scholarly journals Non-Normative Gender Performances Fat Video Game Characters

2021 ◽  
Vol 20 (1) ◽  
pp. 165-180
Author(s):  
Agata Waszkiewicz

Abstract While video games unquestionably became more diverse and inclusive in the past decade, there is still a striking underrepresentation of characters whose bodies do not conform to the heterosexist concept of normativity, including those perceived as fat. My article begins with the introduction of fat studies as the interdisciplinary field concerned with the ways media construct fat people as unattractive, undesirable, and asexual. Next, it discusses how these prejudices are reflected in a medium in which fat has been historically coded as villainous and monstrous. The last part includes two case studies of positive fat representation: Ellie from the mainstream game Borderlands 2 (Gearbox Software 2012) and the eponymous character from the independent title Felix the Reaper (Kong Orange 2019). Their gender performances are coded equally as non-normative.

2021 ◽  
Vol 2 (4) ◽  
pp. 13-35
Author(s):  
Juan Pablo Fernández-Cortés

In the past two decades, the study of video game music has come into its own and gained acceptance in the academic community. This subdiscipline, now commonly referred as ludomusicology, is still attempting basic questions concerning how it can be researched. This article aims to present the current situation and to reflect about some of the main lines of research related to the music of video games and their culture, a field of ongoing research that has received little attention in Hispanophone academia up to the present time. This article was originally published in Anuario Musical 75 (2020): 181–99 and has been translated for the Journal of Sound and Music in Games. https://doi.org/10.3989/anuariomusical.2020.75.09


2020 ◽  
Vol 3 (1) ◽  
pp. 32-43
Author(s):  
Oliver Brown

This article examines and critiques the American copyright regime's increasingly protective approach to video games and their subject matter. Over the past decade, a trio of district court decisions have bolstered protection for video games by relaxing standards for protectability and substantial similarity. Subsequent rulings, concerning both games and other forms of intellectual property, suggest this protective streak will continue. While heightened protection might provide a necessary deterrent to ‘cloning’ and other kinds of impermissible copying, it will also endanger valuable forms of appropriation. After decades of limited copyright involvement, mimesis has become an important element of game creation – widely tolerated by the gaming community as a source of inspiration, interoperability, and cultural conversation. A more expansive view of protectability may inhibit imitative behavior that has, in the past, benefited new creators and fans without harming the economic expectations of prior authors. Moreover, that new approach, which relies heavily on juries for unpredictable, case-by-case determinations, may restrict the financial and creative outlook of the video game industry at large. In its first section, this article identifies the elements of video games that have been deemed protectable under copyright law. The second section summarizes foundational video game case law, in which courts established restrictive standards for protectability and substantial similarity. The third then discusses the paradigm shift towards more expansive protectability, recounting cases where courts found games worthy of heightened protection. In its fourth section, this article argues that the protective trend has yet to peak, looking to evidence gleaned from recent copyright suits. A concluding section outlines the risks of overprotection, cautioning against a potentially unreasoned and impractical copyright standard.


Author(s):  
James Andrew John Piggott

This article presents two related ideas. Firstly, video-games should be considered a historically relevant medium through their capacity to generate narratives and lessons of the past. Secondly, the issue of censorship – the doctoring of the past when creating said narratives – is as equally detrimental to history as shown within video-games as it is in alternative formats. The historical significance of censorship within video-games, however, has been largely ignored, mainly due to the perceived ‘trivial’ or ‘ludified’ nature of the medium. As a result, the historiographical capacity of video-games continues to be trivialised and undermined. These arguments are covered over three sections. The first unpacks several criticisms of video-games, in turn showing the medium’s historical capacity. The second uses the example of Nazism to describe and explain the presence of censorship within video-games and the rationale that informs it. The final section links these two ideas, discussing the historical impact of censorship within video-games and why the ‘ludic frame’ of video-games seemingly shadows their equally significant ‘historical frame’. 


2019 ◽  
Vol 7 (4) ◽  
pp. 198-212 ◽  
Author(s):  
Adam M. Large ◽  
Benoit Bediou ◽  
Sezen Cekic ◽  
Yuval Hart ◽  
Daphne Bavelier ◽  
...  

Over the past 30 years, a large body of research has accrued demonstrating that video games are capable of placing substantial demands on the human cognitive, emotional, physical, and social processing systems. Within the cognitive realm, playing games belonging to one particular genre, known as the action video game genre, has been consistently linked with demands on a host of cognitive abilities including perception, top-down attention, multitasking, and spatial cognition. More recently, a number of new game genres have emerged that, while different in many ways from “traditional” action games, nonetheless seem likely to load upon similar cognitive processes. One such example is the multiplayer online battle arena genre (MOBA), which involves a mix of action and real-time strategy characteristics. Here, a sample of over 500 players of the MOBA game League of Legends completed a large battery of cognitive tasks. Positive associations were observed between League of Legends performance (quantified by participants’ in-game match-making rating) and a number of cognitive abilities consistent with those observed in the existing action video game literature, including speed of processing and attentional abilities. Together, our results document a rich pattern of cognitive abilities associated with high levels of League of Legends performance and suggest similarities between MOBAs and action video games in terms of their cognitive demands.


Author(s):  
Pei Qin Tan ◽  
Kim Hua Tan

The contributions of video games to learning, including vocabulary acquisition, have been acknowledged over the past few decades. In-game instructions may account for the majority of such contributions. This study checks whether such instructions can pique the curiosity of participants and subsequently enhance their vocabulary acquisition. Ten 11 to 12-year-old pupils were recruited for a month-long video game experiment. Three instruments, including vocabulary tests, interview questions and observation checklists, were employed. The qualitative data were analysed to determine the key aspects of in-game instructions and how they enhance the vocabulary acquisition of these pupils. Findings show that not all participants have gained additional vocabulary from in-game instructions. Whilst all participants were interested in playing the video game, only four of them showed curiosity towards the in-game instructions. Therefore, the usefulness of in-game instructions fundamentally depends on the attitudes of players towards the game, the suitability of the language level being used in the game and the players’ demand for such instructions.


2019 ◽  
Vol 2 (1) ◽  
Author(s):  
Justyna Janik

The aim of the article is to analyse the phenomenon of ghost characters in video games from the perspective of Jacques Derrida’s concept of hauntology, and to use this as the starting point for a hauntological engagement with the video game object’srelationship with its own past. The paper will investigateghostly figuresand their spectral status inside the video game environment, as well as their uncertain hauntological status as both fictional bygone souls and digital in-game objects.On the basis of this analysis of ghostly figures in video game environments, I draw a line between the past of the fictional world and the past of the game world, and examine what happens when they overlap.The dual status of the in-game ghost will thereby serve to metonymically anchor an investi-gation into the duality of the game as a whole, as both fiction and digital materiality, and of the dif-ferent dimensions of the past that exist in between these two levels of the game object.


2021 ◽  
Author(s):  
Peter James Etchells ◽  
Brittany I Davidson ◽  
Linda Katherine Kaye ◽  
David Alexander Ellis ◽  
Andreas Lieberoth

PurposeWe highlight a number of concerns regarding a recent publication in Perspectives in Psychiatric Care which involves the apparent presentation of three case studies of video game-related suicide. ConclusionsAlthough presented as a case report, the publication falls short of ethical and best-practice standards in the reporting of suicide, and risks confusing the public debate around video games effects. Practice ImplicationsRecommendations on best practice principles for reporting video game research relating to suicide are presented.


Author(s):  
Boaventura DaCosta ◽  
Soonhwa Seok

Video games offer rich interactive experiences. Increasingly, however, their popularity coupled with their global connectivity has raised concerns about safety. Although it can be argued that video game developers and publishers have been plagued by cybercrime since the beginning of the industry, video game companies are not the only targets. Cybercriminals also have their sights on gamers. This article examines cybercrime affecting the video game industry and its players. Focused on some of the most deliberate forms of cybercrime found in the literature within the past few years, the article explores data breaches, compromised accounts and stolen data, the theft and sale of in-game items, and money laundering. While the information is anticipated to be of value to educators, practitioners, researchers, game developers, and publishers, it should by no means be considered an all-inclusive reference, but rather a catalyst for discussion, debate, and future research.


Author(s):  
Enrique Uribe-Jongbloed ◽  
Hernán David Espinosa-Medina ◽  
James Biddle

This chapter addresses the relationship that exists between intertextuality and cultural transduction in video game localization. Whereas the former refers to the dual relationship established between texts and previous texts available to the potential readers and the bridges that are consciously or unconsciously established between them, cultural transduction refers to the conscious process of transforming audiovisual content to suit the interests of a given cultural market. Three case studies are presented to explore the relationship that exists between the place of production, the internal cultural references to other texts within the games and the intended market where the video game is distributed: Finally, the importance of intertextuality as part of the cultural transduction process is highlighted.


Author(s):  
Stephen Baysted ◽  
Tim Summers

This chapter explores the composer’s experience of writing music for video games. It does so by following the musical creative process through the cycle of video game development. It begins with the pitching process, examines the factors at play in establishing the musical approach to the game, considers the compositional challenges of the video game medium, outlines approaches to recording the music, and finishes by explaining the role of music in the game’s marketing. While characterizing the creative processes of game music in general, the chapter uses two contrasting racing games as case studies. At each stage, the chapter emphasizes the variety of factors and agents involved in the musical decisions. Ultimately, the chapter suggests that the creative process of game music sits in tension between the financial realities of the marketplace, the practicalities of technology, and the creative ambitions of the producers.


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