Éditorial

Des « game studies »… Quand Espen Aarseth du Center for Computer Games Research (fondé en 1999) de la IT University of Copenhagen intitule « Computer Game Studies, Year One » son éditorial du premier numéro de la revue en ligne Gamestudies.org, il souhaite tout autant marquer l’avènement d’un nouveau champ de recherche qu’en délimiter les frontières au sein du domaine plus vaste des études des nouveaux médias. Si l’on peut saluer sa prise de position tranchée pour les recherches universitaire..

Language-GAME-Players: Articulating the pleasures of ‘violent’ game texts

Young peoples’ voices have been considered irrelevant or unreliable when it comes to discussing the influence and impact of their engagement with screen-mediated depictions of violence. Historically, such viewpoints have been derived from the controlled experimentation of modernist psychology, which constitutes the most sustained and prominent enquiries into the consequences of individual participation in, and viewing of, simulated violence. In espousing an impersonal approach, psychological research has opted not to demonstrate any understanding of the properties of the particular games or the medium its findings have been used to denigrate. Neither does its research possess broader awareness of the social dimensions of play or the productivity inherent in the practices of its surrounding cultures. This paper introduces findings taken from a two-year project that attempted to draw together what have essentially remained separate lines of inquiry – the critical and analytical scrutiny of Game Studies applied to understanding the pleasures of engagement with game violence. The aim of this research was to achieve a more contextual understanding of texts that utilise violence from the perspective of young people that opt to experience them as an entertainment form. In doing so, a range of qualitative methods were employed to encourage game players to present their viewpoints and offer a voice that is all too often absent from the ‘one-way debate’ attached to the representation of violence within games

Disciplinary identity of game scholars: an outline

There has been academic research work directed at games and play for decades, but the field has been somewhat scattered, and around the turn of the millennium the idea of establishing a new discipline, dedicated to the study of games in their own right gained prominence. The conference, journal and other publication activity in games research has expanded during the last decade, but it remains unclear how many contemporary academics working on games could be seen to represent a unified group, sharing a common disciplinary identity. This paper reports the first results from an international survey (valid n = 544), carried out among the DiGRA mailing list subscribers, as well as among the members of ECREA and ICA games research groups, aimed at probing the background education, orientation and academic practices of games researchers. The findings highlight the great diversity of educational backgrounds and of the current self-identified research fields, but also the dynamic interdisciplinary changes from one field to another, and how strong the identification as a “digital games researcher” is among the survey respondents

Game Design & Development Curriculum: History & Future Directions

It has been nearly twenty years since the first undergraduate degree program in computer game development was established in 1998. Since that time, the number and size of programs in game design and development have grown at a rapid pace. While there were early efforts to establish curricular guidelines for the field, these face a number of challenges given the diverse range of academic homes for game-related programs. This panel will address the history of curricular development in the field, both in individual programs and across institutions. It will also explore the potential risks and rewards of developing curricular and/or accreditation guidelines for the field

Player identification in American McGee’s Alice : a comparative perspective

In this paper I analyse personal identification in three incarnations of Alice in Wonderland: the original novels, the 1950s Disney animation film and the computer game American McGee’s Alice. After presenting the research corpus, I lay out the analytical framework derived from Kendall Walton’s theory of representational artefacts as props for evoking imagining in games of make-believe. From this perspective, the Alice heritage relies on spectacle rather than plot to entertain. This spectacle differs across media as each medium’s strengths are played out: language-play in the novels, colour/motion/sound in the film and challenges in the game. There are two types of imagining involved: objective, whereby a person imagines a scene outside of himself, and subjective, in which case the imagining revolves around a version of himself. Both the novels and the film primarily evoke objective imagining whereas the game invites the player to be introjected into the Alice character evoking subjective imagining. The picture is not unambiguous, however, as the novels and the film stage a broad array of subjectifying techniques and the game objectifying ones. This gives us some indication as to the nature of representation which, to be of interest, presents a tension between here and there, between the self and an other

Building Interactive Stories

The integration of interactive stories into digital humanities practice has taken several forms. Interactive stories are certainly an object of study, and the intersection of digital humanities with media and games studies (as well as communities dedicated to making and studying interactive stories, such as the Electronic Literature Organization, which released Electronic Literature Collection 1, 2 and 3, three volumes of interactive narratives) has assisted our understanding of what interactive stories might accomplish. A growing interest in games in the classroom has also focused attention on serious and educational games, which often use interactive storytelling as one means to build an experience. (Significant examples include Jane McGonigal’s Evoke, an alternate reality game encouraging players to collaborate and address world hunger and water shortages, and Play the Past, a non-digital role-playing game system for character-based play in history courses.) By building interactive stories, we can communicate complex ideas that change our relationship to texts and have the potential to serve as textbooks, persuasive works, thought experiments, and personal narratives. In this chapter, I first position and define interactive stories as a medium, placing the form in its contested space in scholarship. Then I survey exemplars, design principles, and platforms for building interactive stories

The Rapture at the World’s End: Non-optional Choice and Libertarian Idealism in New Media

Central to the experience of new media is the idea of interactivity, even though this dovetails problematically with both arguments for grassroots agency and neo-liberal economic philosophies alike. This paper examines the 2007 computer game Bioshock in relation to its thematic employment of the ideals of market libertarianism as depicted in the novels of Ayn Rand and its strategic use and withholding of agency at critical moments in the gameplay. It argues that Bioshock not only uses the techniques of traditional narrative forms to address the culturally significant issue of the impossible alliance between traditionalism and libertarianism under a conservative banner but also uses the interactive medium to generate a genuinely new aesthetic experience in which the logic of free choice in the narrative, ideology, and medium are simultaneously brought into juxtaposition. This moment marks a landmark development in digital narrative and opens new possibilities for the art form

Mapping Persona and Games

For those new to games studies, the most important primer is the recognition that, as a field of research, it is at its most revealing when in conversation with perspectives from other fields and domains of inquiry. Espen Aarseth (2001) announced that the first issue of Game Studies, the international journal of computer game research, marked the commencement of computer game studies. Aarseth's editorial launched the trajectory for the following two decades of game research, obscuring much of the previous work examining digital and analogue games that had contributed to the tipping point at which the fields' coalescence could become a reality. Emerging from media studies, sociology, and a particular tradition of textual analysis in cinema and literature studies, games studies has since had a reputation for being the latest kid on the block. Like persona studies, game studies features key moments in which intersections between it and other fields and their theoretical and analytical perspectives prove enlightening, enriching, and even entertaining