1,016 research outputs found
InGAME international pathway to collaboration: Collaboration in Games UK-China
In 2019 the Arts & Humanities Research Council (AHRC) funded a series of projects as part of its UK-China Creative Partnerships Programme. Led by Abertay University in partnership with academic and industry partners across the UK and China, InGAME International was funded through this AHRC programme with the aim of studying the potential for UK-China cooperation and collaboration in the computer games sector. The project is linked to the AHRC Creative Industries Cluster, InGAME: Innovation for Games and Media Enterprise, which is also led by Abertay University in partnership with the University of Dundee and University of St Andrews. The games industry is one of the largest and fastest growing sectors in both the UK and the Chinese creative economies. In 2023, China was the largest gaming market globally with revenue forecast at 7.94 billion in the UK (Statista, 2023). The growth in China’s market has long been the source of appeal for UK game developers and publishers seeking new routes to market. However, the divergence between the UK and China in terms of market profile, consumption patterns, leading companies, technologies, regulation, licensing, management, and business culture has presented ongoing difficulties for any UK based developer interested in engagement in- or with- China. It is from this basis that the current study sought to consolidate industry, legal, and regulatory knowhow with a view to providing a valuable resource to games professionals and researchers who have interests in UK-China collaboration. This Pathway to Collaboration report curates the cumulative knowledge and insight generated during the InGAME International programme, with an intended audience of games industry professionals and researchers interested in UK-China collaboration. At the heart of the research is an unprecedented qualitative study that involved in-depth interviews with 47 leading experts from the UK, China and other territories and with knowledge of games development, business, publishing, marketing, localisation, IP, copyright, regulation, markets, and sales. This report is the first comprehensive qualitative study to investigate the intersection between the UK and China games industries and markets at this scale and depth, providing readers with an invaluable, interactive resource that will support professionals and researchers to initiate new collaborations between the two nations.</p
InGAME international pathway to collaboration: Collaboration in Games UK-China
In 2019 the Arts & Humanities Research Council (AHRC) funded a series of projects as part of its UK-China Creative Partnerships Programme. Led by Abertay University in partnership with academic and industry partners across the UK and China, InGAME International was funded through this AHRC programme with the aim of studying the potential for UK-China cooperation and collaboration in the computer games sector. The project is linked to the AHRC Creative Industries Cluster, InGAME: Innovation for Games and Media Enterprise, which is also led by Abertay University in partnership with the University of Dundee and University of St Andrews. The games industry is one of the largest and fastest growing sectors in both the UK and the Chinese creative economies. In 2023, China was the largest gaming market globally with revenue forecast at 7.94 billion in the UK (Statista, 2023). The growth in China’s market has long been the source of appeal for UK game developers and publishers seeking new routes to market. However, the divergence between the UK and China in terms of market profile, consumption patterns, leading companies, technologies, regulation, licensing, management, and business culture has presented ongoing difficulties for any UK based developer interested in engagement in- or with- China. It is from this basis that the current study sought to consolidate industry, legal, and regulatory knowhow with a view to providing a valuable resource to games professionals and researchers who have interests in UK-China collaboration. This Pathway to Collaboration report curates the cumulative knowledge and insight generated during the InGAME International programme, with an intended audience of games industry professionals and researchers interested in UK-China collaboration. At the heart of the research is an unprecedented qualitative study that involved in-depth interviews with 47 leading experts from the UK, China and other territories and with knowledge of games development, business, publishing, marketing, localisation, IP, copyright, regulation, markets, and sales. This report is the first comprehensive qualitative study to investigate the intersection between the UK and China games industries and markets at this scale and depth, providing readers with an invaluable, interactive resource that will support professionals and researchers to initiate new collaborations between the two nations.</p
An End, Once and for All: Mass Effect 3, Video Game Controversies, and the Fight for Player Agency
Since the success of the player-led Mass Effect 3 ending controversy, player-led video game controversies have become mainstream sites of industrial and ideological contention between developers, players, and the culture itself. This dissertation focuses on the history of the Mass Effect 3 ending controversy, the game’s specific textual qualities that encouraged player protest, and the negotiations between players and developers in online spaces that persuaded developers to alter the game’s ending based on player demands. Using the Mass Effect 3 as its primary object, this dissertation argues this controversy—as well as subsequent player-led video game controversies—was not simply the result of dissatisfaction with a single plot point or representation in the text or video game community, but the complex negotiation of creative differences between players and developers over the production and control of video game texts and culture. Video games and their controversies are rooted in the medium\u27s intrinsic qualities of interactivity, choice, labor and the need for shared production between developers and players to progress and produce a video game text, which encourages the development of a sense of agency and ownership over the text for both groups. This dissertation argues that video games are not just texts that developers create and that players play, but rather texts produced through the co-creative production practice that Axel Bruns has defined as “produsage”—texts where producers act in dual roles as users while users to also act as producers—that allow players a creative stake in the outcome of a video game text, encourages a sense of agency and ownership, and collapses traditional boundaries between developers and players. Video game controversies naturally arise when players perceive a loss of agency and control over the video game text and attempt to reclaim control over ownership of the text through controversy
“Men are the alphas. Men can't be hurt. Men can't be victims” - Narrative, identity, and male victims of female perpetrated intimate partner abuse.
This thesis details the process and analysis of the ‘Hard to Tell’ study, a qualitative, narrative study examining how male victims of female perpetrated intimate partner abuse (IPA) tell their story, and what it might mean for their identity. The study consisted of life-story interviews with 18 self-identifying male victims. Between them they described the full range of abuse, including physical, sexual, emotional, psychological, financial, controlling, coercive, and legal and administrative. The differing nature of these forms of abuse meant that some were easier to describe in narrative form, which carried significant implications for their ability to make sense of their experiences and explain it to others.
Analysis was informed by a complex and dynamic understanding of identity, including key concepts from Narrative Identity Theory (McAdams, 2018; Bamberg, 2011) and Positioning Theory (Korobov, 2010; 2015). In telling their story, these male survivors were driven to defend against powerful cultural narratives of masculinity and male perpetration that contrasted with their experience as a man and as a victim. In doing so they drew upon other cultural narratives such as mental ill-health and childhood trauma to attain a valid identity position. Cultural narratives such as those of coercive controlling abuse and narcissism, enabled them to identify their abuse and sidestep gendered assumptions of perpetration.
This thesis proposes a model of identity work within autobiographical narration that incorporates key components of the individual, audience, context, and culture. A prominent feature of these men’s stories was the role played by third parties, who enabled them to reframe their experience as an abuse narrative and begin a process of escape and recovery. This places professionals at the heart of this model, as audience and co-producer within a critical process of narrative sense making and identity validation
Second-Person Surveillance: Politics of User Implication in Digital Documentaries
This dissertation analyzes digital documentaries that utilize second-person address and roleplay to make users feel implicated in contemporary refugee crises, mass incarceration in the U.S., and state and corporate surveillances. Digital documentaries are seemingly more interactive and participatory than linear film and video documentary as they are comprised of a variety of auditory, visual, and written media, utilize networked technologies, and turn the documentary audience into a documentary user. I draw on scholarship from documentary, game, new media, and surveillance studies to analyze how second-person address in digital documentaries is configured through user positioning and direct address within the works themselves, in how organizations and creators frame their productions, and in how users and players respond in reviews, discussion forums, and Let’s Plays. I build on Michael Rothberg’s theorization of the implicated subject to explore how these digital documentaries bring the user into complicated relationality with national and international crises. Visually and experientially implying that users bear responsibility to the subjects and subject matter, these works can, on the one hand, replicate modes of liberal empathy for suffering, distant “others” and, on the other, simulate one’s own surveillant modes of observation or behavior to mirror it back to users and open up one’s offline thoughts and actions as a site of critique.
This dissertation charts how second-person address shapes and limits the political potentialities of documentary projects and connects them to a lineage of direct address from educational and propaganda films, museum exhibits, and serious games. By centralizing the user’s individual experience, the interventions that second-person digital documentaries can make into social discourse change from public, institution-based education to more privatized forms of sentimental education geared toward personal edification and self-realization. Unless tied to larger initiatives or movements, I argue that digital documentaries reaffirm a neoliberal politics of individual self-regulation and governance instead of public education or collective, social intervention.
Chapter one focuses on 360-degree virtual reality (VR) documentaries that utilize the feeling of presence to position users as if among refugees and as witnesses to refugee experiences in camps outside of Europe and various dwellings in European cities. My analysis of Clouds Over Sidra (Gabo Arora and Chris Milk 2015) and The Displaced (Imraan Ismail and Ben C. Solomon 2015) shows how these VR documentaries utilize observational realism to make believable and immersive their representations of already empathetic refugees. The empathetic refugee is often young, vulnerable, depoliticized and dehistoricized and is a well-known trope in other forms of humanitarian media that continues into VR documentaries. Forced to Flee (Zahra Rasool 2017), I am Rohingya (Zahra Rasool 2017), So Leben Flüchtlinge in Berlin (Berliner Morgenpost 2017), and Limbo: A Virtual Experience of Waiting for Asylum (Shehani Fernando 2017) disrupt easy immersions into realistic-looking VR experiences of stereotyped representations and user identifications and, instead, can reflect back the user’s political inaction and surveillant modes of looking.
Chapter two analyzes web- and social media messenger-based documentaries that position users as outsiders to U.S. mass incarceration. Users are noir-style co-investigators into the crime of the prison-industrial complex in Fremont County, Colorado in Prison Valley: The Prison Industry (David Dufresne and Philippe Brault 2009) and co-riders on a bus transporting prison inmates’ loved ones for visitations to correctional facilities in Upstate New York in A Temporary Contact (Nirit Peled and Sara Kolster 2017). Both projects construct an experience of carceral constraint for users to reinscribe seeming “outside” places, people, and experiences as within the continuation of the racialized and classed politics of state control through mass incarceration. These projects utilize interfaces that create a tension between replicating an exploitative hierarchy between non-incarcerated users and those subject to mass incarceration while also de-immersing users in these experiences to mirror back the user’s supposed distance from this mode of state regulation.
Chapter three investigates a type of digital game I term dataveillance simulation games, which position users as surveillance agents in ambiguously dystopian nation-states and force users to use their own critical thinking and judgment to construct the criminality of state-sanctioned surveillance targets. Project Perfect Citizen (Bad Cop Studios 2016), Orwell: Keeping an Eye on You (Osmotic Studios 2016), and Papers, Please (Lucas Pope 2013) all create a dual empathy: players empathize with bureaucratic surveillance agents while empathizing with surveillance targets whose emails, text messages, documents, and social media profiles reveal them to be “normal” people. I argue that while these games show criminality to be a construct, they also utilize a racialized fear of the loss of one’s individual privacy to make players feel like they too could be surveillance targets.
Chapter four examines personalized digital documentaries that turn users and their data into the subject matter. Do Not Track (Brett Gaylor 2015), A Week with Wanda (Joe Derry Hall 2019), Stealing Ur Feelings (Noah Levenson 2019), Alfred Premium (Joël Ronez, Pierre Corbinais, and Émilie F. Grenier 2019), How They Watch You (Nick Briz 2021), and Fairly Intelligent™ (A.M. Darke 2021) track, monitor, and confront users with their own online behavior to reflect back a corporate surveillance that collects, analyzes, and exploits user data for profit. These digital documentaries utilize emotional fear- and humor-based appeals to persuade users that these technologies are controlling them, shaping their desires and needs, and dehumanizing them through algorithmic surveillance
The Politics of Platformization: Amsterdam Dialogues on Platform Theory
What is platformization and why is it a relevant category in the contemporary political landscape? How is it related to cybernetics and the history of computation? This book tries to answer such questions by engaging in multidisciplinary dialogues about the first ten years of the emerging fields of platform studies and platform theory. It deploys a narrative and playful approach that makes use of anecdotes, personal histories, etymologies, and futurable speculations to investigate both the fragmented genealogy that led to platformization and the organizational and economic trends that guide nowadays platform sociotechnical imaginaries
Recommended from our members
Artistry, Aesthetic Experience, and Global Futures in Civilization Game Design: How the ESCAPe Framework as an Ontology Captures an Art Form of the Information Age
Civilization games can depict imaginative and sophisticated perspectives on the future. Yet some scholars have critiqued civilization games for their replication of dominant, limited ideologies. Game designers often learn about design directly or indirectly from frameworks, such as the Mechanics-Dynamics-Aesthetics (MDA) framework which contains a very idiosyncratic definition of aesthetics.
Given that aesthetic thinking can unlock the sociological imagination, the aim of this dissertation was to discover opportunities to expand civilization game design by understanding the aesthetic experience of designers. A qualitative interview study was conducted of 13 game designers who created at least one civilization game based in the future. The interview and analysis had an ontological focus, to better understand how aesthetics fit into the existing puzzle of game design knowledge. The findings showed that designers employ their perspective in game design; this sense of self and perspective is not captured by current ontologies of game design.
Furthermore, designers are limited in their ability to explore the boundaries of civilization games by task complexity, emotionality, and reliance on player experience. Resultantly, they may focus intensely on known aspects of game design in order to deliver a product. The dissertation proposes two primary solutions. Firstly, a game design framework that integrates the self into game design and more clearly delineates the game as an artifact.
Secondly, cultivate truer senses of vision in game design for those who want to push civilization games and games as a whole, while understanding the practical realities of game design. These implications can be used by educators to reconsider game design program curricula, as well as affirm game designers’ pursuit of their own perspective
MAINSTREAM MEDIA COVERAGE (UK) OF ESPORTS TOURNAMENT THE ‘EPREMIER LEAGUE’ FINALS 2019 AND 2021. A MIXED-METHODS STUDY.
This study investigates the factors limiting mainstream media coverage of esports in the UK, specifically focusing on EA Sports' FIFA Series. The research aims to assess the current landscape of esports journalism, mainstream media perception, familiarity with the term 'esports', content categorisation, coverage extent, live event viewership, and potential barriers and opportunities for increased exposure. Despite the growing academic interest in esports, there is a noticeable gap in research regarding mainstream media coverage of esports in UK newspaper and broadcast journalism and of esports journalism. This project's critical analysis therefore of esports journalism offers a timely and original contribution to understanding the relationship between mainstream UK media and the niche esports broadcast/ journalism sector, and the factors influencing the sector’s limited exposure. Employing a mixed-methods approach, this study combines quantitative and qualitative data collection methods such as surveys, content analysis, and interviews. Focusing on mainstream media coverage of esports, the research utilises Rogers' Diffusion of Innovation Theory (2003) and Tidd and Bessant’s 4Ps of Innovation Model (2021) to explore the potential for esports to become a sustainable sector in the UK's digital economy. The study concentrates on the UK tournament the 'ePremier League' 2019 and 2021 and its reception by UK mainstream media, examining the relationship between traditional and new media platforms. The findings reveal a lack of significant value for esports in UK mainstream media, distrust of mainstream media within the esports sector, and a discrepancy in the categorisation of esports content between mainstream and esports media. This study highlights the need for independent investigative reporting and improved understanding of the esports sector within mainstream media to foster its growth and acceptance. The results hold considerable significance for various stakeholders, including publishers, policymakers, and analysts. For instance, the National Union of Journalists and the British Association of Journalists will find the insights on current journalistic practices valuable. Educational organisations such as the National Training Council of Journalists will appreciate findings regarding the importance of professional training for journalists. Likewise, mainstream broadcasters and esports media, including SKY Sports and Gfinity, will be interested in findings related to live streaming and broadcasting live esports events
2023-2024 Lindenwood University Undergraduate Course Catalog
Lindenwood University Undergraduate Course Catalog.https://digitalcommons.lindenwood.edu/catalogs/1209/thumbnail.jp
Fictional Practices of Spirituality I: Interactive Media
"Fictional Practices of Spirituality" provides critical insight into the implementation of belief, mysticism, religion, and spirituality into worlds of fiction, be it interactive or non-interactive. This first volume focuses on interactive, virtual worlds - may that be the digital realms of video games and VR applications or the imaginary spaces of life action role-playing and soul-searching practices. It features analyses of spirituality as gameplay facilitator, sacred spaces and architecture in video game geography, religion in video games and spiritual acts and their dramaturgic function in video games, tabletop, or LARP, among other topics. The contributors offer a first-time ever comprehensive overview of play-rites as spiritual incentives and playful spirituality in various medial incarnations
- …