Psychophysiology in games

Psychophysiology is the study of the relationship between psychology and its physiological manifestations. That relationship is of particular importance for both game design and ultimately gameplaying. Players’ psychophysiology offers a gateway towards a better understanding of playing behavior and experience. That knowledge can, in turn, be beneficial for the player as it allows designers to make better games for them; either explicitly by altering the game during play or implicitly during the game design process. This chapter argues for the importance of physiology for the investigation of player affect in games, reviews the current state of the art in sensor technology and outlines the key phases for the application of psychophysiology in games.The work is supported, in part, by the EU-funded FP7 ICT iLearnRWproject (project no: 318803).peer-reviewe

Learning plan networks in conversational video games

Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2007.Includes bibliographical references (p. 121-123).We look forward to a future where robots collaborate with humans in the home and workplace, and virtual agents collaborate with humans in games and training simulations. A representation of common ground for everyday scenarios is essential for these agents if they are to be effective collaborators and communicators. Effective collaborators can infer a partner's goals and predict future actions. Effective communicators can infer the meaning of utterances based on semantic context. This thesis introduces a computational cognitive model of common ground called a Plan Network. A Plan Network is a statistical model that provides representations of social roles, object affordances, and expected patterns of behavior and language. I describe a methodology for unsupervised learning of a Plan Network using a multiplayer video game, visualization of this network, and evaluation of the learned model with respect to human judgment of typical behavior. Specifically, I describe learning the Restaurant Plan Network from data collected from over 5,000 players of an online game called The Restaurant Game.by Jeffrey David Orkin.S.M

Modes of Esports Engagement in Overwatch

This Open Access book provides a comprehensive review of the rapidly developing esport phenomenon by examining one of its contemporary flagship titles, Overwatch (Blizzard Entertainment 2016), through three central themes and from a rich variety of research methods and perspectives. As a game with more than 40 million individual players, an annual international World Cup, and a franchised professional league with teams from Canada, China, Europe, South Korea, and the US, Overwatch provides a multifaceted perspective to the cultural, social, and economic topics associated with the development of esports, which has begun to attract attention from both commercial and academic audiences. The book starts with an introduction chapter to Overwatch and esports engagement in general, co-authored by the editors. This is followed by 15 unique chapters from scholars within the field of game cultures and esports, representing ten different nationalities. The contributions construct thematic sections that divide the book into three parts: Players, Diverse Audiences? and Fan & Fiction Work. As such, the parts provide a wide-ranging overview of esport engagement, thus disclosing the phenomenon’s cross-cultural, transmedial, and interconnected relations that have not been probed earlier in a single anthology

Modes of Esports Engagement in Overwatch

This Open Access book provides a comprehensive review of the rapidly developing esport phenomenon by examining one of its contemporary flagship titles, Overwatch (Blizzard Entertainment 2016), through three central themes and from a rich variety of research methods and perspectives. As a game with more than 40 million individual players, an annual international World Cup, and a franchised professional league with teams from Canada, China, Europe, South Korea, and the US, Overwatch provides a multifaceted perspective to the cultural, social, and economic topics associated with the development of esports, which has begun to attract attention from both commercial and academic audiences. The book starts with an introduction chapter to Overwatch and esports engagement in general, co-authored by the editors. This is followed by 15 unique chapters from scholars within the field of game cultures and esports, representing ten different nationalities. The contributions construct thematic sections that divide the book into three parts: Players, Diverse Audiences? and Fan & Fiction Work. As such, the parts provide a wide-ranging overview of esport engagement, thus disclosing the phenomenon’s cross-cultural, transmedial, and interconnected relations that have not been probed earlier in a single anthology

The Art of Adaptation in Film and Video Games

This Special Issue of Arts explores the art and practice of adaptation in several different mediums with a focus on film and video games. The topics covered include experimental game design, narrative design, film and trauma, games adapted from literature, video game cinema, film and the pandemic, film and the environment, film and immigration, and film and culture

Breaking out stories and networks of interdependency: using actor-network theory to trace emergent challenges to narrative norms in AAA and indie game development sectors.

My intervention in this thesis is two-fold: Firstly, I aim to explore how design practitioners are leveraging the form of videogames to tell new types of stories that speak to and help shape newly emerging audience formations, and how the material and organisational structures of the industry constrain or enable those attempts. Secondly, the thesis implements a novel framework adapted primarily from the production studies work of John Caldwell (2008b), which has been recognised as an urgently needed addition to the growing critical tool kit of game studies (Banks et al., 2016), and combined with actor-network theory of Bruno Latour (2005), in order to make an original contribution to the growing methodological field of game studies. I argue that the innovative framework of actor-network theory (Callon et al., 2009; Latour, 2005; Law, 2004) applies particularly well to the shifting videogames industry as an object of study. My specific focus is on the kinds of stories that are told in the complex and shifting production contexts of game design, but also the kinds of trade stories that circulate within production cultures. Thus I link textual analysis and the study of production by exploring how such narratives are formed within real material spaces of production. I do so by utilising a mixed method of anthropology of production cultures and semi-structured interviews (Galletta, 2013). In particular I have attempted to make the game studio a unit of analysis within the complex flows of narrative intention and economic realities, which ties my work into an emerging field of Studio Studies (Farías and Wilkie, 2015), and I specifically focus on the emergence of the independent studio as a significant challenge to industry norms and the narrative forms and core gamer identities that rest upon them. In doing so I build on a new generation of work in game studies (Anable, 2018; Chess, 2017; Keogh, 2018a; Nooney, 2017; Ruffino, 2018a) seeking to challenge the entrenched academic orthodoxy of game studie

The Child in Games: From the Meek, to the Mighty, to the Monstrous

Drawing across game studies, childhood studies, and children’s literature studies, this thesis catalogues and critiques the representation of children in contemporary video games. It poses two questions: 1) How are children represented in contemporary video games? 2) In what ways do the representations of children in video games affirm or challenge dominant Western beliefs about the figure of the child? To answer these questions, I combine a large-scale content analysis of over 500 games published between 2009 and 2019 with a series of autoethnographic close readings. My content analysis is designed to provide a quantitative snapshot of the representation of children in games. I use statistical analysis to assemble data points as meaningful constellations. I use the axes of race, gender, and age, as well as genre, age-rating, and publication year, to identify patterns in representation. I distil my findings as a set of seven archetypes: The Blithe Child, The Heroic Child, The Human Becoming, The Child Sacrifice, The Side Kid, The Waif, and The Little Monster. This typology is not intended to work against the granular detail of the information recorded in the dataset, but to draw attention to patterns of coherence and divergence that occur between particular examples, as well as to intersections with representational tropes about children identified in other media. I select four of these seven archetypes to structure my autoethnographic close readings. While content analysis is a useful tool for documenting the presence, absence, and dominant function of child-characters in games, close reading allows for a more intersectional approach that can attend to the nuances of representation across identity markers, creating opportunities to examine internal contradictions, ironies, and the polysemy generated through interpretive gaps. I develop my own close reading method building on the autoethnographic approaches of Carr (2019), Vossen (2020), McArthur (2018), and Jennings (2021), which I call critical ekphrasis. Chapter one argues that the Blithe Child triangulates ‘children’, ‘toys’, and ‘paidia’. It suggests that both childhood and play can be conceptualised as a ‘magic circle’, and that the immateriality of the Blithe Child implies childhood can be a mode of being unconnected to anatomical markers or chronological age. Chapter two explores how the Heroic Child challenges the apparent affinity between video games and traditional hero 2 narratives. It argues that the dependence of the childly protagonist undermines dualistic thinking and instead celebrates cooperation, compromise, and connection. Chapter three compares the Child Sacrifice to the woman-in-the-refrigerator trope, arguing that it functions to justify aggressive, hypermasculine, militarised violence. The final chapter compares the Little Monster and the Waif to examine how the uncanny child raises metareferential questions about autonomy in interactive media and agency in intergenerational relationships. My research project concludes by suggesting that virtual children in simulated worlds point to the active construction and delimitation of ‘the child’ in society and can reveal that much of what is assumed to be natural, obvious, and universal about the figure of ‘the child’ is in fact ideological. It hints at the possibility that just as virtual children are used as rhetorical figures to explain and justify the rules, mechanics, and moral systems of a digital game, so too is the figure of ‘the child’ used to routinise and vindicate the rules, workings, and moral systems of Euro-American culture.AHR

Rethinking gamification

Gamification marks a major change to everyday life. It describes the permeation of economic, political, and social contexts by game-elements such as awards, rule structures, and interfaces that are inspired by video games. Sometimes the term is reduced to the implementation of points, badges, and leaderboards as incentives and motivations to be productive. Sometimes it is envisioned as a universal remedy to deeply transform society toward more humane and playful ends. Despite its use by corporations to manage brand communities and personnel, however, gamification is more than just a marketing buzzword. States are beginning to use it as a new tool for governing populations more effectively. It promises to fix what is wrong with reality by making every single one of us fitter, happier, and healthier. Indeed, it seems like all of society is up for being transformed into one massive game.The contributions in this book offer a candid assessment of the gamification hype. They trace back the historical roots of the phenomenon and explore novel design practices and methods. They critically discuss its social implications and even present artistic tactics for resistance. It is time to rethink gamification