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 SUCCESS AND FAILURE ANALYSIS OF FILMS ADAPTED FROM VIDEO GAMES

2021 ◽  
Vol 11 (2) ◽  
pp. 635-658
Author(s):  
Özgür ÖZSOY ◽  
Bülent Onur TURAN
Keyword(s):  
Video Games ◽  
Failure Analysis ◽  
Video Game ◽  
Online Survey ◽  
The People ◽  
The Future ◽  
The Subject ◽  
Relationship Of ◽  
The Relationship

One of the intersections of the video games and cinema industry is the subject of adaptation. There are many productions adapted from movies to video games or from video games to movies. In this study, it is aimed to define the response of the films adapted from video games on the audience side. The audience and the actor are part of these adapted productions, their location plays a role in shaping the future of these productions, in this context the results obtained in this study are valuable in terms of expressing the potential of these productions. In this study, two different methods were used to achieve objective results; Online survey with 11 professionals in the cinema industry and cinema education, an analysis of the data collected from the criticism sites on www.imdb.com and www.metascore.com, and the comments of registered users. With the analysis of these comments obtained from the audience, the focus of the audience has been determined, and with the answers given by the people who have received cinema education or professionals who are professional in the cinema sector, information has been provided on both the foresight and the situation in it. These methods are analyzed within themselves and in the conclusion part, the results of the two methods are combined. As a result, it is that the audience evaluates these films without separating them from the game and they wish that this cooperation will continue to develop and continue. It has been determined that failed film samples are not decisive for video games. Although the audience thinks that this genre will develop, more successful results will be achieved, it has been understood that the feeling of being active in the game is more dominant to the feeling of being passive in the movie. It was seen that the relationship of the audience with the films was video game centered, and the emotions he felt in the game and the details of the game were also looked for in the inner structure of the film.

scholarly journals Games of Drones: The Uneasy Future of the Soldier-Hero in Call of Duty: Black Ops II

2014 ◽  
Vol 12 (3) ◽  
pp. 360-376 ◽  
Author(s):  
Carrie Elizabeth Andersen
Keyword(s):  
Video Games ◽  
Video Game ◽  
First Person ◽  
Combat Experience ◽  
Logical Conclusion ◽  
The Future ◽  
First Person Shooter ◽  
The U.S

In this article, I argue that the first-person shooter video game, Call of Duty: Black Ops II, reflects the U.S. military‟s transition as it reimagines the soldier‟s role in war. In the age of drone technology, this role shifts from a position of strength to one of relative weakness. Although video games that feature future combat often “function as virtual enactments and endorsements for developing military technologies,” Black Ops II offers a surprisingly complex vision of the future of drones and U.S. soldiers (Smicker 2009: 107). To explore how the game reflects a contemporary vision of the U.S. military, I weave together a close textual reading of two levels in Black Ops II with actual accounts from drone pilots and politicians that illuminate the nature of drone combat. Although there are moments in Black Ops II in which avatars combat enemies with first-hand firepower, the experience of heroic diegetic violence is superseded by a combat experience defined by powerlessness, boredom, and ambiguous pleasure. The shift of the soldier from imposing hero to a banal figure experiences its logical conclusion in Unmanned, an independent video game that foregrounds the mundane, nonviolent nature of drone piloting. Instead of training soldiers to withstand emotionally devastating experiences of death and violence first-hand (or to physically enact such violence), games like Black Ops II and Unmanned train actual and potential soldiers to tolerate monotony and disempowerment.

The Positive Impact Model in Commercial Games

2009 ◽  
pp. 1303-1317
Author(s):  
Rusel DeMaria
Keyword(s):  
Video Games ◽  
Social Networking ◽  
Video Game ◽  
Positive Impact ◽  
Impact Model ◽  
Legal Challenges ◽  
The Future ◽  
Game Industry ◽  
Insight Into

What is the future of video games? Is it more realism? More violence? Better physics? Artificially intelligent characters? More social networking games? Free to play and advertising supported? Games for non-gamers? More controversy, political scapegoating, and legal challenges? It’s probably all of the above, and more. In fact, while we may expect to see more of the same from the commercial video game industry, there is always the potential for surprises, both pleasant and not-so pleasant. One area of the future of games is less often discussed, but represents one of the most powerful and positive directions the industry could take. I call it the “positive impact model,” and for the rest of this chapter, I will attempt to provide some insight into what that phrase is meant to convey.

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.

scholarly journals The Nintendo 64: Nintendo's Adult Platform? The Dichotomy Of Nintendo And Children's Video Games

2021 ◽  
Author(s):  
Nicholas Ashmore
Keyword(s):  
Video Games ◽  
Video Game ◽  
Digital Technology ◽  
Time Magazine ◽  
The Future ◽  
Game Console ◽  
The Mind

Introduction When the Nintendo 64 was released in 1996, TIME Magazine gave it the distinction of “Machine of the Year,” arguing that Nintendo had revitalized the somewhat stagnant video game console market of the 1990s, which had offered little more than incremental hardware upgrades and mostly unsuccessful add-on devices. In his enthusiastic end-of-year review of the console, TIME’s Michael Krantz contended that “Nintendo's marquee product will be the machine that most fully influences our children's introduction to the mind-boggling potential of digital technology,” and that the platform represented “the first glimpse of [the] future” of video game hardware (73).

Towards a Role-Playing Game Procedural Dungeon Generation Strategy to Help Developing Working Skills

2020 ◽  
pp. 274-296
Author(s):  
Esteban A. Durán-Yañez ◽  
Mario A. Rodríguez-Díaz ◽  
César A. López-Luévano
Keyword(s):  
Video Games ◽  
Video Game ◽  
Role Playing ◽  
System Thinking ◽  
Procedural Content Generation ◽  
Proposal A ◽  
The Future ◽  
Role Playing Game ◽  
Playing Video Game ◽  
Content Generation

This chapter describes the insights towards a proposal to integrate a procedural content generation strategy in a computer role-playing usable and accessible learning video game for gaining replayability to encourage engagement and motivation in learners. In order to explain the contextual issues of the topic, the chapter includes a discussion on how computer role-playing video games impact the skills considered crucial for the work in the future—abstraction, system thinking, experimentation, and collaboration—emphasizing the importance of usability and accessibility to ensure effectiveness of the proposal. A first approach of a computer role-playing video game is presented to provide an illustrative example. The prototype will serve for future evaluations with people for usability and accessibility.

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.

scholarly journals The Nintendo 64: Nintendo's Adult Platform? The Dichotomy Of Nintendo And Children's Video Games

2021 ◽  
Author(s):  
Nicholas Ashmore
Keyword(s):  
Video Games ◽  
Video Game ◽  
Digital Technology ◽  
Time Magazine ◽  
The Future ◽  
Game Console ◽  
The Mind

Introduction When the Nintendo 64 was released in 1996, TIME Magazine gave it the distinction of “Machine of the Year,” arguing that Nintendo had revitalized the somewhat stagnant video game console market of the 1990s, which had offered little more than incremental hardware upgrades and mostly unsuccessful add-on devices. In his enthusiastic end-of-year review of the console, TIME’s Michael Krantz contended that “Nintendo's marquee product will be the machine that most fully influences our children's introduction to the mind-boggling potential of digital technology,” and that the platform represented “the first glimpse of [the] future” of video game hardware (73).

Frustration and Violence in Mobile Video Games

2020 ◽  
Vol 79 (2) ◽  
pp. 63-70
Author(s):  
Petr Květon ◽  
Martin Jelínek
Keyword(s):  
Video Games ◽  
Video Game ◽  
Implicit Association Test ◽  
Self Determination Theory ◽  
Psychological Needs ◽  
Basic Psychological Needs ◽  
Self Determination ◽  
Mobile Video ◽  
Violent Content ◽  
Before And After

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.

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.

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