heroes of the Storm recently removed loot boxes. In order to better understand links between loot boxes and problem gambling, we conducted an analysis of players of Heroes of the Storm (n=112) both before and after the removal of loot boxes.There were a complex pattern of results. In general, when loot boxes were removed from Heroes of the Storm, problem gamblers appeared to spend significantly less money in-game in contrast to other groups. These results suggest that the presence of loot boxes in a game may lead to problem gamblers spending more money in-game. It therefore seems possible that links between loot box spending and problem gambling are not due to a general dysregulation in in-game spending amongst problem gamblers, but rather are to do with specific features of loot boxes themselves.

Non-religious Players Asking Big Questions: Video Game Worlds Affording Affinities of Meaningful Encounters

2021 ◽  
pp. e20200012
Author(s):  
Heidi Rautalahti
Keyword(s):  
Popular Culture ◽  
Video Games ◽  
Video Game ◽  
Meaning Making ◽  
Qualitative Interview ◽  
Personal Lives ◽  
Interview Method ◽  
Search For Self ◽  
Game Players

The article examines player narratives on meaningful encounters with video games by using an argumentative qualitative interview method. Data gathered among Finnish adult video game players represents narratives of important connections in personal lives, affinities that the article analyzes as further producing three distinctive themes on meaningful encounters. Utilizing a study-of-religion framework, the article discusses meaning making and emerging ways of meaningfulness connected to the larger discussion on the “big questions” that are asked, explored, and answered in popular culture today. Non-religious players talk about intricate and profound contemplations in relation to game memories, highlighting how accidental self-reflections in mundane game worlds frame a continuing search for self.

Training cognition with video games

2021 ◽  
Author(s):  
Pedro Cardoso-Leite ◽  
Morteza Ansarinia ◽  
Emmanuel Schmück ◽  
Daphne Bavelier
Keyword(s):  
Video Games ◽  
Video Game ◽  
Cognitive Enhancement ◽  
Simulation Games ◽  
Impact Action ◽  
Systematic Assessment ◽  
Game Mechanics ◽  
Third Person ◽  
State Of Affairs ◽  
New Research

This chapter reviews the behavioral and neuroimaging scientific literature on the cognitive consequences of playing various genres of video games. The available research highlights that not all video games have similar cognitive impact; action video games as defined by first- and third-person shooter games have been associated with greater cognitive enhancement, especially when it comes to top-down attention, than puzzle or life-simulation games. This state of affairs suggests specific game mechanics need to be embodied in a video game for it to enhance cognition. These hypothesized game mechanics are reviewed; yet, the authors note that the advent of more complex, hybrid, video games poses new research challenges and call for a more systematic assessment of how specific video game mechanics relate to cognitive enhancement.

Waltzing on Rooftops and Cobblestones

2021 ◽  
Vol 2 (3) ◽  
pp. 34-55
Author(s):  
Ailbhe Warde-Brown
Keyword(s):  
Video Games ◽  
Video Game ◽  
Real World ◽  
World History ◽  
Interaction Model ◽  
Virtual Space ◽  
Open World ◽  
Integrated Approaches ◽  
The Relationship

The relationship between music, sound, space, and time plays a crucial role in attempts to define the concept of “immersion” in video games. Isabella van Elferen’s ALI (affect-literacy-interaction) model for video game musical immersion offers one of the most integrated approaches to reading connections between sonic cues and the “magic circle” of gameplay. There are challenges, however, in systematically applying this primarily event-focused model to particular aspects of the “open-world” genre. Most notable is the dampening of narrative and ludic restrictions afforded by more intricately layered textual elements, alongside open-ended in-game environments that allow for instances of more nonlinear, exploratory gameplay. This article addresses these challenges through synthesizing the ALI model with more spatially focused elements of Gordon Calleja’s player involvement model, exploring sonic immersion in greater depth via the notion of spatiotemporal involvement. This presents a theoretical framework that broadens analysis beyond a simple focus on the immediate narrative or ludic sequence. Ubisoft’s open-world action-adventure franchise Assassin’s Creed is a particularly useful case study for the application of this concept. This is primarily because of its characteristic focus on blending elements of the historical game and the open-world game through its use of real-world history and geography. Together, the series’s various diegetic and nondiegetic sonic elements invite variable degrees of participation in “historical experiences of virtual space.” The outcome of this research intends to put such intermingled expressions of space, place, and time at the forefront of a ludomusicological approach to immersion in the open-world genre.

scholarly journals Considerations for comparing video-game AI agents with humans

2020 ◽  
Author(s):  
Christopher R Madan
Keyword(s):  
Video Games ◽  
Video Game ◽  
Reaction Times ◽  
Game Play ◽  
Complex Action ◽  
Potential Approach ◽  
Video Game Play ◽  
Game Ai ◽  
Strategy Games ◽  
Action Sequences

Video games are sometimes used as environments to evaluate AI agents' ability to develop and execute complex action sequences to maximize a defined reward. However, humans cannot match the fine precision of timed actions of AI agents--in games such as StarCraft, build orders take the place of chess opening gambits. However, unlike strategy games, such as chess and go, video games also rely heavily on sensorimotor precision. If the `finding' was merely that AI agents have superhuman reaction times and precision, none would be surprised. The goal is rather to look at adaptive reasoning and strategies produced by AI agents that may replicate human approaches or even result in strategies not previously produced by humans.Here I will provide: (1) an overview of observations where AI agents are perhaps not being fairly evaluated relative to humans, (2) a potential approach for making this comparison more appropriate, and (3) highlight some important recent advances in video-game play provided by AI agents.

The Games Men Play

2017 ◽  
pp. 71-87
Author(s):  
Eric Niemi
Keyword(s):  
Popular Culture ◽  
Video Games ◽  
Video Game ◽  
Critical Discourse ◽  
Male Students ◽  
Discourse Communities ◽  
Critical Part ◽  
Insight Into

This chapter conveys the results of a study examining how male students use video games to construct their masculinity. Applying a critical discourse methodology, the study provides insight into how men construct their masculinity within video game discourse communities and how the construction applies to other discourses. It examines how men enter the discourse, what they learn in the discourse, and then how they apply that learning to other discourse communities. It concludes with recommendations and suggestions regarding how video games are a critical part of popular culture that facilitates construction of an identity through the multitude of encounters and relationships within the discourse.

Exploring Complex Intertextual Interactions in Video Games

2016 ◽  
pp. 108-128
Author(s):  
Kathy Sanford ◽  
Timothy Frank Hopper ◽  
Jamie Burren
Keyword(s):  
Video Games ◽  
Language Arts ◽  
Video Game ◽  
Formal Education ◽  
Teaching Tool ◽  
Game Play ◽  
Video Game Play ◽  
Class A ◽  
Video Gamers ◽  
Grade 11

This chapter explores the intertextual nature of video games. Video games are inherently intertextual and have utilized intertextuality in profound ways to engage players and make meaning. Youth who play video games demonstrate complex intertextual literacies that enable them to construct and share understandings across game genres. However, video game literacy is noticeably absent from formal education. This chapter draws from bi-monthly meetings with a group of youth video gamers. Video game sessions focused on exploring aspect of video game play such as learning and civic engagements. Each session was video recorded and coded using You Tube annotation tools. Focusing on intertextuality as an organizing construct, the chapter reports on five themes that emerged that were then used to help explore the use of video games as teaching tool in a grade 11 Language Arts class. A critical concept that emerged was the idea of complex intertextual literacy that frames and enables adolescents' engagement with video games.

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