“You Can't Mess with the Program, Ralph”

Author(s):  
Theo Plothe

This essay posits two crucial elements for the representation of digital games in film: intertextuality and player control. Cinematically, the notion of player-agency control is influenced greatly by this intertextuality, and player control has been represented in a number of films involving video games and digital worlds. This essay looks at the use and representation of player-agency control in films that focus on action within digital games. There are three elements that are essential to this representation: 1) there is a separation between the virtual and the real; 2) the virtual world is written in code, and this code is impossible for player-agents to change, though they can manipulate it; 3) the relative position of the player to the player-agent, is one of subservience or conflict. I argue that the notion of player-agency control is essential to the cinematic representation of video games' virtual worlds.

Author(s):  
Tom A. Garner

Through the theoretical frameworks of sonic virtuality and embodied cognition, Tom Garner considers the role of imagination in the context of sound in actualizing the virtual worlds of digital games. In a chapter that takes in Spinoza, Hume, Kant, and Deleuze, Garner uses this consideration of imagination as the foundation to explore world-building in digital games—where the player is a significant agent in constructing a viable world in which to be present—concluding that sound, when allied to imagination, has a major role in world-blurring, Garner’s term for the convergence, and inability to distinguish, between the real physical world and the “other-real” virtual world.


2018 ◽  
Vol 18 (33) ◽  
pp. 129-144 ◽  
Author(s):  
Eleni Timplalexi

Shakespeare’s plays have long flirted with using various artistic and medial forms other than theatre, such as cinema, music, visual arts, television, comics, animation and, lately, digital games and virtual worlds. Especially in the 20th and 21st century, a fascination with Shakespeare both as a historical and theatrical figure and as a playwright has become evident in screen based media (cinema, television and video), ranging from “faithful,” almost documented performances of his plays to free style adaptations or vague film references. Digital games and virtual worlds carry on this tradition of the transmedial journey of Shakespeare’s plays to screen based media but top it up with new forms of interaction and performativity. For the first time in the history of mankind everyone can enjoy firsthand from his armchair and for free the experience of taking part in a play by the Bard by entering a virtual world as if it was a stage and by assuming roles through avatars. The article attempts first to introduce the reader to the deeper needs that gave rise to animation, a fundamental aspect of digital gaming and virtual worlds. It then tries to illuminate the various facets of digital performance and gaming, especially in relation to Shakespeare-themed and inspired digital games and virtual worlds, by putting forward some axes of classification. Finally, it both suggests some ideas that may be of use in rendering the Shakespeare gaming experience more “complete” and “theatrical” and ends by acknowledging the immense potential for the exploration of theatricality and performativity in digital games and virtual worlds.


Author(s):  
Hsiao-Cheng (Sandrine) Han

The purpose of this research is to improve the understanding of how users of online virtual worlds learn and/or relearn ‘culture' through the use of visual components. The goal of this research is to understand if culturally and historically authentic imagery is necessary for users to understand the virtual world; how virtual world residents form and reform their virtual culture; and whether the visual culture in the virtual world is imported from the real world, colonized by any dominate culture, or assimilated into a new culture. The main research question is: Is the authenticity of cultural imagery important to virtual world residents? This research investigates whether visual culture awareness can help students develop a better understanding of visual culture in the real world, and whether this awareness can help educators construct better curricula and pedagogy for visual culture education.


1970 ◽  
Vol 4 (1) ◽  
Author(s):  
Richard L Gilbert

The P.R.O.S.E. (Psychological Research on Synthetic Environments) Project was established to investigate the psychology of 3D virtual worlds. Under the auspices of the project, a systematic program of in-world behavioral research is being conducted that addresses three core questions related to the psychology of 3D immersive environments: What are the characteristics of active participants in virtual worlds? Do the principles of psychology that operate in the real world also apply to the virtual world? Do experiences in the virtual world have the capacity to influence behavior and subjective experience in the real world? The current paper describes a series of studies that examine each of these questions and outlines future directions for the project. If projections for a highly populated, ubiquitously accessible (web-based), and seamlessly integrated (interoperable) network of virtual worlds are borne out, a new realm of psychological reality and interaction will have been created that will be increasingly important for behavioral scientists to investigate and understand.


2021 ◽  
Vol 3 (1) ◽  
pp. 6-7
Author(s):  
Kathryn MacCallum

Mixed reality (MR) provides new opportunities for creative and innovative learning. MR supports the merging of real and virtual worlds to produce new environments and visualisations where physical and digital objects co-exist and interact in real-time (MacCallum & Jamieson, 2017). The MR continuum links both virtual and augmented reality, whereby virtual reality (VR) enables learners to be immersed within a completely virtual world, while augmented reality (AR) blend the real and the virtual world. MR embraces the spectrum between the real and the virtual; the mix of the virtual and real worlds may vary depending on the application. The integration of MR into education provides specific affordances which make it specifically unique in supporting learning (Parson & MacCallum, 2020; Bacca, Baldiris, Fabregat, Graf & Kinshuk, 2014). These affordance enable students to support unique opportunities to support learning and develop 21st-century learning capabilities (Schrier, 2006; Bower, Howe, McCredie, Robinson, & Grover, 2014).   In general, most integration of MR in the classroom tend to be focused on students being the consumers of these experiences. However by enabling student to create their own experiences enables a wider range of learning outcomes to be incorporated into the learning experience. By enabling student to be creators and designers of their own MR experiences provides a unique opportunity to integrate learning across the curriculum and supports the develop of computational thinking and stronger digital skills. The integration of student-created artefacts has particularly been shown to provide greater engagement and outcomes for all students (Ananiadou & Claro, 2009).   In the past, the development of student-created MR experiences has been difficult, especially due to the steep learning curve of technology adoption and the overall expense of acquiring the necessary tools to develop these experiences. The recent development of low-cost mobile and online MR tools and technologies have, however, provided new opportunities to provide a scaffolded approach to the development of student-driven artefacts that do not require significant technical ability (MacCallum & Jamieson, 2017). Due to these advances, students can now create their own MR digital experiences which can drive learning across the curriculum.   This presentation explores how teachers at two high schools in NZ have started to explore and integrate MR into their STEAM classes.  This presentation draws on the results of a Teaching and Learning Research Initiative (TLRI) project, investigating the experiences and reflections of a group of secondary teachers exploring the use and adoption of mixed reality (augmented and virtual reality) for cross-curricular teaching. The presentation will explore how these teachers have started to engage with MR to support the principles of student-created digital experiences integrated into STEAM domains.


Author(s):  
Ulrich Gehmann ◽  
Martin Reiche

In this article the authors are going to explore a tendency in virtual world design towards the creation of non-functionalized virtual worlds, i.e. worlds which only exist to exist without resembling any function in their design. They are going to show how this tendency is grounded in the ongoing process of formatization in the real world by introducing a 4-step model of de-functionalization and show which chances exist for these non-functional virtual worlds to affect the real world through the mental world conception of the user.


Author(s):  
Erik W. Black ◽  
Richard E. Ferdig ◽  
Joseph C. DiPietro ◽  
Feng Liu ◽  
Baird Whalen

Video games are becoming more popular; there has been a particular rise in interest and use of massively multiplayer online roleplaying games (MMORPGs). These games utilize avatar creation; avatars can be seen as the technological instantiation of the real person in the virtual world. Little research has been conducted on avatar creation. Although it is has been anecdotally postulated that you can be anything you want online, there is a dearth of research on what happens when participants are told to create avatars, particularly avatars within given contexts. In this study, we used the Second Life avatar creation tool to examine what would happen when participants were told to create avatars as heroes, villains, their ideal self, and their actual self. Data analyses reveal that characters often refuse to change permanent aspects of their features, instead modifying only temporal aspects. This research has provided support for the quantitative review of avatar characteristics as predictors of vignette groupings.


2011 ◽  
Vol 271-273 ◽  
pp. 1842-1845
Author(s):  
Jin Yan Hu ◽  
Hong Yu Feng ◽  
Jian Heng Lu ◽  
Yuan Yuan Li ◽  
Yan Cui Li ◽  
...  

For children, learning and life in virtual worlds are related to the real world. In the traditional research on education, we have considered how to make the experience of children in the real world migrate into the learning in virtual world. But there are little people discussing whether the experience of children in the virtual world will turn to migrate to the real world.


2012 ◽  
Vol 9 (2) ◽  
pp. 292-318 ◽  
Author(s):  
Débora Krischke Leitão ◽  
Laura Graziela Gomes

In this paper we propose to share our experience of ethnographic research in the virtual world Second Life. We intend to narrate our experience producing machinima the method we used to enter the field and interact with residents. The production of films from the software and or hardware of video games or other real-time 3D graphics programs is called machinima. Our goal here is to discuss the possibility of using machinima as a technique for obtaining, presenting and interpreting ethnographic data.


1970 ◽  
Vol 1 (2) ◽  
Author(s):  
Paul R Messinger ◽  
Xin Ge ◽  
Eleni Stroulia ◽  
Kelly Lyons ◽  
Kristen Smirnov ◽  
...  

What is the relationship between avatars and the people they represent in terms of appearance and behavior? In this paper, we hypothesize that people (balancing motives of self-verification and self-enhancement) customize the image of their avatars to bear similarity to their real selves, but with moderate enhancements. We also hypothesize that virtual-world behavior (due to deindividuation in computer-mediated communication environments) is less restrained by normal inhibitions than real-world behavior. Lastly, we hypothesize that people with more attractive avatars than their real selves will be somewhat more confident and extraverted in virtual worlds than they are in the real world. We examine these issues using data collected from Second Life residents using an in-world intercept method that involved recruiting respondents’ avatars from a representative sample of locations. Our quantitative data indicate that, on average, people report making their avatars similar to themselves, but somewhat more attractive. And, compared to real-world behavior, respondents indicate that their virtual-world behavior is more outgoing and risk-taking and less thoughtful/more superficial. Finally, people with avatars more attractive than their real selves state that they are more outgoing, extraverted, risk-taking, and loud than their real selves (particularly if they reported being relatively low on these traits in the real world). Qualitative data from open-ended questions corroborate our hypotheses.


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