Creative communities:shaping process through performance and play

This paper studies the use of play as a method to unlock creativity and innovation within a community of practice (a group of individuals who share a common interest and who see value in interaction to enhance their understanding). An analysis of communities of practice and the value of play informs evaluation of two case studies exploring the development of communities of practice, one within the discipline of videogames and one which bridges performing arts and videogames. The case studies provide qualitative data from which the potential of play, as a method to inspire creativity and support the development of a potential community of practice, is recognised. Establishing trust, disruption of process through play and reflection are key steps proposed in a ‘context provider’s framework’ for individuals or organisations to utilise in the design of activities to support creative process and innovation within a potential community of practice

The zone of "becoming": game, text and technicity in videogame narratives

Videogames have emerged as arguably the most prominent form of entertainment in recent years. Their versatility has made them key contributory factors in social, literary, cultural and philosophical discourse; however, critics also tend to see videogames as posing a threat to established cultural parameters. This thesis argues that videogames are firmly grounded in older media and they are important for the development of the notions of textuality, technicity and identity that literary and cultural theories have been debating in recent years. As its point of departure, the thesis takes the contested role of videogames as storytelling media. Challenging the opposition between games and narratives that is posited in earlier research, the framework of the Derridean concept of supplementarity has been adopted to illustrate how the ludic and the narrative inform each other's core, and yet retain their media-specific identities. It is also vital to consider how the technicity and narrative of games inform their perception as texts. Videogames provide a direct illustration of this but they develop on similar principles in earlier media instead of doing something entirely 'new'. The multitelic structure of videogames tends to be looked upon as symptomatic of novelty; in reality, however, they illustrate more clearly the inherent nature of telos in all narrative media

Development of an Emergent Narrative Generation Architecture for Videogames

Emergent narratives can enhance a video gaming experience. However, the use of this storytelling form in videogames is in its infancy. Many existing emergent narrative generation systems are limited in authorial creative control, story world flexibility, user freedom and/or general storyline maintenance. In this thesis, we designed a robust architecture for generating emergent narratives to use in videogames, and tested the architecture in a prototype game simulation. The architecture continuously presents pre-written plot fragments with fulfilled preconditions, providing authorial control over the story’s components and general direction. The user navigates the plotlines and shapes the story through their unrestrained decisions. Architectural components monitor these actions and respond appropriately to ensure a cohesive story. Yet, the narrative generation framework remains separate from specific Game World mechanics, maintaining compatibility with any story world. The proposed architecture offers flexible emergent narrative generation and can provide a framework for future emergent videogame development

The game transfer phenomena scale: an instrument for investigating the nonvolitional effects of video game playing

A variety of instruments have been developed to assess different dimensions of playing videogames and its effects on cognitions, affect, and behaviors. The present study examined the psychometric properties of the Game Transfer Phenomena Scale (GTPS) that assesses non-volitional phenomena experienced after playing videogames (i.e., altered perceptions, automatic mental processes, and involuntary behaviors). A total of 1,736 gamers participated in an online survey used as the basis for the analysis. Confirmatory factor analysis (CFA) was performed to confirm the factorial structure of the GTPS. The five-factor structure using the 20 indicators based on the analysis of gamers’ self-reports fitted the data well. Population cross-validity was also achieved and the positive associations between the session length and overall scores indicate the GTPS warranted criterion-related validity. Although the understanding of GTP is still in its infancy, the GTPS appears to be a valid and reliable instrument for assessing non-volitional gaming-related phenomena. The GTPS can be used for understanding the phenomenology of post-effects of playing videogames

Playing Around With Morality: Introducing the Special Issue on “Morality Play”

This special issue of Games and Culture focuses on the intersection between video games and ethics. This introduction briefly sets out the key research questions in the research field and identifies trends in the articles included in this special issu

Papers, Please and the systemic approach to engaging ethical expertise in videogames

Papers, Please, by Lucas Pope (2013), explores the story of a customs inspector in the fictional political regime of Arstotzka. In this paper we explore the stories, systems and moral themes of Papers, Please in order to illustrate the systemic approach to designing videogames for moral engagement. Next, drawing on the Four Component model of ethical expertise from moral psychology, we contrast this systemic approach with the more common scripted approach. We conclude by demonstrating the different strengths and weaknesses that these two approaches have when it comes to designing videogames that engage the different aspects of a player’s moral expertise

Videogames in the museum:participation, possibility and play in curating meaningful visitor experiences

In 2014 Videogames in the Museum [1] engaged with creative practitioners, games designers, curators and museums professionals to debate and explore the challenges of collecting and exhibiting videogames and games design. Discussions around authorship in games and games development, the transformative effect of the gallery on the cultural reception and significance of videogames led to the exploration of participatory modes and playful experiences that might more effectively expose the designer’s intent and enhance the nature of our experience as visitors and players. In proposing a participatory mode for the exhibition of videogames this article suggests an approach to exhibition and event design that attempts to resolve tensions between traditions of passive consumption of curated collections and active participation in meaning making using theoretical models from games analysis and criticism and the conceit of game and museum spaces as analogous rules based environments

Spanish validation of the Internet Gaming Disorder-20 (IGD-20) Test

In recent years, problematic and addictive gaming has been a phenomenon of growing concern worldwide. In light of the increasing awareness about this issue, the latest (fifth) edition of the American Psychiatric Association’s Diagnostic and Statistical Manual of Mental Disorders (DSM-5) included Internet Gaming Disorder (IGD) as an area in need of more empirical research. The Internet Gaming Disorder Test (IGD-20 Test) was developed as a valid and reliable tool to assess IGD. The aim of the present study was to validate the Spanish version of the IGD-20 Test, and analyze the different profiles found among a sample of 1,074 Spanish-speaking gamers. A confirmatory factor analysis showed the validity of the Spanish version of the IGD-20 Test and its six factor structure (i.e., salience, mood modification, tolerance, withdrawal, conflict and relapse). The latent profile analysis (LPA) showed five different gamer classes. The 'disordered gamers’ class comprised 2.6% of the participants. Based on this class, sensitivity and specificity analyses showed an adequate empirical cut-off point of 75 (out of 100). It is concluded that the Spanish version of the IGD-20 Test is valid and reliable and can be used in research into IGD among Spanish speaking populations

GEMINI: A Generic Multi-Modal Natural Interface Framework for Videogames

In recent years videogame companies have recognized the role of player engagement as a major factor in user experience and enjoyment. This encouraged a greater investment in new types of game controllers such as the WiiMote, Rock Band instruments and the Kinect. However, the native software of these controllers was not originally designed to be used in other game applications. This work addresses this issue by building a middleware framework, which maps body poses or voice commands to actions in any game. This not only warrants a more natural and customized user-experience but it also defines an interoperable virtual controller. In this version of the framework, body poses and voice commands are respectively recognized through the Kinect's built-in cameras and microphones. The acquired data is then translated into the native interaction scheme in real time using a lightweight method based on spatial restrictions. The system is also prepared to use Nintendo's Wiimote as an auxiliary and unobtrusive gamepad for physically or verbally impractical commands. System validation was performed by analyzing the performance of certain tasks and examining user reports. Both confirmed this approach as a practical and alluring alternative to the game's native interaction scheme. In sum, this framework provides a game-controlling tool that is totally customizable and very flexible, thus expanding the market of game consumers.Comment: WorldCIST'13 Internacional Conferenc

Videogame art: remixing, reworking and other interventions

This chapter explores some of the areas of intersection between videogames and both digital and non-digital art practice. By looking at examples of art practice drawn from videogames, it outlines some of the categories and so provides an overview of this area, placing it within the wider context of contemporary and historical art practice. The chapter explores the tendency for mucyh of this work to have elements of subversion or "détournement" whilst also identifying areas of tension in the appropriation of videogames as material for art practice