Digital Gaming, Game Design and Its Precursors

2020 ◽  
pp. 288-305 ◽  
Author(s):  
Thomas M. Malaby
Keyword(s):  
2020 ◽  
pp. 155541201989830 ◽  
Author(s):  
Alesja Serada ◽  
Tanja Sihvonen ◽  
J. Tuomas Harviainen

This article analyzes specific characteristics of value created through digital scarcity and blockchain-proven ownership in cryptogames. Our object of study is CryptoKitties, the first instance of a blockchain-based game that has garnered media recognition and financial interest. The objective of this article is to demonstrate the limits of scarcity in value construction for owners of CryptoKitties tokens, manifested as breedable virtual cats. Our work extends the trends set out by earlier cryptocurrency studies from the perspective of cultural studies. For the purpose of this article, we rely on open blockchain analytics such as DappRadar and Etherscan, as well as player-created analytics, backed by a one-year-long participant observation period in the said game for research material. Combining theoretical cryptocurrency and Bitcoin studies, open data analysis, and virtual ethnography enables a grounded discussion on blockchain-based game design and play.


2021 ◽  
Vol 5 (CHI PLAY) ◽  
pp. 1-15
Author(s):  
Yu Hao

By drawing on Joseph Beuys's notion of "social sculpture" and bringing together the discussions on participation from participatory art, participatory design, and game design, this paper seeks to expand the notion of participation in digital play. The expansive definition of participation allows us to better grasp computer games as a critical platform for dialogue and action, and computer gameplay as a transformative process of sculpting social fabric. By analyzing existing games in light of the concept of social sculpture, this paper explores how Beuys's central tenet-the discourse of participation-can "politicize" the practice of digital gaming and game design. Furthermore, the paper proposes a participation-centered game design approach that is politically responsible and engaging, attempting to arrive at new knowledge that will help to make games that can function as a platform for participation and social commentary.


2005 ◽  
Vol 2 (2) ◽  
pp. 122-143

This article is excerpted, with the permission of the editors and the publishers, from an edited book published by Peter Lang Publishing in conjunction with Eyebeam ( www.eyebeam.org ), a not-for-profit new media arts organization in New York City. It reproduces one of the book's four organizing ‘modules’ – Games as Exchange – which focuses on new kinds of social interaction made possible by digital gaming. The book grew out of an ideas exchange among participants involved in an online forum and live symposium discussing and debating game design and culture. The module reproduced in this article involves 15 of the 50 core contributors to the book as a whole, whose ideas were coordinated thematically and edited by Amy Scholder and Eric Zimmerman. The module is prefaced by Eric Zimmerman's Introduction to the book as a whole.


2020 ◽  
Vol 32 (3) ◽  
pp. 114-141
Author(s):  
A.D. Muzhdaba ◽  
◽  
A.O. Tsarev ◽  

The authors attempt to speculatively reconstruct the concept of the “So­viet computer game”. They propose to consider gaming practices associ­ated with computers as a derivative of the accepted ideological guidelines that accompany the Soviet project of machine modernization. Within this framework, the concept of the Soviet computer game appears as an unre­alized historical alternative to the normative game design that has devel­oped in countries with market economies. Despite the industry — or the electronic entertainment market — not having had the time to be properly established in the USSR, there were a number of discursive attitudes re­garding the game as such, and the gaming function of computing devices in particular. Even early Soviet pedagogical theories assumed that “playing like a Soviet” involves performing activities structurally similar to labor, where the player becomes part of production. Later, cybernetic discourse, through game theory, indicated the possibility of formalizing any prag­matic activity as a game model; with the advancement of programming, the pragmatics of digital gaming as a way of educating and solving utili­tarian tasks was developed. Based on the memoir archive of Soviet cyber­netics, and publications in the late-Soviet press, the authors demonstrate that the Soviet computer game was not seen an entertainment product, but a representative model for solving problems in an algorithmic form. Thus, the article is not about specific games that could be called Soviet, but about the logic that guided and set the tone for the interpretation of certain computer-game phenomena in the USSR.


CounterText ◽  
2016 ◽  
Vol 2 (2) ◽  
pp. 217-235
Author(s):  
Gordon Calleja

This paper gives an insight into the design process of a game adaptation of Joy Division's Love Will Tear Us Apart (1980). It outlines the challenges faced in attempting to reconcile the diverging qualities of lyrical poetry and digital games. In so doing, the paper examines the design decisions made in every segment of the game with a particular focus on the tension between the core concerns of the lyrical work being adapted and established tenets of game design.


2008 ◽  
Vol 5 (2) ◽  
pp. 1-9
Author(s):  
Cheryl Seals ◽  
◽  
Jacqueline Hundley ◽  
Lacey Strange Montgomery ◽  
◽  
...  

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