Battle Hymn of the God-Slayers

2020 ◽  
Vol 1 (1) ◽  
pp. 2-19
Author(s):  
Thomas B. Yee
Keyword(s):  
Quantitative Analysis ◽  
Video Games ◽  
Friedrich Nietzsche ◽  
Video Game ◽  
Real World ◽  
Sacred Music ◽  
Analytic Methods ◽  
Topic Theory ◽  
Scholarly Attention

“God is dead,” declared philosopher Friedrich Nietzsche, “… and we have killed him” (1887)—a proclamation that numerous video game protagonists could aptly say by journey's end. The prominent god-slayer trope in video game storylines casts the gameworld's god(s) as the final boss, to be slain by players, inviting connection to real-world religious ideas. Adequate scholarly attention has not been given to the musical features of the god-slayer trope—specifically, the bosses’ unique battle tracks—to discover what the music's meaning contributes to the trope. Quantitative analysis of video games featuring the god-slayer trope reveals that the bosses’ battle tracks may strategically combine rock and sacred music topics for significant semiotic effect. This article explores the meanings associated with rock and sacred music topics, using analytic methods from the burgeoning field of musical semiotics. By invoking music-theoretic work in topic theory (Monelle 2006, Hatten 2004), agential modalities (Tarasti 1994), and virtual agency (Hatten 2018), I argue that the rock and the sacred music topics initially appear to conflict—but the trope serves as a hermeneutic premise for a meaningful and productive synthesis uniquely fit for the narrative god-slayer trope. Xenoblade Chronicles (2010) forms a striking case study, with its tracks “Zanza” and “The God-Slaying Sword” exemplifying the sacred-rock trope and its semiotic meaning in relation to the game's plot—a narratively apt battle hymn for the game's god-slaying protagonists. Using a cultural-historical lens, the conclusion explores connections between the narrative god-slayer trope and the descent of Japan's god-emperor from divinity to humanity.

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.

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.

Tusslers, Beatdowns, and Brothers: A Sociohistorical Overview of Video Game Arcades and theStreet FighterCommunity

2017 ◽  
Vol 14 (7-8) ◽  
pp. 742-762
Author(s):  
Michael Ryan Skolnik ◽  
Steven Conway
Keyword(s):  
Video Games ◽  
Identity Formation ◽  
Video Game ◽  
Economic Conditions ◽  
Moral Panics ◽  
The Social ◽  
History Of ◽  
And Performance ◽  
Historical Movement

Alongside their material dimensions, video game arcades were simultaneously metaphysical spaces where participants negotiated social and cultural convention, thus contributing to identity formation and performance within game culture. While physical arcade spaces have receded in number, the metaphysical elements of the arcades persist. We examine the historical conditions around the establishment of so-called arcade culture, taking into account the history of public entertainment spaces, such as pool halls, coin-operated entertainment technologies, video games, and the demographic and economic conditions during the arcade’s peak popularity, which are historically connected to the advent of bachelor subculture. Drawing on these complementary histories, we examine the social and historical movement of arcades and arcade culture, focusing upon the Street Fighter series and the fighting game community (FGC). Through this case study, we argue that moral panics concerning arcades, processes of cultural norm selection, technological shifts, and the demographic peculiarities of arcade culture all contributed to its current decline and discuss how they affect the contemporary FGC.

“Now They’re Playing with Power!”: Nintendo’s Classics and Franchise Legacy Management

2019 ◽  
pp. 105-118
Author(s):  
Matthew Thomas Payne
Keyword(s):  
Video Games ◽  
Video Game ◽  
Software And Hardware

Matthew Thomas Payne’s chapter considers the role of franchise management through video games. He uses the case study of Nintendo’s NES and SNES micro-consoles. His essay posits that franchises can refer to both software and hardware, as the built-in games on Nintendo’s mini-consoles function as a form of franchise management and corporate canonizing by privileging certain video game texts over others.

Categorisation of New Classes of Digital Interaction

Leonardo ◽  
2011 ◽  
Vol 44 (1) ◽  
pp. 90-91 ◽  
Author(s):  
Tack Woo ◽  
Kwangyun Wohn ◽  
Nigel Johnson
Keyword(s):  
Video Games ◽  
Video Game ◽  
Real World ◽  
Digital Culture ◽  
Physical Interaction ◽  
Interactive Installation

This article introduces a new concept, digital interactivity, through examining local digital culture; and video game culture is employed as a metaphor to interpret local digital culture. As a result, ‘control-’ and ‘communication’-based interaction are initiated, based on ‘user to media’ relationships. Based on the degree of physical interaction, ‘liminal’ and ‘transitive’ interactions are initiated. Less physical digital interaction is described as ‘liminal’ interaction and more physical digital interaction is described as ‘transitive’ interaction. These new classes of digital interaction can be applied to real-world examples, such as digital interactive installation artworks and video games.

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.

Virtual Total Control: Escaping a Simulated Prison

2016 ◽  
Vol 14 (1) ◽  
pp. 46-66 ◽  
Author(s):  
Kristine Levan ◽  
Steven Downing
Keyword(s):  
Video Game ◽  
Real World ◽  
Surveillance Systems ◽  
Media Portrayals ◽  
Prison Life ◽  
Total Control

Previous studies have examined media portrayals of total control and institutionalization in prison, and a few studies have considered the connection between media portrayals and depictions of prison escape attempts. The current inquiry seeks to fill this gap in the literature through an autoethnographic case study of the video game The Escapists, in which players assume the role of an inmate whose ultimate goal is to escape prison amid an environment populated by other nonplayer character inmates and guards. In this inquiry, specific attention is paid to the player’s experiences as a subject of control from guards, inmates, surveillance systems, and the prison construct, and how these interactions contextualize and potentially motivate the player to attempt escape. Connections between virtual and real-world escape attempts are discussed. Conceptual and theoretical links between total control and interactive experiences of simulated prison life, as well as implications of this study, are examined.

scholarly journals Volcanoes in video games: The portrayal of volcanoes in Commercial-Off-The-Shelf (COTS) video games and their learning potential

2020 ◽  
Author(s):  
Edward George McGowan ◽  
Jazmin Paris Scarlett
Keyword(s):  
Video Games ◽  
Video Game ◽  
Real World ◽  
General Public ◽  
Active Volcano ◽  
Educational Systems ◽  
Ash Fall ◽  
Severe Burns ◽  
Commercial Off The Shelf ◽  
Negative Impacts

Abstract. Volcanoes are a very common staple in mainstream video games. Particularly within the action/adventure genres, entire missions (e.g. Monster Hunter: Generation Ultimate) or even full storylines (e.g. Spyro: The Reignited Trilogy) can require players to traverse an active volcano. With modern advancements in video game capabilities and graphics, many of these volcanic regions contain a lot of detail. Most video games nowadays have gameplay times in excess of 50 hours. The Legend of Zelda: Breath of the Wild for example brags a minimum of 60 hours to complete. Therefore, players can spend a substantial amount of time immersed within the detailed graphics, and unknowingly learn about volcanic traits while playing. If these details are factually accurate to what is observed in real world volcanic systems, then video games can prove to be a powerful learning tool. However, inaccurate representations could instil a false understanding in thousands of players worldwide. Therefore, it is important to assess the accuracies of volcanology portrayed in mainstream video games and consider whether they can have an educational impact on the general public playing such games. Or, whether these volcanic details are overlooked by players as they focus solely on the entertainment factor provided. We have therefore reviewed several popular commercial video games that contain volcanic aspects and evaluated how realistic said aspects are when compared to real-world examples. It was found that all the games reviewed had a combination of accurate and inaccurate volcanic features and each would vary from game to game. The visual aesthetics of these features are usually very realistic, including lava, ash-fall and lahars. However, the inaccuracies or lack of representation of hazards that come with such features, such as ash-related breathing problems or severe burns from contact with molten lava, could have great negative impacts on a player's understanding of these deadly events. With further investigations assessing the direct impact on the general public, there is the opportunity to correctly assess how to incorporate the use of mainstream video games in educational systems and outreach.

scholarly journals Fictional Characters’ Heroism in Assassin’s Creed III Video Game in the Perception of Indonesian Video Gamers

2017 ◽  
Vol 8 (1) ◽  
pp. 35-48
Author(s):  
Rahmawan Jatmiko
Keyword(s):  
Social Media ◽  
Video Games ◽  
Video Game ◽  
Real World ◽  
Historical Fiction ◽  
Young Generation ◽  
The Third ◽  
History Of ◽  
Video Gamers ◽  
Negative Impacts

Assassin’s Creed is a historical fiction video game developed and published by Ubisoft. This video game has been so far considered as one of the most violent video games. Assassin’s Creed III is the third sequel of which plot is set in a fictional history of real world events and follows the centuries-old conflict between the Assassins and the Templars. Based on this study, the plot, characters, characterization, and scenes in Assassin’s Creed III are deemed to be able to give positive teachings to the young generation, despite the fact that there are violent and sadistic scenes in the story. Haytham Kenway, who is “evil” protagonist in Assassin’s Creed Forsaken, is portrayed as an expert in using weapons, since he was kid. Separated from his family, Kenway was taken by mysterious mentor, who trained him to be the most deadly killer. Comparisons with classic characters such as Oedipus, Hamlet, or Indonesian legendary character Sangkuriang are intentionally made to sharpen the analysis. The finding of this study is that heroic value might be found in either protagonist or antagonistic characters, whose roles involved numerous violent actions. Comments from the official website and social media which claim that Assassin’s Creed has brought negative impacts on the consumers might not be totally true.

scholarly journals Soaring Through the Sky

2019 ◽  
Vol 25 (2) ◽  
Author(s):  
Sean Atkinson
Keyword(s):  
Video Games ◽  
Video Game ◽  
Video Game Music ◽  
Analytical Potential

In this article, I explore the analytical potential of musical topics and tropes in the study of video game music. Following Neumeyer (2015), Almén (2008), and Hatten (1994), I establish a methodology with which to approach musical topics in video game music. By way of a case study, I begin by defining the soaring topic through a historical and cultural examination of flying in cinema and video games. Flying, and more specifically soaring, has been a staple in film from the earliest days of cinema, and the music that accompanies it is also found in video games that prominently feature flying. I then engage the music of flying sequences in two specific video games, Final Fantasy IV (1991) and The Legend of Zelda: Skyward Sword (2011). The resulting analyses demonstrate that this approach helps to unpack the complex narratives found in video games.

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