scholarly journals The expressive power of the Possible Worlds Theory in video games: when narratives become interactive and fictional spaces

2015 ◽  
Vol 27 ◽  
pp. 289-302
Author(s):  
Antonio José Planells de la Maza
Keyword(s):  
Video Games ◽  
Video Game ◽  
Game Design ◽  
Possible Worlds ◽  
Expressive Power ◽  
Game Studies ◽  
Fictional World ◽  
Philosophical Concept ◽  
Interactive Nature ◽  
The Relationship

The philosophical concept of possible worlds (Lenzen, 2004; Lewis, 1986) has been used in literary studies and narratology (Dolezel, 1998; Eco, 1979) to define the way in which we conceive different narrative possibilities inside the fictional world. In Game Studies, some authors have used this concept to explore the relationship between game design and game experience (Kücklich, 2003; Maietti, 2004; Ryan, 2006), while Jesper Juul (2005) has studied the fictional world evoked by the connection between rules and fiction. In this paper we propose a new approach to video games as ludofictional worlds - a set of possible worlds which generates a game space based on the relationship between fiction and game rules. In accordance with the concepts of minimal departure (Ryan, 1991) and indexical term (Lewis, 1986), the position of the player character determines his/her actual world and the next possible or necessary world. Lastly, we use this model to analyse the video game The Elder Scrolls V: Skyrim and show that the possible worlds perspective provides a useful, flexible and modular framework for describing the internal connections between ludofictional worlds and the interactive nature of playable game spaces.

The Haunting Aesthetics of Tacoma

2019 ◽  
pp. 155541201989440
Author(s):  
Ashley P. Jones
Keyword(s):  
Video Games ◽  
Video Game ◽  
Game Design ◽  
Visual Analysis ◽  
Life And Death ◽  
Video Game Design ◽  
Complex Forms ◽  
Definition Of ◽  
The Relationship

Video games are well suited to exploring questions of philosophical intent through their construction and design. Exploring the layered and complex forms of video game design and aesthetics is a growing area of gaming studies that is pointing toward these larger and important questions, even changing the way gaming studies is being approached by scholars. This article examines the relationship between video games’ design and aesthetics and Derrida’s conceptual framework of hauntology. Using Mannon and Temkin’s definition of glitch aesthetics, I conduct a close visual analysis of Tacoma as a case study in how Derrida’s hauntology is present within video games. Tacoma’s aesthetic choices bring to light how video games play with Western understandings of presence, life, and death.

scholarly journals Drawing Video Game Mental Maps: From Emotional Games to Emotions of Play

2018 ◽  
Author(s):  
Hovig Ter Minassian
Keyword(s):  
Video Games ◽  
Everyday Life ◽  
Video Game ◽  
Game Design ◽  
Physical Space ◽  
Game Studies ◽  
Mental Maps ◽  
Emotional Meaning ◽  
Video Game Studies

By exploring emotions at play in video game experiences, we sought to analyze how people interact with digital spaces in everyday life. Taking a somewhat different view than much of the literature in the field of video game studies, we examined emotions that were created from users’ experience of games, rather than focusing on game design and gameplay. To that end, we based our analysis on 38 video game mental maps drawn by 26 people. We successively analyzed the topic, the structure, and the experiential and emotional meaning of each of the mental maps. Thus, we explored the diversity of emotions that participants linked to video games, and examined the mental maps in relation to what the respondents said about how and why they chose to draw a particular video game. Our work shows the importance of looking beyond the analysis of affects and gameplay, and of examining the emotions produced by the video game experience, along with what they can tell us about the role of games in individual and collective spatial experiences and sociability. Everything doesn’t happen on the screen, and what is lived within the game also depends on what is lived in the physical space of the player. In other words, video games aren’t emotional in themselves, but there are significant video game experiences that contribute to the structuration of individuals. 

scholarly journals The Role of the Player in Video-Game Fictions

2018 ◽  
Vol 1 (1) ◽  
Author(s):  
Aaron Graham Suduiko
Keyword(s):  
Video Games ◽  
Video Game ◽  
Possible Worlds ◽  
Positive Analysis ◽  
The Relationship ◽  
Central Data

What is the relationship between the player and the avatar of a video game? In this article, I aim to show that Jon Robson and Aaron Meskin’s apparently promising, Waltonian analysis of that relationship—namely, that it consists in the player imagining herself as the avatar—fails to accommodate and explain four central data about video-game storytelling that any such analysis ought to accommodate and explain. These data are, briefly: (1) Many of an avatar’s actions are inexplicable if we appeal only to the avatar’s beliefs, desires, and knowledge. (2) Video games may have many different kinds and numbers of avatars. (3) Video-game narratives often proceed by the player exploring multiple disjunctive, mutually exclusive possibilities. (4) Video-game narratives sometimes centrally depend on epistemic differences between the player and avatar.After evaluating Robson and Meskin’s view, I offer my own positive analysis of player interactivity that provides a motivated and unified explanation of these four data: the player of a video game plays the role of a metaphysically foundational fictional entity that actualizes possible fictional events. I call this entity ‘the fictional player’.Keywords: avatars, narrative, video games, storytelling, fiction, narrative explanation, ontology, fictional grounding, art, aesthetics, possible worlds, Walton.

Experience, Cognition and Video Game Play

2009 ◽  
pp. 776-790
Author(s):  
Meredith DiPietro
Keyword(s):  
Video Games ◽  
Video Game ◽  
Game Design ◽  
Cognitive Skills ◽  
Educational Game ◽  
Game Play ◽  
Video Game Play ◽  
Cognition And Learning ◽  
Level Of Experience ◽  
The Relationship

There is current interest from the field of education into the value of video games to support learning. Research investigating outcomes associated with video game play has just begun to scratch the surface of their educational potential. Further exploration needs to focus on the internal processes of the play, specifically the relationship between the utilization of cognitive skills, the learning process, and a player’s experience with playing video games. Drawing support from the field of expertise, the research presented in this chapter looks at this relationship by comparing the processes used by video game players based on their level of experience. Results from this study add to the understanding of the relationship between experience, cognition, and learning from video game play. The results of this research also have implications for educational game design and the pedagogical techniques used to make effective learning opportunities available to all learners.

Gaming the gamer? – The ethics of exploiting psychological research in video games

2016 ◽  
Vol 14 (2) ◽  
pp. 106-123 ◽  
Author(s):  
Johnny Hartz Søraker
Keyword(s):  
Video Games ◽  
Social Relations ◽  
Video Game ◽  
Game Design ◽  
User Behavior ◽  
Well Being ◽  
Psychological Research ◽  
Rating Systems ◽  
Content Type ◽  
Ethical Implications

Purpose The purpose of this paper is to investigate the ethical implications of video game companies employing psychologists and using psychological research in game design. Design/methodology/approach The author first argues that exploiting psychology in video games may be more ethically problematic than familiar application domains like advertising, gambling and political rhetoric. Then an overview of the effects particular types of game design may have on user behavior is provided, taking into account various findings and phenomena from behavioral psychology and behavioral economics. Findings Finally, the author concludes that the corresponding ethical problems cannot – and should not – be addressed by means of regulation or rating systems. The author argues instead that a more promising countermeasure lies in using the same psychological research to educate gamers (children in particular) and thereby increase their capacity for meta-cognition. Originality/value The importance of this lies in the tremendous effect these behavior-modifying technologies may have upon our self-determination, well-being and social relations, as well as corresponding implications for the society.

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 Design and Development of a Video Game to Assess Problem-Solving Competence in Chemistry Education

2019 ◽  
Author(s):  
Amany Annaggar ◽  
Rüdiger Tiemann
Keyword(s):  
Problem Solving ◽  
Video Games ◽  
Video Game ◽  
Game Design ◽  
Chemistry Education ◽  
Self Determination Theory ◽  
Self Determination ◽  
Scientific Content ◽  
3D Game ◽  
Problem Solving Model

<p>The aim of this study is to present how to implement the constructive learning theory and self-determination theory into a video game. This video game is designed as a new kind of teaching tool for chemistry concepts and as an assessment tool for domain-specific problem-solving competence, by applying a problem-solving model and the factors of self-determination theory through game elements. These types of video games are designed not only to have fun and motivate students, but also to help the teachers and educators to assess their students according to their weaknesses and strengths in each particular phase of the competence. Thus, educators could improve their teaching strategy or use the tools to improve weak areas. Based on this idea, we developed ALCHEMIST. ALCHEMIST targeted the 9th-grade students in the German chemistry curriculum. The scientific content is about acids, bases, and indicators, and is designed and based on the problem-solving model to access this competence of the students. The 3D game framework was chosen for this game since it makes the game efficient, interactive and drives it into more virtual reality. The designing process was complicated, as it includes multidisciplinary work across psychology, design, scientific content, development and programming, which makes it challenging. To cover these points, we followed a game design model, adding some steps to cover the educational needs and the aim of the game.</p><p>In order to make the game more effective and interactive, and to drive it into a more virtual world, the 3D game framework was chosen for this game since for this age group a 3D educational game is expected to be more effective (Gunter et al, 2008; Terzidou et al, 2012) . Moreover, the use of avatars in the 3D virtual environment establishes non-verbal communication (NVC) features, which can foster collaboration interactions, and enhance the student’s ability to apply abstract knowledge later in reality (Dede, 1992; Tsiatsos and Terzidou, 2010). The log file provided shows the player points and gameplay path which indicates the performance levels for each problem set. Also, it can help teachers to evaluate each particular phase of problem-solving competence. After the success of the development of our game-based theoretical background, it will be tested and validated by experts in chemistry education. This validation process should examine if the problem-solving model is correctly applied and test the significance of the game design, scientific content and the game’s objective.</p><p>It may also be of interest to develop such video games with scientific content and educational background in other fields. It also would be a success for the scientist to apply the scientific content through a fantasy 3D video game to the students at different ages to have fun, to learn, and to assess their competencies.</p>

scholarly journals On the Publishing Methods of Our Time: Mobilizing Knowledge in Game Studies

2015 ◽  
Vol 6 (3) ◽  
Author(s):  
Steve Wilcox
Keyword(s):  
Video Games ◽  
Video Game ◽  
Game Studies ◽  
First Person ◽  
Academic Interest ◽  
Middle State ◽  
The University

There is a considerable amount of academic and non-academic interest in the production and reception of video games. At the same time game scholars encounter questions such as, “are video game academics irrelevant?” In this article I connect questions of relevancy in game studies with the need to develop forms of publishing capable of asserting that relevancy more broadly. As the co-founder and editor-in-chief of First Person Scholar (FPS), a middle-state publication based in the Games Institute at the University of Waterloo, I detail how FPS has attempted to reach beyond the traditional scope of game studies to engage a wider audience and assert a new degree of relevancy for the game scholar.

scholarly journals Analisis Visual Warna pada Game Post Apocalyptic (Studi Game The Last Of Us, Metro Exodus, dan Horizon Zero Dawn)

2020 ◽  
Vol 6 (1) ◽  
pp. 18-31
Author(s):  
Daniel Kurniawan Salamoon ◽  
Cindy Muljosumarto
Keyword(s):  
Video Games ◽  
Video Game ◽  
Game Design ◽  
Visual Media ◽  
Environment Interaction ◽  
Aesthetic Value ◽  
Visual Elements ◽  
Screen Capture ◽  
The Aesthetic ◽  
Semiotic Theory

AbstrakVideo game sebagai bentuk media visual di era modern memiliki peranan dalam masyarakat sebagai salah satu bentuk hiburan yang bersifat interaktif. Video game terus berkembang dalam tata visual sebagai bentuk evolusi dari teknologi video game tersebut. Evolusi dalam video game membuat genre dalam video game juga mengalami perkembangan. Salah satu genre yang menjadi tren adalah genre post apocalyptic. Penelitian ini mencoba melihat narasi yang hendak disampaikan lewat tata visual beberapa video game dengan genre post apocalyptic. Metode yang dilakukan adalah dengan mengumpulkan data screen capture dari beberapa judul video game dengan rating yang baik. Dari metode ini, teori yang digunakan untuk melakukan analisa adalah teori semiotika khususnya yang berkaitan dengan tata visual pada video game khususnya elemen warna yang menjadi kunci genre ini dengan menggunakan software Image. Setelah itu data dianalisis lebih lanjut dengan metode AEIOU (Action, Environment, Interaction, Object, User). Studi ini memberi gambaran bagaimana tata visual yang menjadi ciri khas genre game post apocalyptic dan nilai estetis yang bisa dipelajari dari genre tersebut. Pada akhirnya studi ini dapat menjadi pondasi dalam melakukan riset warna khususnya dalam pengembangan sebuah video game Kata kunci : desain game, post apocalyptic, video game, warna AbstractVideo games as a form of visual media in the modern era has a role play in society as one of interactive entertainment form. Video games continue to grow in visual elements as evolution forms from video game technology itself. The evolution of video games also makes the genre of video games experience development. This research attempts to observe the narrative is to be conveyed through the visual elements of several video games with the Post-apocalyptic genre. The method used was to collect screen capture data from several video game titles with good ratings. The theory that used to conduct the analysis is a semiotic theory relate to visual elements, especially the colors element that is the key to this genre. The theory that used to conduct the analysis is a semiotic theory relate to visual elements of the video game, especially the colors element that is the key to this genre. The theory that used to conduct the analysis is a semiotic theory relate to visual elements of the video game, especially the colors element that is the key to this genre using image software. Afterward, data analyzed subsequently with AEIOU's (Action, Environment, Interaction, Object, User) method. This study gives a description of how the visual elements become a characteristic of the Post-apocalyptic genre and the aesthetic value that can be learned from the genre. So eventually these studies can be the foundation in conducting color research especially in the development of a video game. Keywords: color, game design, post apocalyptic, video game

scholarly journals Semi-automatic construction of video game design prototypes with MaruGen

2020 ◽  
pp. 9-20
Author(s):  
Italo Felipe Capasso-Ballesteros ◽  
Fernando De la Rosa-Rosero
Keyword(s):  
Video Games ◽  
Video Game ◽  
Game Design ◽  
Video Game Design ◽  
L Systems ◽  
Role Based ◽  
Game Designer ◽  
Definition Of ◽  
Game Developers ◽  
Expression Mechanism

Machinations Ruleset Generator (MaruGen) is a semi-automatic system for the generation of mechanics, rules, spaces (environments), and missions for video games. The objective of this system is to offer an expression mechanism for the video game designer role based on the definition of rules, and the ability to explore the concepts of progression and emergence in video games by using a formal, usable, and defined tool to design games with innovative and complex elements, and behaviors defined from combinations of basic elements. Based on the expressed designs and with the participation of programmers and video game artists, MaruGen allows the generation of agile video game prototypes in the Unity game engine. These prototypes can be analyzed by the entire workgroup to look for games with diverse complexities that make them attractive to their users. MaruGen is based on the expression of rules on elements of interest in video games and the rewriting mechanism using L-Systems for the generation of procedural content. MaruGen was evaluated in the construction of the Cubic Explorer video game and tested by gamers and video game developers during the Game Jam Ludum Dare 38.

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