scholarly journals Building an Extensive Experience in Video Games and Movies, a Transmedia Storytelling

2021 ◽  
Vol 2 (1) ◽  
Author(s):  
Octavianus Frans ◽  
Jonata Witabora

Transforming video games into movies and transforming movies into video games has been a common thing nowadays. With advanced technology, what can be done in a video game can also be done in a movie, and vice versa. Good attention to details is important in a transformation process as the final product has to be as good as the original one, if not better. To be able to do well in transforming an art form to another, it is important to understand the whole process and how it was first done. 

2017 ◽  
Vol 1 (1) ◽  
pp. 350-358 ◽  
Author(s):  
Matteo Genovesi

Abstract One of the most important features in a transmedia structure, as Max Giovagnoli argues in his book Transmedia: Storytelling e Comunicazione [Transmedia: Storytelling and Communication], is the development of the user’s decision-making power, defined by the author as “choice excitement.” In this, every choice of the user should have a consequence in the fictional universe of a specific franchise. Consequently, a narrative universe that wants to emphasize choice excitement and the active role of people can focus on video games, where the interactive approach is prominent. This essay will discuss a specific video game, based on the famous franchise of The Walking Dead. This brand, which appears in comic books, novels, TV series, Web episodes and video games, is analysable not only as an exemplary case of transmedia storytelling, where every ramification of the franchise published in different media is both autonomous and synergistic with the others, but also by focusing on the choice excitement of users in the first season of the video game The Walking Dead: A Telltale Game Series.


Author(s):  
Lucas John Jensen ◽  
Daisyane Barreto ◽  
Keri Duncan Valentine

As video games grow in popularity, ambition, scope, and technological prowess, they also mature as an art form, shedding old definitions tethered to video games as simple, competitive exercises. Greater technological capabilities, in addition to years of experimentation and maturation, have expanded the ability of games to tell different kinds of stories, offering branching paths. The question of “what makes a game a game?” looms larger than ever in this era of video game storytelling. As plots and characters grow, branch, and develop, so, too, do the boundaries of what a game actually is. In traditional definitions of gaming, a set of rules and a victory condition were essential elements to a game. As game narratives and game mechanics grow in increasingly complex and experimental directions, new player goals have emerged. Now, gamers socialize, customize, nurture, kill, build, destroy, break, glitch, and explore as much as they work to win and accrue points. This chapter surveys the current landscape of video games, highlighting examples and trends that challenge more traditional notions and definitions of what it means to be a “video game.” The broader definition presented here takes into account play, narrative, digital environments, and more, acknowledging the expanse of the video game experience.


Author(s):  
Charlie Ecenbarger

This article illuminates the transmedia storytelling techniques in The Walking Dead comic book and video game. Telltale Games' The Walking Dead localizes itself within the comic book world of The Walking Dead by acting as a transmedia storytelling device and using intertextuality comics to assist game players with meaning-making. By participating in the game, Telltale rewards players with additional information about The Walking Dead universe, as well as creating a contingent but separate narrative that expands upon the existing Walking Dead world. This exploration of The Walking Dead offers insights into the specific methods that are being employed by creators to further engage the audience in the transmedia storyworld.


2018 ◽  
Vol 1 (2) ◽  
pp. 89-102
Author(s):  
Ross Dannenberg ◽  
Josh Davenport

Video game litigation in the United States is neither new nor infrequent, and video game developers can learn valuable lessons from cases won, and lost, by others before them. This article examines the evolution of United States intellectual property law from historically narrow roots to classifying video games as an art form deserving broad free speech protection. This article examines seminal cases in a variety of IP areas, including not only copyrights, but also reverse engineering, derivative works, patents, trademarks, rights of publicity, the Digital Millennium Copyright Act, contracts, and freedom of speech. These cases explore the factual and legal limits of American jurisprudence in video game law, including how one's own expression can be limited by the rights of others, permissible and fair use and of others' IP, and the impact these cases have had in the industry. As video games have leveled up into a multi-billion dollar industry, the law has leveled up, too, and this article is the primer you need to level up with it.


2020 ◽  
Vol 79 (2) ◽  
pp. 63-70
Author(s):  
Petr Květon ◽  
Martin Jelínek

Abstract. This study tests two competing hypotheses, one based on the general aggression model (GAM), the other on the self-determination theory (SDT). GAM suggests that the crucial factor in video games leading to increased aggressiveness is their violent content; SDT contends that gaming is associated with aggression because of the frustration of basic psychological needs. We used a 2×2 between-subject experimental design with a sample of 128 undergraduates. We assigned each participant randomly to one experimental condition defined by a particular video game, using four mobile video games differing in the degree of violence and in the level of their frustration-invoking gameplay. Aggressiveness was measured using the implicit association test (IAT), administered before and after the playing of a video game. We found no evidence of an association between implicit aggressiveness and violent content or frustrating gameplay.


2019 ◽  
Author(s):  
David Zendle

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.


2019 ◽  
Author(s):  
David Zendle

A variety of practices have recently emerged which are related to both video games and gambling. Most prominent of these are loot boxes. However, a broad range of other activities have recently emerged which are also related to both gambling and video games: esports betting, real-money video gaming, token wagering, social casino play, and watching videos of both loot box opening and gambling on game streaming services like Twitch.Whilst a nascent body of research has established the robust existence of a relationship between loot box spending and both problem gambling and disordered gaming, little research exists which examines whether similar links may exist for the diverse practices outlined above. Furthermore, no research has thus far attempted to estimate the prevalence of these activities.A large-scale survey of a representative sample of UK adults (n=1081) was therefore conducted in order to investigate these issues. Engagement in all measured forms of gambling-like video game practices were significantly associated with both problem gambling and disordered gaming. An aggregate measure of engagement was associated with both these outcomes to a clinically significant degree (r=0.23 and r=0.43). Engagement in gambling-like video game practices appeared widespread, with a 95% confidence interval estimating that 16.3% – 20.9% of the population engaged in these activities at least once in the last year. Engagement in these practices was highly inter-correlated: Individuals who engaged in one practice were likely to engage in several more.Overall, these results suggest that the potential effects of the blurring of lines between video games and gambling should not primarily be understood to be due to the presence of loot boxes in video games. They suggest the existence of a convergent ecosystem of gambling-like video game practices, whose causal relationships with problem gambling and disordered gaming are currently unclear but must urgently be investigated.


Author(s):  
Pham Thu Huong ◽  
Jacob Cherian ◽  
Nguyen Thi Hien ◽  
Muhammad Safdar Sial ◽  
Sarminah Samad ◽  
...  

The present study aims to determine the impact of green innovation (GI) on the overall performance of an organization while keeping the variable of environmental management (EM) as a moderator. We used a dataset consisting of four data years, from 2014 to 2017, of A-share companies listed on the Shanghai Stock Exchange (SSE). The concept of green innovation refers to the use of advancements in technology that enable savings in energy, along with the recycling of waste material. When advanced technology is utilized in the production process, the products are referred to as green products and the whole process of adopting such technologies and product design is referred to as “Corporate Environmental Management”. Such innovations improve the overall financial performance of companies as it enables them to improve their social image by reducing their carbon footprint and ensures their long-term sustainability. The main issue is the limited focus and attention given to the topic, from the perspective of companies. This research focuses on the impact of green innovation and the importance of environmental management for the sustainability of companies. Our findings suggest that the relationship between green innovation and the performance of the company is positive and verifies the existence of moderating effects of environmental management on the relationship between green innovation and firm performance. Implications are given to academia and practitioners.


Author(s):  
Kevin Veale

Affective materiality is a tool for exploring how engaging with textual structures shapes the affective experience of a story. The experience of video games is distinctive because their modes of engagement can lead to players feeling responsible for the decisions they make within the diegetic space of the game and its contextual storyworld. Night in the Woods and Undertale both use the perception of responsibility found in video game modes of engagement as an active storytelling tool, but apply it in different ways. Despite the differences in their contextual application, both games use affective materiality to encourage players to reflect on the consequences of their decisions in multiple arenas: within the context of the game, their engagement with other games and their engagement with the wider world. In doing so, both games apply storytelling techniques that distinguish playing video games from the experience of other media forms and encourage an empathetic engagement with fictional storyworlds.


2017 ◽  
Vol 14 (7-8) ◽  
pp. 742-762
Author(s):  
Michael Ryan Skolnik ◽  
Steven Conway

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.


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