scholarly journals Poetyka grozy. Wykorzystanie konwencji gatunkowej horroru w grach cyfrowych

2018 ◽  
Vol 23 (32) ◽  
Author(s):  
Joanna Sikorska
Keyword(s):  
Video Games ◽  
Video Game ◽  
Digital Medium ◽  
Mise En Scene ◽  
Film Genres ◽  
The Way

The aim of the article is to illustrate the using of the horror’s convention in video games and to indicate the way of reinterpretation this convention in the digital medium. In the first part of the work the author presents ways of spaces’ arrangement in survival horror. The analysis of mise-en-scene, including non-interactive cut-scenes, revealed in which ways video games refer to the film genres. In the second part of the work the author analyzes the category of the suspense in the digital medium, taking audial and visual aspects of video game into consideration.

The Way Ahead for Serious Games

2010 ◽  
pp. 305-310 ◽  
Author(s):  
Jan Cannon-Bowers
Keyword(s):  
Video Games ◽  
Video Game ◽  
Serious Games ◽  
End Users ◽  
Design Features ◽  
Rigorous Evaluation ◽  
Success Stories ◽  
Community Of Researchers ◽  
Video Game Technology ◽  
The Way

Despite the fact that people have been playing games since before recorded history, the field of Serious Games—as a scientifically valid and viable area of investigation and application—is really in its infancy. In fact, the rise in availability and popularity of video games is a relatively recent phenomenon and actual applications of video game technology to serious pursuits are relatively rare. That said, I believe that Serious Games are coming into their own, and predict that the next few years will witness an explosion of new games, design features and guidelines, success stories, and scientific findings regarding their effectiveness. How quickly and fruitfully this happens depends, in part, on how well the community of researchers, designers, developers, evaluators, and end users can come together to systematically conceive of, and deploy games for serious purposes. Haphazard attempts—i.e., those that do not build on the findings of others’ experiences—will retard the speed at which viable games are consistently produced. Likewise, rigorous evaluation of those games that are developed cannot be neglected or future developers will likely fall prey to the same problems and pitfalls as their predecessors.

The Atari VCS

2018 ◽  
Author(s):  
Kenneth B. McAlpine
Keyword(s):  
Video Games ◽  
Video Game ◽  
Hardware Design ◽  
Living Room ◽  
Home Video ◽  
Video Game Music ◽  
Sound Chip ◽  
The Way

This chapter explores the Atari VCS, the machine that took video games out of the arcades and into the living room and established Atari as the dominant player in the home video games industry, at least for a time. It examines the context that surrounded the birth of the Atari VCS and how that influenced its hardware design, in turn shaping both the sound and people’s expectations of video game music. The Atari’s sound chip, the Television Interface Adaptor, gave the Atari VCS what might charitably be described as a ‘characterful’ voice. By reviewing the hardware, this chapter explores how and why the Atari VCS sounded just the way it did, and by exploring some of the games that were released for the platform the chapter shows how, while sound games did indeed sound dreadful, with a little musical ingenuity they could work wonderfully as game soundtracks.

scholarly journals Performing as video game players in Let's Plays

2016 ◽  
Vol 22 ◽  
Author(s):  
Josef Nguyen
Keyword(s):  
Video Games ◽  
Video Game ◽  
Game Playing ◽  
Game Play ◽  
Video Recordings ◽  
Game Players ◽  
The Way

This article examines the fan practice of Let's Plays—video recordings that video game players create of themselves playing that include live commentary or riffing. I argue that the riffing accompanying game play footage in Let's Plays highlights how players play idiosyncratically by constructing and performing game-playing personalities. These videos emphasize the performative nature of video game players as fans who actively negotiate with the video games that they play through presentations of individual playing styles and experiences. I show that in accounting for how and why they play the way that they do, Let's Players demonstrate what I suggest are various modes of playing in which players can engage with video games generally. Consequently, creating, sharing, and discussing Let's Plays can render visible a wider diversity of game-playing identities, experiences, and styles.

Embracing Video Games for Strategic Thinking, Collaboration, and Communication Skills Practice

2021 ◽  
pp. 184-202
Author(s):  
Katherine Joan Evelyn Hewett
Keyword(s):  
Video Games ◽  
21St Century ◽  
Video Game ◽  
Literacy Practices ◽  
Pop Culture ◽  
Strategic Thinking ◽  
New Type ◽  
Culture Design ◽  
Collaboration And Communication ◽  
The Way

According to the Entertainment Software Association (ESA) report, 70% of families have a child who is actively playing video games at home. This pop culture phenomenon has challenged the way teachers think about learning and engagement. This chapter explores how the nature, culture, design, mechanics, and logistics of video games shape the way classroom gamers think. It examines how video games provide a space for strategic practice, the 21st-century skills acquired, and the tools gamers use as experts. Presenting background and context to help better understand why and how video game environments develop strategic thinking, the purpose of this chapter is to encourage educators to embrace video games to harness pop culture experiences as a means to motivate students to develop 21st-century literacy practices and skills. Through the reflections and framework of a teacher's experience who is an active researcher, it also discusses how a popular mainstream video game in the classroom changed her teaching and opened her eyes to a new type of learner.

scholarly journals Futurity as an Effect of Playing Horizon: Zero Dawn (2017)

Humanities ◽  
2021 ◽  
Vol 10 (2) ◽  
pp. 72
Author(s):  
Nicole Falkenhayner
Keyword(s):  
Video Games ◽  
Video Game ◽  
Aesthetic Experience ◽  
Cultural Work ◽  
Digital Medium ◽  
Dystopian Fiction ◽  
The Future ◽  
Temporal Progress

Futurity denotes the quality or state of being in the future. This article explores futurity as an effect of response, as an aesthetic experience of playing a narrative video game. In recent years, there has been a growing interest in the ways in which video games are engaged in ecocriticism as an aspect of cultural work invested in the future. In the presented reading of the 2017 video game Horizon: Zero Dawn, it is argued that the combination of the affect creating process of play, in combination with a posthumanist and postnatural plot, creates an experience of futurity, which challenges generic notions of linear temporal progress and of the conventional telos of dystopian fiction in a digital medium. The experience of the narrative video game Horizon Zero Dawn is presented as an example of an aesthetic experience that affords futurity as an effect of playing, interlinked with a reflection on the shape of the future in a posthumanist narrative.

scholarly journals GAMBARAN POLA KOMUNIKASI ORANG TUA DAN PERILAKU ANAK PENGGUNA VIDEO GAME DI SMP N 3 GAMPING SLEMAN

2018 ◽  
Vol 7 (1) ◽  
pp. 40-52
Author(s):  
Rifaldi Zulkarnaen ◽  
Sri Hendarsih ◽  
Eko Suryani
Keyword(s):  
Video Games ◽  
Video Game ◽  
Growth And Development ◽  
Effective Communication ◽  
Communication Patterns ◽  
Communication Pattern ◽  
Good Communication ◽  
And Behavior ◽  
The Way

By the development of the time, video games technology increasingly popular in the society starting from children to adults. The video games effect can disturb the growth and development of the children. Parents must give more concern and attitude for video games users. This concern and attitude must in the way how parent’s communication pattern. The effective communication can controled video games users. Children with the good communication pattern can give good or bad estimation if the childrens addiction from video games. This is too give the children bad attitude like estimation from parents.Purpose. The purpose of the research is to discribe the parents communication patterns and behavior of children user video games in SMP N 3 Gamping, Sleman. Methods. The method used is discriptive research. The study conducted in marc 2015. The research locatioan in SMP N 3 Gamping Sleman Yogyakarta. the subjects were child early teens video games users as many 49 users. The research used questionnaire about parents comunication pattern and behavior of child video game users. Last the analysis used distribution frequency.Results. The research shows 44,9% of parents using authoritaive communication pattern, 18,4 % parents used permissive communication pattern and 36,7 % parents used authotarian communication pattern. While the behavior of the children’s video game users are good is 81,6 % and 18,4 % are bad.Conclusion. Majority, parents used authoritative communication patterns to chlid of video games users and users have good behavior.

Beyond the Call of Duty: why shouldn't video game players face the same dilemmas as real soldiers?

2012 ◽  
Vol 94 (886) ◽  
pp. 711-737 ◽  
Author(s):  
Ben Clarke ◽  
Christian Rouffaer ◽  
François Sénéchaud
Keyword(s):  
Video Games ◽  
Video Game ◽  
Armed Conflicts ◽  
International Humanitarian Law ◽  
Humanitarian Law ◽  
Extrajudicial Killing ◽  
Game Players ◽  
The Way

AbstractVideo games are influencing users' perceptions about what soldiers are permitted to do during war. They may also be influencing the way combatants actually behave during today's armed conflicts. While highly entertaining escapism for millions of players, some video games create the impression that prohibited acts, such as torture and extrajudicial killing are standard behaviour. The authors argue that further integration of international humanitarian law (IHL) can improve knowledge of the rules of war among millions of players, including aspiring recruits and deployed soldiers. This, in turn, offers the promise of greater respect for IHL on tomorrow's battlefields.

Embracing Video Games for Strategic Thinking, Collaboration, and Communication Skills Practice

2022 ◽  
pp. 296-314
Author(s):  
Katherine Joan Evelyn Hewett
Keyword(s):  
Video Games ◽  
21St Century ◽  
Video Game ◽  
Literacy Practices ◽  
Pop Culture ◽  
Strategic Thinking ◽  
New Type ◽  
Culture Design ◽  
Collaboration And Communication ◽  
The Way

According to the Entertainment Software Association (ESA) report, 70% of families have a child who is actively playing video games at home. This pop culture phenomenon has challenged the way teachers think about learning and engagement. This chapter explores how the nature, culture, design, mechanics, and logistics of video games shape the way classroom gamers think. It examines how video games provide a space for strategic practice, the 21st-century skills acquired, and the tools gamers use as experts. Presenting background and context to help better understand why and how video game environments develop strategic thinking, the purpose of this chapter is to encourage educators to embrace video games to harness pop culture experiences as a means to motivate students to develop 21st-century literacy practices and skills. Through the reflections and framework of a teacher's experience who is an active researcher, it also discusses how a popular mainstream video game in the classroom changed her teaching and opened her eyes to a new type of learner.

scholarly journals Avatar 'n' Andy

Loading ◽  
2020 ◽  
Vol 13 (21) ◽  
pp. 34-54
Author(s):  
Philip Miletic
Keyword(s):  
Video Games ◽  
Cultural History ◽  
Video Game ◽  
Digital Medium ◽  
Early American ◽  
History Of ◽  
Time Periods

Despite recent criticisms that call out blackface in video game voice acting, the term “blackface” was and still is seldomly used to describe the act of casting white voice actors as characters of colour. As a result, the act of blackface in video game voice acting still occurs because of colorblind claims surrounding the digital medium and culture of games. In this paper, I position blackface in video game voice acting within a technological and cultural history of oral blackface and white sonic norms. I focus on three time periods: the Intellivision Intellivoice and the invention of a "universal" voice in video games; early American radio in the 1920s-1930s and the national standardization of voice; and colorblind rhetoric of contemporary game publishers/devs and voice actors.

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