Video Game Experiential Marketing in Tourism: Designing for Experiences

While film and television have a long tradition in tourism marketing, the potential of video games is overlooked. This study unlocks a novel era of marketing by investigating the interplay between experiential factors and in-game experiences, and how they may contribute to one’s intention to visit in-game destinations. By taking Assassin’s Creed Odyssey as the study context, game world dynamics, level of immersion, level of freedom, connection to characters, and sense of realism are identified as the five pillars that shape gaming experiences. Drawing upon experience design, this study lays the groundwork for emerging marketing opportunities using video games for tourism and contributes to the broader field of media-induced tourism literature.

Fabula Nova Obscura Est: Possible Worlds in “Final Fantasy XIII-2”

Modern narratological researches are quite well developed and has long gone beyond the purely philological field. One of the applications of narratology is the study of computer games, the most relevant new medium. This paper is devoted to the issue of unusual narrative strategies used in games on the example of Final Fantasy XIII-2. The analysis is conducted via the possible-worlds method, which is currently in demand in modern humanities, but it is less known in Russia. The aim of the research is to determine the function of possible worlds existing in Final Fantasy XIII-2 for a better understanding of the game design. In the course of the work, the author examines the internal structure of the game world with the help of the theory of possible worlds, analyzes the narrative strategy, and makes a game scheme of possible worlds with accessibility links which let to see the deep internal structure of the narrative game world. In conclusion, it is clear that Final Fantasy XIII-2 contains a non-trivial narrative structure with multiple branches that is smoothed out by the gameplay and cinematic experience of the player, although such a composition of possible worlds represents a complex scheme of the game's macrocosm which demands a close attention to the narrative. The article is intended for various humanitarian specialists interested in the study of computer games.

Music for a Boss Fight: Creating for the Context of Video Game Worlds

Creating music increases student engagement, and drawing on students’ background knowledge is a respectful way to value students’ lived experiences. By challenging students to create music for the context of a video game world, teachers can build on students’ previous knowledge and bridge that knowledge to the elements of music and creating music for specific contexts and purposes. This column outlines a project for fourth graders to create video game music for specific contexts within the game.

In vitro neurons learn and exhibit sentience when embodied in a simulated game-world

Integrating neurons into digital systems to leverage their innate intelligence may enable performance infeasible with silicon alone, along with providing insight into the cellular origin of intelligence. We developed DishBrain, a system which exhibits natural intelligence by harnessing the inherent adaptive computation of neurons in a structured environment. In vitro neural networks from human or rodent origins, are integrated with in silico computing via high-density multielectrode array. Through electrophysiological stimulation and recording, cultures were embedded in a simulated game-world, mimicking the arcade game ‘Pong’. Applying a previously untestable theory of active inference via the Free Energy Principle, we found that learning was apparent within five minutes of real-time gameplay, not observed in control conditions. Further experiments demonstrate the importance of closed-loop structured feedback in eliciting learning over time. Cultures display the ability to self-organise in a goal-directed manner in response to sparse sensory information about the consequences of their actions.

Game Balance: Designed structure and consumer agency in an online game

<p>Massively multi-player online role-playing games (MMORPGs) attract millions of people every year and are now a major industry. Using the internet, these games connect players and give them goals to pursue within virtual worlds. This thesis examines the early life of one such game, the North American version of TERA, based on participant observation on a player vs. player server. TERA’s players met and interacted within a virtual game world controlled by the company which developed the game, and although players constructed their own social groups and factions within this world they were constrained by software that they could not change. Everything from the combat rules to the physics of the environment was designed, and players could only take actions that were accounted for and allowed by that design. However, TERA launched as one of many available MMORPGs which were competing for the attention of the same audience. Its players tended to be experienced and well-informed about the genre, and used their knowledge to evaluate and critique TERA both privately and in public forums. Aware that game companies’ chief concern was for profit, players exercised agency by embracing a consumer identity and pressuring developers in their own commercial terms. To retain players’ loyalty and continue receiving their fees, companies were obliged to appease their customers. This allowed players to see the game world develop and change in accordance with their desires despite the fact that they lacked the access or the expertise to change it themselves. I link this approach to agency to the rise of consumer movements in capitalist societies, and show how the virtual world of TERA can serve as an example for other situations in the physical world where contemporary technologies are used to both enable and constrain agency.</p>

Game Balance: Designed structure and consumer agency in an online game

<p>Massively multi-player online role-playing games (MMORPGs) attract millions of people every year and are now a major industry. Using the internet, these games connect players and give them goals to pursue within virtual worlds. This thesis examines the early life of one such game, the North American version of TERA, based on participant observation on a player vs. player server. TERA’s players met and interacted within a virtual game world controlled by the company which developed the game, and although players constructed their own social groups and factions within this world they were constrained by software that they could not change. Everything from the combat rules to the physics of the environment was designed, and players could only take actions that were accounted for and allowed by that design. However, TERA launched as one of many available MMORPGs which were competing for the attention of the same audience. Its players tended to be experienced and well-informed about the genre, and used their knowledge to evaluate and critique TERA both privately and in public forums. Aware that game companies’ chief concern was for profit, players exercised agency by embracing a consumer identity and pressuring developers in their own commercial terms. To retain players’ loyalty and continue receiving their fees, companies were obliged to appease their customers. This allowed players to see the game world develop and change in accordance with their desires despite the fact that they lacked the access or the expertise to change it themselves. I link this approach to agency to the rise of consumer movements in capitalist societies, and show how the virtual world of TERA can serve as an example for other situations in the physical world where contemporary technologies are used to both enable and constrain agency.</p>

I'll Play on My Other Account

This article studies the effects and implications of sybils (secondary accounts created by a person in an online platform) through the game World of Tanks from interdisciplinary, mixed-methods perspectives. Considering sybils allows us to access a "person based'' network, instead of an "account based" network, revealing formerly undetected patterns. We move on to behavioral differences between the "parent" (the initial account) and "child" (those created afterwards) accounts in a sybil relationship. We explore the behavioral patterns of sybils using network, chat, and gameplay data. We find that sybils represent players experimenting with new roles or features without damaging their play record. We find that there are significant behavioral differences between different sybil accounts, and we leverage them to build a machine learning classifier to differentiate sybils. This classifier is able to identify sybil accounts with over 95% accuracy for sybil/non-sybil, 61% for parent/child. This study demonstrates the underexplored but rich potential for sybils to improve research and industry practitioners' understandings of user practices and experiences.

Comparative analysis of the proprietary navigation system and the built-in Unity engine tool

Navigation systems are advanced tools that allow you to create characters intelligently moving around the game world. The purpose of this thesis was to conduct a comparative analysis of the proprietary navigation system “AlchemyNavigation” and the built-in tool of the Unity engine - “NavMesh”. An proprietary application created with the Unity engine was used to conduct the research, under which identical scenarios based on the tested systems were implemented. Finally, on the basis of the collected results and documentation of the research objects, a comparative analysis was carried out and proved the thesis that own solutions can match the default solutions.

Достоевский в игровом мире Б. Акунина

Dostoevsky in the Game World of B. Akunin. The article identifies two types of inclusion of Dostoevsky’s legacy in the artistic world of B. Akunin: an open declaration of the work based on which the text is created, and intertextual game with Dostoevsky’s work as a whole. The research material was “A Provincial Detective, or The Adventures of Sister Pelagia” and the novel “F. M.” It is shown that B. Akunin in the trilogy about the Russian provinces directly names the sources (mainly Dostoevsky’s “great Pentateuch”), which removes intertextuality, since it manifests itself during the decoding operation. Study of the genre specificity of the novel “F. M.” leads to the conclusion about the existence of a metatext layer in the text, indicates an increased author’s self-irony and self-reflection, which is a sign of readiness to supplement the detective-adventurous direction of creativity with other artistic strategies.