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Artykuły w czasopismach na temat "Digital game worlds"
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Mendonça, Carlos Magno Camargos, i Filipe Alves de Freitas. "Game as text as game: the communicative experience of digital games". Comunicação e Sociedade 27 (29.06.2015): 253–72. http://dx.doi.org/10.17231/comsoc.27(2015).2100.
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We propose to regard video game as text, but not by literally understanding it as a verbal expression, and instead recognizing that many assumptions of literary theory are relevant to its analysis. This option seems to put us in sync with the narratologists, who exalt games as new manifestations of narrative, but cling to a conception of text as world that values illusionist effects. Instead, we are interested in experiences that, against this perspective, recognize the possibility of regarding game as a text that is a game - an incomplete object that is to be updated by the reader in a self-reflective relationship with the signs that compose it, a central notion to theories such as Iser’s and Dewey’s. Then, instead of focusing on strategies of immersion on large virtual worlds, we favor small independent casual games (such as Small Worlds, Grey, The Beggar, and Dys4ia) analyzing how, in these, take place experiences that allow us to re-examine the aesthetic potential of the medium.
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Caselli, Stefano, Farah Polato i Mauro Salvador. "Journeying to the actual World through digital games: The Urban Histories Reloaded project". Mutual Images Journal, nr 10 (20.12.2021): 271–94. http://dx.doi.org/10.32926/2021.10.cas.urban.
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The paper aims at reflecting on the potential of digital games to convey meaning, tell stories and, most importantly, become a tool to discover and experience the actual world. Using as a case study the experience of the Urban Histories Reloaded. Creatività videoludica per azioni di cittadinanza (Urban Histories Reloaded. Digital Game Creativity for citizenship actions) project (UHR), we will discuss the role digital games can play in activating territorial processes, by favouring the engagement with the actual world as well as with playful approaches to city living. In particular, we will focus on the artist residency for game designers, game artists, and game programmers held in Padua between September and October 2020 within the frame of the project and on its main outcome, the mobile game MostaScene. MostaScene consists of a fifteen-minute mobile game set in District 5 Armistizio-Savonarola of Padua. Both its design and its overall content have intertwined with the urban space since the very beginning. Above all, we will inspect the use of digital games for city-making actions via two different paths: on the one hand, through the involvement of stakeholders (public institutions and specific groups, but also and most importantly citizens) as co-designers; on the other hand, using digital games as non-functional experiences that may encourage innovative interpretations of the urban space for player. From a theoretical perspective, this research requires us to look at digital games as both fictional worlds that involve imagination and interpretation, as well as digital worlds that are experienced as part of reality in a phenomenological sense. Once this is acknowledged, we can provide an overview of how games can tackle reality and engage with the actual world.
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Cermak-Sassenrath, Daniel. "On political activism in digital games". MedieKultur: Journal of media and communication research 34, nr 64 (14.06.2018): 29. http://dx.doi.org/10.7146/mediekultur.v34i64.96924.
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This project investigates how players of digital games apply their own play with the intent to transmit political messages to other players. Acts of activism are collected from a sample of commercial multiplayer online games; three taxonomies are proposed of which one is used to present the findings, and popular patterns or structures of activism are identified. It is found that in-game activism often takes its cue from activism in everyday life, but that some original topics emerge, for example, the ownership of virtual worlds and practices of in-game political activism such as novel forms of rallies. Current political activism often appears to utilize generic and widely-shared game mechanics, rather than mechanics specific to individual games or genres. Games are therefore selected for their topics, availability, and costs, and popularity with the target audience
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Denson, Shane, i Andreas Jahn-Sudmann. "Digital Seriality: On the Serial Aesthetics and Practice of Digital Games". Eludamos: Journal for Computer Game Culture 7, nr 1 (23.12.2013): 1–32. http://dx.doi.org/10.7557/23.6145.
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In this paper we are concerned to outline a set of perspectives, methods, and theories with which to approach the seriality of digital games and game cultures – i.e. the aesthetic forms and cultural practices of game-related serialization, which we see unfolding against (and, in fact, as a privileged mediator of) the broader background of medial and socio-cultural transformations taking place in the wake of popular media culture’s digitalization. Seriality, we contend, is a central and multifaceted but largely neglected dimension of popular computer and video games. Seriality is a factor not only in explicitly marked game series (with their sequels, prequels, remakes, and other types of continuation), but also within games themselves (e.g. in their formal-structural constitution as an iterative series of “levels” or “worlds”) as well as on the level of transmedial relations between games and other media (e.g. expansive serializations of narrative worlds across the media of comics, film, television, and games, etc.). Particularly with respect to processes of temporal “collapse” or “synchronization” that, in the current age of digitization and media convergence, are challenging the temporal dimensions and developmental logics of pre-digital seriality (e.g. because once successively appearing series installments are increasingly available now for immediate, repeated, and non-linear consumption), computer games are eminently suited for an exemplary investigation of a specifically digital type of seriality. In the following, we look at serialization processes in digital games and game series and seek to understand how they relate to digital-era transformations of temporally-serially structured experiences and identifications on the part of historically situated actors. These transformations range from the microtemporal scale of individual players’ encounters with algorithmic computation processes (the speed of which escapes direct human perception and is measurable only by technological means) all the way up to the macrotemporal (more properly “historical”) level of collective brokerings of political, cultural, and social identities in the digital age. To account for this multi-layered complexity, we argue for a decidedly interdisciplinary approach, combining media-aesthetic and media-philosophical perspectives with the resources of discourse analysis and cultural history. We approach the seriality of digital games both in terms of textual and aesthetic forms as well as in the broader context of serialized game cultures and popular culture at large.
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Valls-Vargas, Josep. "Narrative Extraction, Processing and Generation for Interactive Fiction and Computer Games". Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 9, nr 6 (30.06.2021): 37–40. http://dx.doi.org/10.1609/aiide.v9i6.12600.
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Often, computer games require meaningful stories and complex worlds in order to successfully engage players. Developing a high-quality story and rich characters can be one of the hardest tasks in the game development process. Narrative is a key element in building game worlds for interactive digital entertainment. I am particularly interested in computational narrative algorithms that can analyze stories, model narrative, and generate plots to be used in various forms and game domains.
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Bettivia, Rhiannon. "Enrolling Heterogeneous Partners in Video Game Preservation". International Journal of Digital Curation 11, nr 1 (5.10.2016): 17–32. http://dx.doi.org/10.2218/ijdc.v11i1.339.
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This article extends previous work known as Preserving Virtual Worlds II (PVWII), funded through a grant from the Institute of Museum and Library Services. The author draws on interview data collected from video game developers, content analysis of several long-running video game series, as well as the project’s advisory board and researcher reports. This paper exposes two fundamental challenges in creating metrics and specifications for the preservation of virtual worlds; namely, that there is no one type of user or designated video game stakeholder community, and that significant properties of games cannot always be located in code or platform. The PVWII data serve to explain why existing ideas about preservation of video games are inadequate when games are treated as digital cultural heritage. Preservation specialists need to bind nebulous and dynamic digital objects, a process that is necessary while inherently artificial.
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Gunova, Violla. "Mixed Reality Game YU-GI-OH". Journal of Software Engineering, Information and Communication Technology (SEICT) 3, nr 2 (4.01.2023): 95–114. http://dx.doi.org/10.17509/seict.v2i2.34675.
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Mixed Reality is a technology that combines the real world with the virtual world. Merging these two worlds will form a new environment where each object from each world can interact with each other. This technology will offer a different user experience depending on how it is used, including digital games. This paper will discuss how to construct the card along with its mechanism of movement that used in YU-GI-OH game and its implementation on mixed reality technology using the HoloLens platform. The game be integrated to HoloLens until view stage.
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Tor, Noam, i Goren Gordon. "Digital Interactive Quantitative Curiosity Assessment Tool: Questions Worlds". International Journal of Information and Education Technology 10, nr 8 (2020): 614–21. http://dx.doi.org/10.18178/ijiet.2020.10.8.1433.
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Curiosity is a 21st century skill and is of paramount importance in the digital age. However, the assessment of curiosity is often based on self-report or subjective observations. We present the development and evaluation of a digital quantitative assessment game for question-asking-based exploration. The student navigates a graphically presented question graph by selecting questions about a series of virtual alien worlds. The game extracts question-related quantitative measures, e.g., the breadth, depth and specificity of the answers to the questions. We conducted a study with Youth University students and administered a curiosity-based questionnaire to their class teachers as an external validation. Our results show that the measure of total question specificity in the last presented world is a significant predictor of children’s curiosity, as rated by their teachers. This suggests that curiosity can be quantitatively assessed by an entertaining digital question-based game.
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Root, Rachael. "Bridging anthropological theory: Accumulating and containing wealth in World of Warcraft landscapes". Critique of Anthropology 43, nr 1 (23.02.2023): 66–83. http://dx.doi.org/10.1177/0308275x231156718.
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Human ingenuity responds to changing environments and resources with technological sophistication and variations in accumulative behaviors. While anthropologists look to the past and to processes of globalization to sketch these shifts in the natural world, there is a growing awareness that these transformations also occur in digital online worlds. I argue that archaeology’s attention to materiality provides useful analysis and directions for ethnographic video game analysis. I use research from the massively multiplayer online role-playing game World of Warcraft: Warlords of Draenor, where players marshal social and economic resources in both the natural and digital worlds. In constructing reputations and accumulating prestige, players integrate online and offline resources, traversing the tangible/digital divide in their pursuit of achievement. Archaeological perspectives and theories of aggrandizement, containment, systems, landscapes, and ontological materiality provide opportunities to expand ethnographic video game research and debates into new directions.
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Durusoy, Murat. "In-Game Photography: Creating New Realities through Video Game Photography". Membrana Journal of Photography, Vol. 3, no. 1 (2018): 42–47. http://dx.doi.org/10.47659/m4.042.art.
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Computers and photography has had a long and complicated relationship throughout the years. As image processing and manipulating capabilities advanced on the computer front, photography re-birthed itself with digital cameras and digital imaging techniques. Development of interconnected social sharing networks like Instagram and Twitter feeds the photographers’/users’ thirst to show off their momentaneous “been there/seen that – capture the moment/share the moment” instincts. One other unlikely front emerged as an image processing power of the consumer electronics improved is “video game worlds” in which telematic travellers may shoot photographs in constructed fantasy worlds as if travelling in real life. While life-like graphics manufactured by the computers raise questions about authenticity and truthfulness of the image, the possible future of the photography as socially efficient visual knowledge is in constant flux. This article aims to reflect on today’s trends in in-game photography and tries to foresee how this emerging genre and its constructed realities will transpose the old with the new photographic data in the post-truth condition fostering for re-evaluation of photography truth-value. Keywords: digital image, lens-based, photography, screenshot, video games
Rozprawy doktorskie na temat "Digital game worlds"
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Gustafsson, Viktor. "Designing persistent player narratives in digital game worlds". Electronic Thesis or Diss., université Paris-Saclay, 2021. http://www.theses.fr/2021UPASG102.
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Les joueurs de jeux en ligne massivement multijoueurs (MMO), génèrent des histoires avec leurs personnages, mais ne peuvent pas exprimer ou voir les traces de leurs aventures dans l'environnement. Je soutiens que comprendre le rôle de la persistance et de l'émergence des récits de joueurs dans les mondes de jeux numériques, peut conduire à de nouveaux systèmes et outils permettant d’ accroître leurs engagements De plus, cela peut aider les concepteurs de jeux à produire du contenu. Je combine plusieurs méthodes pour comprendre des récits de joueurs et je présente We Ride, un MMO proposant le cadre du “Narrative Substrates” pour construire des architectures et des mécanismes de jeu qui tirent parti des récits persistants de joueurs. De multiples études montrent comment le “Narrative Substrates” encourage avec succès les joueurs à co-créer du nouveau contenu à partir de leurs propres récits, en leur permettant de façonner le monde et de contribuer à un contenu nouveauPlayers in digital game worlds, such as Massively Multiplayer Online Games (MMO), generate long standing histories with their characters, but cannot express or see persisted traces of their adventures within the environment. I argue that understanding the role of persistence and the emergence of player narratives in digital game worlds can lead to novel systems and tools for increasing players'engagement and help game designers produce content. I combine multiple methods for understanding player narratives, and present We Ride, an MMO that embodies and tests the Narrative Substrates framework for building game architectures and mechanics that leverage persistent player narratives. Multiple studies show how Narrative Substrates successfully encourages players to codesign new content from their own persisted narratives, letting them shape the world and contribute novel content. Finally, I discuss the challenges of this work and suggest several promising directions for future work
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Lõugas, Marilin. "Weaving Mental Threads: Exploring the Touchpoints Between Parallel Game Worlds in an Ended World Setting". Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22784.
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This master thesis researches parallel digital world design in computer games in the setting of An Ended World. The main focus of the research is the touchpoints between two or more worlds and how the inputs from a designer can influence the type of experience received by the player.The overall research takes inspiration from both game and interaction design and follows a very user-centric approach with numerous play sessions and a workshop. The final outcome is presented in the form of attributes and a prototype built as a modification for an existing game.
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Caldwell, Kyrie Eleison Hartsough. "Fake the dawn : digital game mechanics and the construction of gender in fictional worlds". Thesis, Massachusetts Institute of Technology, 2016. http://hdl.handle.net/1721.1/106745.
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Thesis: S.M. in Comparative Media Studies and Writing, Massachusetts Institute of Technology, Department of Humanities, Graduate Program in Science Writing, 2016.Cataloged from PDF version of thesis. "September 2016."
Includes bibliographical references (pages 93-105).
This thesis considers the ways in which digital game mechanics (interactive inputs) contribute to games' worldbuilding. In particular, this work is concerned with the replication and reinforcement of problematic gender roles through game mechanics that express positive ("warm") interactions between characters, namely healing, protection, and building relationships. The method used has been adapted from structural analysis via literary theory, as informed by game studies, media studies methodologies, and feminist epistemologies. Game mechanics are analyzed both across and within primary texts (consisting of Japanese-developed games from the action and role-playing genres) in relation to characters' representation. Through this analysis, I found that characters who are women and girls are often associated with physical weakness, nature-based magic, and nurturing (or absent) personalities, whereas characters who are men and boys often protect women through physical combat, heal through medical means, and keep an emotional distance from others. Relationships built through game mechanics rely on one-sided agency and potential that renders lovers and friends as characters who exist to support the player character in achieving the primary goals of the game. Through these findings, I conclude that even warm interactions in games carry negative, even potentially violent and oppressive, representations and that there is thusly a need for design interventions on the mechanical level to mitigate violence in game worlds and the reinforcement of negative real world stereotypes.
by Kyrie Eleison Hartsough Caldwell.
S.M. in Comparative Media Studies and Writing
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Perkins, Kyle Eric. "Lifesigns: Successful Storytelling in Open-World Games". Ohio University Honors Tutorial College / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1290205847.
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Chan, Pauline B. "Narrative participation within game environments: role-playing in massively multiplayer online games". Thesis, Georgia Institute of Technology, 2010. http://hdl.handle.net/1853/37126.
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Massively multiplayer online games (MMOGs) present fantastic, persistent worlds and narratives for a community of players to experience through pre-defined rules, roles, and environments. To be able to offer the opportunity for every player to try the same experiences, many game developers have opted to create elaborate virtual theme parks: scripted experiences within static worlds that cannot be affected or changed through player actions.
Within these games, some players have turned to role-playing to establish meaningful connections to these worlds by expanding upon and subverting the game's expectations to assume a limited sense of agency within the world. The interaction between role-players and the locations they occupy within these worlds is a notable marker of this narrative layering; specific locations inform social codes of conduct, designed by developers, and then repurposed by players for their characters and stories. Through a qualitative case study in World of Warcraft on public role-playing events, this thesis considers how the design of in-game locations inform their use for role-playing, and how locations are altered through storytelling as a result.
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Pearce, Celia. "Playing ethnography : a study of emergent behaviour in online games and virtual worlds". Thesis, University of the Arts London, 2006. http://ualresearchonline.arts.ac.uk/2300/.
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This study concerns itself with the relationship between game design and emergent social behaviour in massively multiplayer online games and virtual worlds. This thesis argues for a legitimisation of the study of ‘communities of play’, alongside communities perceived as more ‘serious’, such as communities of interest or practice. It also identifies six factors that contribute to emergent social behaviour and investigates the relationship between group and individual identity, and the emergent ways in which these arise from and intersect with the features and mechanics of the game worlds themselves. Methodology: Under the rubric of ‘design research’, this study was conducted as an ethnographic intervention, an anthropological investigation that deliberately privileged the online experience whilst acknowledging the performative nature of both game play and the research process itself. The research was informed by years of professional practical experience in game design and playtesting, as well as by qualitative methods derived from the fields of Anthropology, Sociology, Computermediated Communications and the emerging field of Game Studies. The process of conducting the eighteen-month ethnographic study followed the progress of a sub-set of members of the ‘Uru Diaspora,’ a group of 10,000 players who were made refugees when the massively multiplayer game ‘Uru: Ages Beyond Myst’ was closed in February of 2004. Uru refugees immigrated into other virtual worlds, using their features and capabilities to create ethnic communities that emulated the culture, artefacts and environments of the original Uru world. Over time, players developed ‘hybrid’ cultures, integrating the Uru culture with that of their new homes, and eventually creating entirely new Uru and Myst-inspired content. The outcome is the identification of six factors that serve as ‘engines for emergence’ and discusses their relationship to each other, to game design, and to emergent behaviour. These include: • Play Ecosystems: Fixed-Synthetic vs. Co-Created Worlds: Online games and virtual worlds exist along a spectrum, with environments entirely authored by the designer at one end, and those comprised primarily of player-created content and assets on the other, with a range of variations between. The type of world will impact the sort of emergent behaviour that occurs, and worlds that include player-created content will be more inclined to promote emergent behaviour. • Communities of Play: Distributed groups formed around play demonstrate distinct characteristics based on shared values and play styles. The study describes in detail one such play community, and analyses the ways in which its characteristic play styles drove its emergent behaviours. • The Social Construction of Avatar Identity: Individual avatar identity is constructed through an emergent process engaging social feedback. • Intersubjective Flow: A social reading of the psychological notion of ‘flow’ that describes the way in which flow dynamics occur in a social context through play. • Productive Play: Countering the traditional contention that play is inherently ‘unproductive’ as some scholars suggest, the thesis argues that play can be seen as a form of cultural production, as well as fulcrum for creative activity. • Porous Magic Circles and the ‘Ludisphere’: The magic circle, which bounds play activities, is more porous than game scholars had previously believed. The term ‘ludisphere' is used to describe the larger context of aggregated play space via the Internet. Also identified are leakages between ‘virtual worlds’ and ‘real life’. By identifying these factors and attempting to trace their roots in game design, the study aims to contribute a new approach to the making and analysis of user experience and creativity ‘in game’. The thesis posits that by achieving a deeper cultural understanding of the relationship between design and emergent behaviour, it is possible to make steps forward in the study of ‘emergence’ itself as a design material.
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Anad, Donya, i Haojue Gong. "Situated Gaming: The story of the past, present and future in women's digital game world". Thesis, Blekinge Tekniska Högskola, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-16550.
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In this bachelor thesis we research and discuss a theme that has been the focus for many feminist figures and groups in both older and recent content where they clash together in an effort to find a solution to a problem that has been plaguing our society. The problem being; a lack in diversity inside Game development companies and creation, thus our question becomes; how can We include or encourage more women to enter the digital world and participate in programming and game making. The methods that has been chosen for this thesis range from Critical Design: to design and create a unique game of our own, Interviews: to question women from different backgrounds and ages to find out what they want/wish for regarding games, to Kanban: where we use it to get our project together. All while linking this entire thesis to Situated Knowledge concept where we dive in deeper to what it means in the discussion part and how in our results we discoverer a way that we individually can use to change the gaming industry and its involvement.I det här kandidatarbetet undersökes det ett problem som har varit centrum för många feministiska figurer och grupper i båda äldre och senaste innehåll där man har försökt på flera år och sätt att hitta lösning till; vilket är brist på mångfald inom spelutvecklingsföretag och skapandet, särskild när det gäller kvinnor. Då vår fråga blev; hur kan vi inkludera eller uppmuntra fler kvinnor att komma in i den digitala världen och delta i programmering samt spelframställning. Metoderna som har valts för denna avhandling sträcker sig från Critical Design: Att utforma och skapa ett unikt spel med hjälp av konceptet. Intervjuer: Fråga kvinnor från olika bakgrunder och åldrar för att ta reda på vad de vill / önskar med avseende på spel, till Kanban: där vi använder det här projektmetoden för att få vårt projekt ihop. Samtidigt kopplas hela arbetet till Situated-knowledge konceptet där vi fördjupar oss i om vad det betyder i diskussionsdelen med sambandet av resultat där upptäcker vi en väg/ potentiell lösning som kan användas enskild för att förändra spelbranschen.
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Yeadon, Michelle. "The Nether Worlds of Jennifer Haley — A Case Study of Virtuality Theatre". Thesis, University of Oregon, 2018. http://hdl.handle.net/1794/23726.
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Studies exploring the first wave of digital performance foregrounded technology by cataloging experimentation and novel interactions between liveness, projections and code. As exercises in medium, these high tech spectacles demonstrate the aesthetic potential of digital media while introducing key media concepts. Jennifer Haley is a writer with one foot in theatre and one in code. She is uniquely positioned in two interdependent spheres, which makes her particularly suited to engineer a theatrical bridge into the virtual, because at the heart of the contemporary technological revolution is a new level of writing and media literacy. Theatre has been effectively accessing the virtual imagination for millennia, and new technologies create new intricacies for engaging the virtual within theatrical space. Each is a medium defined by action, which host other media, and provide in depth simulations. Haley’s plays push beyond the fascination and spectacle of technology to incorporate the mundane reality of the digital into the structure of her work. Haley writes plays specifically to resonate with the similarities she sees between theatre and virtual worlds. Utilizing techniques and tropes from other media and then framing the narrative from within a theatrical world Haley exploits the essence of an active, critical audience and opens a dialog between virtual worlds and the perceptions of the audience. She treats her media generated worlds as places. Other digital theatre plays may peer through a window into the virtual by dramatizing a conversation through media; Haley sends an expedition over the threshold into another world. A flesh version of an avatar breathing before the audience establishes a material existence unattainable in two dimensional screen media. Haley illuminates the constructed nature of mediatized communication, but she does it dramaturgically deemphasizing the technology and re-centering the human within the virtual drama. Her approach builds a metaphorical bridge between theatre and virtual digital realities. Through a close reading of Haley’s plays I will demonstrate how Haley takes the artistic next step for computer technology and theatre.
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Bäcke, Maria. "Power Games : Rules and Roles in Second Life". Doctoral thesis, Karlskrona : Blekinge Institute of Technology, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-00496.
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This study investigates how the members of four different role-playing communities on the online platform Second Life perform social as well as dramatic roles within their community. The trajectories of power influencing these roles are my main focus. Theoretically I am relying primarily on performance studies scholar Richard Schechner, sociologist Erving Goffman, and post-structuralists Michel Foucault, Gilles Deleuze and Felìx Guattari. My methodological stance has its origin primarily within literature studies using text analysis as my preferred method, but I also draw on the (cyber)ethnographical works of primarily T.L. Taylor, Celia Pearce, and Mikael Jakobsson. In this dissertation my focus is the relationship of the role-player to their chosen role especially in terms of the boundary between being in character, and as such removed from ”reality,” and the popping out of character, which instead highlights the negotiations of the social, sometimes make-belief, roles. Destabilising and problematising the dichotomy between the notion of the online as virtual and the offline as real, as well as the idea that everything is ”real” regardless of context, my aim is to understand role-play in a digital realm in a new way, in which two modes of performance, dramatic and social, take place in a digital context online — or inworld as many SL residents call it.
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Marone, Vittorio. "Constructing Meanings by Designing Worlds: Digital Games as Participatory Platforms for Interest-Driven Learning and Creativity". Doctoral thesis, Università degli studi di Padova, 2013. http://hdl.handle.net/11577/3423639.
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This study emerges from the observation of an increasing divide between generations: a lack of a shared ground that carries profound social, cultural, and educational implications. In particular, the broadening differences between academic and “grassroots” approaches to learning and creativity are transforming formal and informal enterprises into seemingly incommunicable realms. This clash between different (and distant) practices, inside and outside of school, is inhibiting the construction of a common language between teachers and students, and, more broadly, between generations, thus hindering the development of any educational discourse.
In this study I inquired into an online participatory space in order to advance our understanding on how its participants, driven by their interest for gaming and game design, discursively constructed learning and creativity. In particular, I looked into a community dedicated to designing, sharing, and critiquing digital game levels (i.e. “mini-games”) created with LittleBigPlanet (a digital game and creative tool for the PlayStation 3 game console) and discussed in the “Forum” section of the LittleBigPlanet Central website (www.lbpcentral.com).
In this qualitative study I applied a hybrid intertextual methodology based on discourse analysis, studio critique, and design process analysis to analyze discursive texts (threads/posts in the discussion forum), interactive artifacts (user-generated game levels), and constructive practices (deigning, sharing, and critiquing game levels).
The findings of this study show that participants socially construct and negotiate learning and creativity by enacting specific discursive functions that entail the use of humor and specialist language and the negotiation of effort and self-appreciation. By engaging in multimodal and intertextual practices in an attentive and competent community, users create a safe social space that fosters reciprocal trust, togetherness, participation, planning, and reflectivity.
By furthering our understanding of a situated interest world, this research advances our knowledge on informal participatory spaces in which learning and creativity emerge as intertwined phenomena that develop through social-constructive endeavors that spur from people’s interests and passions.Questa ricerca nasce dalla constatazione di un crescente divario tra generazioni: una mancanza di terreno comune che comporta profonde implicazioni sociali, culturali ed educative. In particolare, le differenze tra approcci formali e informali all’apprendimento e alla creatività sembrano inibire la costruzione di un linguaggio condiviso tra docenti e studenti, e, più in generale, tra generazioni, ostacolando così lo sviluppo di qualsiasi discorso educativo. In questa ricerca qualitativa ho analizzato le interazioni in uno spazio on-line informale i cui partecipanti, guidati dal loro interesse per i videogiochi e il game design, progettano, condividono, e commentano livelli di gioco digitali (cioè “mini-giochi”) creati con LittleBigPlanet (un videogioco e uno strumento creativo per la PlayStation 3) e discussi nella sezione “Forum” del sito LittleBigPlanet Central (www.lbpcentral.com). In questo studio ho utilizzato una metodologia intertestuale ibrida basata sull’analisi del discorso, sulla “studio critique”, e sull’analisi di processo nel campo del design, per analizzare i testi discorsivi (i thread/post nel forum), gli artefatti interattivi (i livelli di gioco creati dagli utenti) e le pratiche costruttive (progettare, condividere e commentare i livelli di gioco). I risultati di questa ricerca dimostrano che i partecipanti del forum costruiscono socialmente l’apprendimento e la creatività attraverso specifiche funzioni discorsive che comportano l’impiego di humor e linguaggio specialistico e la negoziazione sociale di impegno e auto-apprezzamento. Gli utenti del forum, immersi in una comunità attenta e competente, cimentandosi in pratiche multimodali e intertestuali, creano uno spazio sociale che favorisce lo sviluppo di fiducia reciproca, unità, partecipazione, pianificazione, e riflettività. Questa ricerca amplia la nostra comprensione degli spazi partecipativi informali in cui l’apprendimento e la creatività emergono come fenomeni interconnessi che si sviluppano attraverso pratiche socio-costruttive che scaturiscono dagli interessi e dalle passioni delle persone.
Książki na temat "Digital game worlds"
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Gifford, Clive. Gadgets, games, robots and the digital world. London: DK, 2011.
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Suzanne, De Castell, i Jenson Jennifer 1950-, red. Worlds in play: International perspectives on digital games research. New York: Peter Lang, 2007.
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Antropología de los mundos virtuales: Avatares, comunidades y piratas digitales. Quito: FLACSO Ecuador, 2011.
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McDonough, Jerome P. Preserving virtual worlds: Final report. Urbana-Campaign, Ill: Graduate School of Library and Information Science, University of Illinois at Urbana-Champaign, 2010.
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Gifford, Clive. Cool tech: Gadgets, games robots, and the digital world. New York: DK Pub., 2011.
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Hilde, Corneliussen, i Walker Jill, red. Digital culture, play, and identity: A critical anthology of World of Warcraft research. Cambridge, MA: MIT Press, 2008.
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Inaba, Mitsuyuki. Dejitaru hyūmanitīzu kenkyū to Web gijutsu: Bairingaru-ban = Digital humanities research and web technology. Kyōto-shi: Nakanishiya Shuppan, 2012.
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Playing smarter in a digital world: The LearningWorks for kids model for using popular video games and apps to teach executive functions. Plantation, Florida: Specialty Press/A.D.D. Warehouse, 2014.
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The foley grail: The art of performing sound for film, games, and animation. Amsterdam: Focal Press, 2009.
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Leni, Riefenstahl. Olympia. Koln: Taschen, 2002.
Znajdź pełny tekst źródłaCzęści książek na temat "Digital game worlds"
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Hildmann, Jule, i Hanno Hildmann. "Augmenting Initiative Game Worlds with Mobile Digital Devices". W Serious Games and Edutainment Applications, 125–46. London: Springer London, 2011. http://dx.doi.org/10.1007/978-1-4471-2161-9_8.
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Redecker, Björn. "Sounding the Atmosphere". W Mental Health | Atmospheres | Video Games, 209–26. Bielefeld, Germany: transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839462645-016.
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Game Sound and Game Music play a crucial role in creating virtual worlds. They are vital parts of digital games, filling them with life and undoubtedly enhancing the experience for players. Furthermore, they are key design elements in the sense that they can greatly support visual efforts to create certain atmospheres in digital games. However, the concept of atmospheres is hard to grasp. It is frequently used but rarely broken down to what it really means or implies. With these difficulties in mind, this paper aims to describe and discuss the interrelationship between sound, music, and atmosphere. It uses examples from the 2D-Adventure Inside (Playdead 2016) to illustrate these complex relations.
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Leichter, Magdalena. ""Wind's howling." Meteorological Phenomena as Atmospheres in Digital Games". W Mental Health | Atmospheres | Video Games, 161–76. Bielefeld, Germany: transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839462645-014.
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This article explores in-game atmospheres as meteoritical phenomena and aesthetic spaces. The example of wind shows specific means of referentiality used to depict weather in digital games. Considering both philosophical approaches to atmospheres as well as previous observations on meteorological phenomena in film, literature and digital games, this contribution analyzes three games ("The Witcher 2: Wild Hunt", "Ghost of Tsushima", and "The Legend of Zelda: Breath of the Wild") and the role the wind plays in creating their respective game world and atmosphere, creating an environment for meaningful play.
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De Prato, Giuditta. "The Video Games Industry". W Digital Media Worlds, 163–79. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137344250_11.
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Jost, Patrick, i Monica Divitini. "From Paper to Online: Digitizing Card Based Co-creation of Games for Privacy Education". W Technology-Enhanced Learning for a Free, Safe, and Sustainable World, 178–92. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-86436-1_14.
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AbstractEducation is rapidly evolving from co-located settings to remote and online learning. However, many proven educational tools are designed for collaborative, co-located classroom work. Effective sketching and ideating tools, such as card-based workshop tools, cannot be applied in remote teaching.This paper explores how the paper-based card and playboard metaphor can be digitized for remote student co-creation via video call sessions. Therefore, a card-based toolkit for co-creating educational games is transformed into a digital representation for remote application. In a between-subject trial with two university student groups (n = 61), it is investigated how users perceive ideation/balancing support and applicability of the technology-enhanced card toolset compared to the paper-based variant. Both groups thereby created an analytic game concept for privacy education.The results remarkably revealed that remote co-creation using the technology-enhanced card and playboard in video call sessions was perceived as significantly more supportive for ideation and game concept balancing. Students also felt more confident to apply the digitized card toolset independently while being more satisfied with their created game concepts. The designed educational game concepts showed comparable patterns between the groups and disclosed the students’ preferences on how games for privacy education should be designed and when and where they would like to play them. Conclusively, design implications for digital card ideation toolsets were synthesized from the findings.
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Smith, Roger D. "Serious Games, Virtual Worlds, and Interactive Digital Worlds". W Engineering Principles of Combat Modeling and Distributed Simulation, 357–83. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2012. http://dx.doi.org/10.1002/9781118180310.ch17.
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Buendia, Axel, i Jean-Claude Heudin. "Towards Digital Creatures in Real-Time 3D Games". W Virtual Worlds, 44–53. Berlin, Heidelberg: Springer Berlin Heidelberg, 2000. http://dx.doi.org/10.1007/3-540-45016-5_5.
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Abraham, Benjamin J. "How Can Games Save the World?" W Digital Games After Climate Change, 27–60. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-91705-0_2.
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Jauregi-Ondarra, Kristi, i Silvia Canto. "Interaction games to boost intercultural communication in virtual worlds and video-communication". W Digital Games in Language Learning, 158–82. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003240075-9.
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Hoshino, Junichi. "Real-World Game Platform for Lifelong Learning Society". W Handbook of Digital Games and Entertainment Technologies, 331–46. Singapore: Springer Singapore, 2016. http://dx.doi.org/10.1007/978-981-4560-50-4_50.
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Koons, Neil, i Michael Haungs. "Intrinsically musical game worlds". W FDG '19: The Fourteenth International Conference on the Foundations of Digital Games. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3337722.3341833.
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"Spawning in Concordia: A Tale of Digital Literacies in Virtual Worlds". W 12th European Conference on Game Based Learning. ACPI, 2019. http://dx.doi.org/10.34190/gbl.19.026.
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Gustafsson, Viktor, Benjamin Holme i Wendy E. Mackay. "Narrative Substrates: Reifying and Managing Emergent Narratives in Persistent Game Worlds". W FDG '20: International Conference on the Foundations of Digital Games. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3402942.3403015.
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Rodrigues, Nuno F., Ricardo Simões i João L. Vilaça. "A Digital Game Development Education Project". W 2010 2nd International Conference on Games and Virtual Worlds for Serious Applications (VS-GAMES 2010). IEEE, 2010. http://dx.doi.org/10.1109/vs-games.2010.14.
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Rizvic, Selma, i Irfan Prazina. "Taslihan Virtual Reconstruction - Interactive Digital Story or a Serious Game". W 2015 7th International Conference on Games and Virtual Worlds for Serious Applications (VS-Games). IEEE, 2015. http://dx.doi.org/10.1109/vs-games.2015.7295786.
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Stefan, Ioana andreea, Ancuta florentina Gheorghe, Antoniu Stefan, Sylvester Arnab, Michael Loizou, Luca Morini i Jannicke Baalsrud hauge. "LOCATION-BASED METAGAMES FOR LEARNING". W eLSE 2018. ADL Romania, 2018. http://dx.doi.org/10.12753/2066-026x-18-032.
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Research argues that digital educational games have the potential to make learning more interesting and more effective, creating unmatched learner engagement. However, creating captivating game-based learning experiences remains challenging. Designing and developing games to support learning is still a costly and time-consuming experience that require a multitude of skills. An easy-to-play game does not equate with an easy-to-create design and development process. Creating game-based experiences is more complex than designing a linear lecture or a static online learning module. Moreover, game customization remains limited, making it difficult for teachers to adapt a game to specific learner needs and subjects. To address these challenges, the authors present the game authoring pipeline of the Beaconing Platform that enables the construction of location-based metagames by non-programmers. In the context of this work, a metagame is defined as the component that provides the overarching narrative experience for players. The paper describes the construction and implementation of two such metagames for two different cities - Targoviste, Romania and Coventry, UK. The location of the device is used to enhance the user experience and to customize the content that is made available to the learners. The metagames integrate quizzes into location-based challenges to create more flexible and more engaging learning experiences that blend virtual and real worlds. In these metagames, participants have to find a real world Point of Interest (POI), defined through GPS coordinates, or a series of them, through indirect clues and complete an activity (e.g. Minigame) there to further the narrative (or unlock the next clue/POI).
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Schmitz, Tony L., W. Gregory Sawyer i Arturo Sinclair. "The Pigskin Professor: Video Presentations of Engineering Fundamentals". W ASME 2004 International Mechanical Engineering Congress and Exposition. ASMEDC, 2004. http://dx.doi.org/10.1115/imece2004-60539.
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This paper describes collaboration between the Department of Mechanical and Aerospace Engineering and Digital Worlds Institute at the University of Florida to develop a series of videos describing fundamental engineering concepts in the language of football. These videos, which were shown during the six home football games for the 2003 season, reached a diverse audience of over 84,000 fans at each game and provided a unique opportunity to discuss engineering in a high-profile forum. The objective was to stimulate excitement and interest in engineering education.
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Calinoiu (ion), Nicoleta. "LEARNING ENHANCEMENT THROUGH VIDEO GAMES". W eLSE 2019. Carol I National Defence University Publishing House, 2019. http://dx.doi.org/10.12753/2066-026x-19-008.
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Video games are becoming increasingly popular among young people, as the virtual worlds they depict seem to be the preferred refuge when it comes to escaping reality. As educators, we should attempt to study the effects they have on our students' minds and, if proven beneficial, use them in our classrooms to enhance learning (and the motivation for learning) whenever possible. The digital natives we teach nowadays, the so-called screenagers, have high expectations of the classroom settings they are a part of. Technology, therefore, and video games should be present in such learning environments. Moreover, the skills they develop in games should be acknowledged and transferred to real-life settings. Games could help educators reach out to them, bridging the gap between teachers and students in our efforts to provide them with learning contexts endowed with meaning. "Meaning is the feeling that we're part of something bigger than ourselves. It's the belief that our lives matter beyond our own individual lives." (Jane McGonigal, "Reality is broken. Why games make us better and how they can change the world") Therefore, video games players embark on a quest for meaning when entering such virtual worlds as those presented in World of Warcraft, for example. Most games have four defining traits: a goal (the outcome to be achieved), a set of rules (limitations the players have to cope with), a feedback system (informing them on the progress they make, which represents a great motivation to keep on playing), and voluntary participation (the gamer willingly accepts the goal, the rules and the feedback system). Since gaming involves voluntary participation, players are intrinsically motivated to bring their contribution to the epic mission the game takes them on. In addition, the constant feedback given to them is nothing but a strong incentive to continue playing. Hence, games are all about the "epic meaning", the "urgent optimism" players feel, the "social fabric" they weave since quite often gamers need to collaborate with other players to achieve their goals. Therefore, there are all sorts of life skills players acquire in games and, most importantly, they can be transferred to reality, the ability to work as part of a team being one of them. The findings of the present research consist mostly of qualitative data gathered during a case study conducted among middle and high school students. There have been interviews with teenage and young subjects that come to confirm the popularity of games as learning tools and their potential positive results in learning environments. Initially, structured interviews were used, which led to the collection of data further explored in focus group sessions. Using such qualitative research methods, we managed to explore the views, experiences, beliefs and motivations of individual participants regarding gaming, as well as their self-perceived competences acquired while playing video games. Among such competences, we can list: strategy skills from managing cities and taxing them in order to support armies meant to assist the players in expanding on the map (as well as developing historical knowledge) and connection-making abilities from the puzzles they had to solve in order to be able to advance through the game. In addition, the research generated an inventory of video games classified according to their themes and perceived value. The conclusions will be presented in detail during the conference proceedings.
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Hartholt, Arno, i Sharon Mozgai. "Creating Virtual Worlds with the Virtual Human Toolkit and the Rapid Integration & Development Environment". W Intelligent Human Systems Integration (IHSI 2023) Integrating People and Intelligent Systems. AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1002856.
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The research and development of virtual humans, and the virtual worlds they inhabit, is inherently complex, requiring interdisciplinary approaches that combine social sciences, computer science, design, art, production, and domain expertise. Our previous work in managing this complexity has resulted in the release of the Virtual Human Toolkit (VHToolkit), aimed at lowering the burden of creating embodied conversational agents. In our current efforts, we are integrating the VHToolkit with the Rapid Integration & Development Environment (RIDE), a rapid prototyping modeling and simulation middleware platform that leverages real-time game engines. This integration results in the ability to mix and match commercial AI services from AWS, Azure, and Google, as well as leverage novel 3D geospatial terrain creation pipelines. Combined with dedicated authoring tools that have been developed through human-centered design processes, the platform enables researchers, developers, and domain experts to rapidly create digital worlds with virtual humans for both military and civilian contexts. Our approach is highly interdisciplinary, including academia, government, and industry collaborators. The demonstration shows a user interacting with an embodied conversational agent embedded within real-world captured and virtualized terrain. Further research and development features of the platform are shown, including scripted agent behaviors, networked team play, and machine learning interfaces.
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Lozano Muñoz, Alejandro. "Estéticas de la inconsistencia en los espacios de la imagen digital". W II Congreso Internacional Estéticas Híbridas de la Imagen en Movimiento: Identidad y Patrimonio. Valencia: Universitat Politàcnica de València, 2021. http://dx.doi.org/10.4995/eshid2021.2021.13205.
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Nota: El documento Word contiene más de 500 palabras debido a las referencias; el cuerpo del resumen tiene 487 palabras.-- Resumen -- La maleabilidad se ha consolidado como una característica distintiva de lo digital (Santos Ortiz, 2013; Walizcky, 1989). La ductilidad de los materiales del software, ya sean visuales o sonoros, permite experimentar con los componentes mediante técnicas como la separación, la recomposición o la fusión. A lo largo de las décadas de vida de las tecnologías digitales, estos procedimientos han dado lugar a hitos como la revitalización del montaje espacial (Manovich, 2001: 322-326), que se ha incrementado en la época de las redes sociales, o a prácticas polémicas como el morphing (Walker, 2006). En esta propuesta pretendo explorar cómo trabaja esa plasticidad en la creación de espacios tridimensionales navegables. Este tipo de entornos, conocidos comúnmente como mundos en 3D, son simulaciones inmersivas, es decir, pretenden envolver al usuario en universos artificiales que puede explorar gracias a la articulación de un conjunto de mecánicas. En el ámbito del desarrollo de videojuegos, el resultado deseado se denomina “game feel” (Swink, 2009), aunque podemos extender esta pretensión a entornos no lúdicos. Para alcanzar esta meta se potencian factores como la sensación de profundidad, la riqueza visual y sonora o el estímulo propioceptivo. En este sentido, los componentes de los mundos en 3D están dotados de una física que transmite cualidades como la densidad de los fluidos o la firmeza del terreno. Un principio clave de los espacios digitales es que la materia se diseña por entero a medida del usuario de forma que pueda percibirla como algo consistente. Los entornos envolventes en 3D mutan incesantemente a voluntad de la mirada del sujeto, que en este contexto ejercita lo que Martín Prada denomina una “óptica activa” (2018, cap. 6: ¶ 15). Este fenómeno, que Farocki exploró magistralmente en su serie Parallel (2014), es una consecuencia de economizar los recursos técnicos de los que hace uso el software, y provoca que los entornos tridimensionales sean ante todo superficie y apariencia. No resulta extraño que se hayan establecido analogías con la figura del parque temático (Nitsche, 2008: 8-14), ya que nos encontramos ante maquetas huecas que flotan literalmente en medio del vacío. Así lo afirman las prácticas en torno al glitch que documentan el aspecto del escenario cuando, por algún error, el avatar del usuario sale abruptamente de sus confines. He seleccionado una serie de piezas que explotan esta tensión entre materialidad e inmaterialidad para introducir alteraciones en el tejido del espacio digital. El resultado de estas operaciones es una ruptura con las expectativas de los usuarios, lo que genera sugerentes configuraciones estéticas. En la muestra preliminar se encuentran los siguientes trabajos: Mind: A Path to Thalamus (Mind Dev Team, 2014); P. T. (Kojima Productions, 2014); The Stanley Parable (Galactic Cafe, 2011); The Beginners Guide (Everything Unlimited Ltd., 2015); Inmersión (Marina Núñez, 2019); y Kentucky Route Zero (Cardboard Computer, 2013-2020). En todos estos casos, la manipulación en tiempo real del entorno articula experiencias vinculadas a categorías como lo fantástico, lo siniestro o lo sublime. -- Referencias -- Manovich, L. (2001). The Language of New Media. Cambridge: The MIT Press. Nitsche, M. (2008). Video Game Spaces: Image, Play, and Structure in 3D Worlds. Cambridge: The MIT Press. Prada, J. M. (2018). El ver y las imágenes en el tiempo de Internet. ePub: Akal. Santos, R. (2013). De la maleabilidad del tiempo cinematográfico a la plasticidad del espacio digital. Análisis práctico de construcciones en la imagen código [Tesis doctoral]. Universidad de Salamanca, Salamanca. Swink, S. (2009). Game Feel. A Game Designers Guide to Virtual Sensation. Burlington: Elsevier. Walizcky, T. (1989). The Manifesto of Computer Art. Recuperado de Walizcky.net website: http://www.waliczky.net/pages/waliczky_manifest_eng.htm Walker, J. (2006). Only Screen Deep: Racial Morphing. Recuperado de Jessica Walker website: http://www.jessicawalker.net/screendeep.htm
Raporty organizacyjne na temat "Digital game worlds"
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Demchenko, Dmytro. DEMASSIFICATION OF SOCIAL PROCESSES IN THE CONTEXT OF DIGITAL COMMUNICATION (TO THE PROBLEM OF THE DICHOTOMY OF “ELITE-MASS” AS A POLITICAL COMMUNICATION PARADOX). Ivan Franko National University of Lviv, marzec 2024. http://dx.doi.org/10.30970/vjo.2024.54-55.12171.
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The article aims to analyze a complicated process of the society’s main components – elite, mass communication, and masses – in their interaction and interdependence from the historical perspective. Due to industrialization and modernization of the life quality, the social life changes radically, and the essence of every component of the society changes as well. The elite loses its dynastic character. The media stop to play the role of a mediator taking on the obligations of a collective agitator and propagandist, and the mass stops to be cloth for wiping shoes. It starts to form a mass audience and, by that, obtains new forms that must be taken into account by social institutions. Together with that the collective views are substituted by the views which are stronger than the ones of a separate individual. One of the main conclusions of the investigation is as follows. The formation of the “consumer society” and the strengthening of the mass communication role resulted in the appearance of “mediocracy” which factually introduced an absolute elite dependence on it and conferred the right of media to set the social agenda. The mass turned out to be a silent majority, a unity of conformity-oriented people. These people become simultaneously a product of mass communication impact because they dictate what one must read, listen to, and watch from the media menu. They force MMC to satisfy their unassuming needs making the content trivial and commodificated. In other words, the mutual process of the interaction of the media, “impossible independence” and the conscious “communicative consensus” of individuals who are willingly united with the mass audience takes place. The creation of the internet due to “digital anonymity” and the autonomy of the consumer formed the conditions for the self-determined citizens and gave the elite a modest place in the “cyber democracy”. However, the increase in individual self-isolation leads to his gradual loss of “social capital,” and that threatens to replace the direct experience with a virtual environment that will make it very difficult to differentiate reality from fiction. Keywords: elite, mass, media, mass communication, information space, globalization.