scholarly journals Games in the age of empire

Kultura ◽  
2020 ◽  
pp. 224-245
Author(s):  
Vitford Dajer ◽  
Pojter de

This is a part of the introductory essay of the now already canonical study on gaming culture, written by Nick Dyer-Witheford & Greig de Peuter - Games o f Empire: Global Capitalism and Video Games (University of Minnesota Press, 2009). Regardless of the year of publishing, it still represents an extremely useful review that is not without serious critical insights. Placing the culture of video games in the epistemological passe partout determined by the Empire theorists Michael Hardt and Antonio Negri, the authors had laid one of the key foundations for critical game studies, based on a deep understanding of the logic of virtual games, as well as their teleology and reception. The authors' cultural-political analysis of the media illustrates how central video games have become the very structure of our contemporary global order: both as a means of governing and as a (virtual) space of struggle and resistance.

2020 ◽  
pp. 155541202096184
Author(s):  
Maude Bonenfant

To demonstrate how Games of Empire (Dyer-Witheford, N., & de Peuter, G. (2009). Games of empire. Global capitalism and video games, Minneapolis: University of Minnesota) elaborated an important standpoint within critical game studies, this article discusses the thesis that a specific type of video games perfectly converges with our contemporary modes of representation and praxis, which are best situated within the paradigm of hypermodernity (Lipovetsky, G. (1983). L’ère du vide: Essais sur l’individualisme contemporain. Paris. Gallimard, coll. «Folio essais»; Lipovetsky, G. & Charles, S. (2004). Les temps hypermodernes. Paris: Bernard Grasset, «Nouveau collège de philosophie»). Hypermodernity radicalizes modernity because, within hypermodernity, values such as progress, reason, and happiness are overly ( hyper) actualized rather than surpassed ( post) (Aubert, N. (2006) (dir). L’individu hypermoderne. Toulouse: Eres, coll. «Sociologie clinique»; Giddens, A. (1990). The consequences of modernity. Stanford: Stanford University Press). Based on an archetypal account, that is, a theoretical model rather than a case study, this article will show how hypermodern video games' commercialization and use within a capitalist context are emblematic of hypermodernity. We will also evaluate how these games promote adaptation to hypermodernity toward an "ideal" becoming-player for Empire. In conclusion, if playing can be seen as the multitude's escape hatch out of the dominant order, this article will explain how hypermodern video games, as a media, may also be viewed as a key site where asymmetrical and unequal relationships replicate within Empire.


2021 ◽  
pp. 155541202110210
Author(s):  
Sky LaRell Anderson ◽  
Karen (Kat) Schrier

In this article, we conduct a discourse analysis of 60 articles to reveal themes that describe how games journalism reflects and constitutes understandings of disability and accessibility in gaming. First, we map prior research on media’s relationship to disability, as well as approaches to disability in game studies, including the introduction of two primary paradigms for addressing issues of accessibility in gaming. Second, the project reveals six thematic categories that describe how game journalism reflects and constitutes understandings of disability and accessibility in gaming: gamers with disabilities, portraying disability, game design, game controllers, discussing accessibility, and advocacy. Further comparison of the categories reveals four additional themes of discourses, namely, self-congratulations, fetishization, awareness as advocacy, and problem-solving. The article concludes with implications for the games industry, for theory, and for how the field of game studies can investigate disability.


2021 ◽  
Vol 2 (3) ◽  
pp. 34-55
Author(s):  
Ailbhe Warde-Brown

The relationship between music, sound, space, and time plays a crucial role in attempts to define the concept of “immersion” in video games. Isabella van Elferen’s ALI (affect-literacy-interaction) model for video game musical immersion offers one of the most integrated approaches to reading connections between sonic cues and the “magic circle” of gameplay. There are challenges, however, in systematically applying this primarily event-focused model to particular aspects of the “open-world” genre. Most notable is the dampening of narrative and ludic restrictions afforded by more intricately layered textual elements, alongside open-ended in-game environments that allow for instances of more nonlinear, exploratory gameplay. This article addresses these challenges through synthesizing the ALI model with more spatially focused elements of Gordon Calleja’s player involvement model, exploring sonic immersion in greater depth via the notion of spatiotemporal involvement. This presents a theoretical framework that broadens analysis beyond a simple focus on the immediate narrative or ludic sequence. Ubisoft’s open-world action-adventure franchise Assassin’s Creed is a particularly useful case study for the application of this concept. This is primarily because of its characteristic focus on blending elements of the historical game and the open-world game through its use of real-world history and geography. Together, the series’s various diegetic and nondiegetic sonic elements invite variable degrees of participation in “historical experiences of virtual space.” The outcome of this research intends to put such intermingled expressions of space, place, and time at the forefront of a ludomusicological approach to immersion in the open-world genre.


2018 ◽  
Vol 4 (1) ◽  
pp. 201-214 ◽  
Author(s):  
Sonia Fizek

Abstract Automation of play has become an ever more noticeable phenomenon in the domain of video games, expressed by self-playing game worlds, self-acting characters, and non-human agents traversing multiplayer spaces. This article proposes to look at AI-driven non-human play and, what follows, rethink digital games, taking into consideration their cybernetic nature, thus departing from the anthropocentric perspectives dominating the field of Game Studies. A decentralised posthumanist reading, as the author argues, not only allows to rethink digital games and play, but is a necessary condition to critically reflect AI, which due to the fictional character of video games, often plays by very different rules than the so-called “true” AI.


2021 ◽  
Vol 13 ◽  
pp. 197-212
Author(s):  
Hanna Kuliga

The presented article covers the subject of creating one’s identity in a virtual reality of video games, in the perspective of LGBT characters and their influence on the exploration of the sexual identity of a gamer. It describes the means by which the user has the ability to experiment with and express their identity, putting an emphasis on the role of immersion and cultural reflection in this process. The fol-lowing presented issues concern the representation of sexual minorities and negative phenomena that are present in the virtual space (such as queerbaiting), which have an impact on both the user, as well as the game industry. It emphasizes the role of the appearance of LGBT characters in this medium, which potentially can positively influence the player and producer communities. In this article I also describe three examples of non-heteronormative characters and their importance to users and developers of the given games.


2015 ◽  
Vol 6 (3) ◽  
Author(s):  
Steve Wilcox

There is a considerable amount of academic and non-academic interest in the production and reception of video games. At the same time game scholars encounter questions such as, “are video game academics irrelevant?” In this article I connect questions of relevancy in game studies with the need to develop forms of publishing capable of asserting that relevancy more broadly. As the co-founder and editor-in-chief of First Person Scholar (FPS), a middle-state publication based in the Games Institute at the University of Waterloo, I detail how FPS has attempted to reach beyond the traditional scope of game studies to engage a wider audience and assert a new degree of relevancy for the game scholar.


2014 ◽  
Vol 2 (1) ◽  
pp. 222-237
Author(s):  
Muhammad Edy Susilo

AbstrakPemilihan umum merupakan salah satu Peristiwa penting yang akan menentukan arah perjalanan sebuahnegara. Ada 12 parti politik yang bertanding dalam pemilihan umum 2014. Pelaksanaan pemilihan umumtidak dapat dipisahkan dengan media,kerana media menjadi salah satu cara bagi parti politik untukmendapatkan pemilih. Di Indonesia, hubungan antara politik dengan media menjadi lebih rumit keranasebahagian besar ahli politik parti juga merupakan pemilik media massa nasional. Sudah menjadi sifatmedia, untuk selalu akan menyuarakan kepentingan pemiliknya. Namun, pada pemilihan umum 2014ada fenomena yang menarik iaitu luasnya penggunaan media sosial, seiring dengan meningkatnyapenggunaan internet di Indonesia. Maka, kempen politik bergeser dari ruang fizik menuju ruang maya.Jika pada pemilihan umum sebelum ini kempen politik selalu melibatkan massa yang besar, pawai atauorasi di tempat, terbuka, namun kali ini kempen yang dilakukan adalah lebih bersifat individu. Kempendilakukan melalui telefon pintar, komputer riba dan gajet yang lain. Dengan media sosial, masyarakatbukan lagi penonton yang pasif tetapi aktif. Masyarakat boleh menjadi penyampai maklumat dan bukanhanya sebagai penonton, sehingga dominasi media massa konvensional runtuh. Salah satu fenomenayang menonjol adalah munculnya Tokoh Joko Widodo, yang popular dengan nama Jokowi, sebagai salahsatu calon presiden dari Parti Demokrasi Indonesia Perjuangan. Jokowi berjaya menggunakan mediasosial untuk bekempen, walaupun partinya tidak memiliki media massa. Abstract General election is one of the crucial moments that will determine the development of a country. Thereare 12 political parties competing in the 2014 Indonesian national elections. The elections cannot beseparated with the media, because political parties use media in their campaign to influence voters. InIndonesia, the relationship between politics and the media becomes more complicated because most ofthe party’s political elites are also the owner of the national mass media. It is the nature of media, to alwaysbe voicing the interests of its owner. However, in the 2014 elections there is an interesting phenomenon:the increasing use of social media, along with the increasing penetration of the Internet in Indonesia. Thus,the political campaign shifted from physical space to the virtual space. If in the previous elections, politicalcampaigns always involve huge masses and rhetorics in the open space; in this election the campaigncarried more personal. Now, campaigns are conducted through smart phones, laptops and other gadgets.With social media, people are no longer passive but active audience. People can be a message producerand not just as an audience, so the conventional media dominance collapsed. One of the prominentphenomenon is the rising popularity of the president candidates from the Partai Demokrasi IndonesiaPerjuangan, Joko Widodo, who is popularly known as Jokowi. Jokowi has successfully used social mediafor the campaign, even though his political party does not have the mass media.


The Race Card ◽  
2019 ◽  
pp. 113-137
Author(s):  
Tara Fickle

This chapter radically revises our understanding of game studies’ conceptual foundations by revealing the Orientalist assumptions embedded in Johan Huizinga’s Homo Ludens (1938) and Roger Caillois’s Man, Play, and Games (1958). These founding fathers’ discussions of play as a liberating “magic circle” have been endlessly cited, excerpted, and romanticized, most recently by popular and academic rhetoric extolling video games as the cure for a “broken” and alienating twenty-first-century reality. Unsurprisingly, contemporary scholars have regarded the patronizing and exotifying references to Japan and China which crop up nearly from the very first pages of these tomes as embarrassing but irrelevant signs of the times. Recontextualizing these early chapters within the longer and rarely read remainders of both monographs, however, reveals that those initial ludic schemas were in fact the raison d’être for an elaborate ethnocentric sociology that rationalized the cognitive and cultural inferiority of nonwhites by ranking them according to the “primitivity” of their play. Showing how these theorists legitimized their taxonomies by naturalizing fantasies of a ritualized, stagnant East and an innovative, rational West, this chapter demonstrates that Orientalist discourse was not tangential but essential to the seemingly global theories of play that form the basis of modern game studies.


Author(s):  
Bradley Freeman

The field of communication is large and varied. There are different types and levels of communication. Mass communication allows for mass media: books, newspapers, magazines, recorded sound/music, film, radio, television, video games, and the internet. Scholars have identified a handful of common functions of the media. The chief function of media is that of entertainment – providing diversion. Though it varies from country to country, people are spending much more time with the media than at any time in history, often spending more time with media than sleeping. This chapter discusses a number of concepts and terms related to contemporary mass media: globalization, digitalization, convergence, consolidation, fragmentation, personalization, and (hyper) commercialization.


Author(s):  
Anne-Marie Schleiner

‘Tilting the Axis of Global Play’ presents an historical review of East vs. West tensions between the United States and Japan, drawing past game studies literature. I posit that an East/West framework, although rightly recognizing national and regional cultural differences in the emergence of the game industry, has limits that a South/North perspective better addresses transnationally. Like other industries, the game industry leverages globalization to exploit Southern labor in the fabrication of game consoles and other game hardware. And predominant Northern cultural paradigms are disseminated globally in the fictional scenarios of highly produced Triple A games. Despite this disequilibrium, I make the case that in the global South, players and other gaming culture participants contribute meaningfully to transnational gaming culture.


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