Immersion in Game Atmospheres for the Video Game Heritage Preservation

The video game market is now bigger than the cinema market. This economic fact is the result of a continuous development. Indeed, while video games attract the kids, the number of adult players constantly increases. Thus, video games are taking part in our culture. The video game industry is now more than 30 years old and its cultural heritage is being preserved following two main approaches. On the one hand, there are a lot of virtual museums on the Web, and on the other hand, there are exhibits, but they are very rare. For example, there is only one permanent exhibit (in Berlin). The video game exhibits are very hard to set up because the hardware and the software can be too rare and can be broken down . This is why is it easier to do it virtually. On the Web, we can find information about every game: comments, screenshots, sounds, videos, etc. We can also find game copies and emulators to run them on new computers. This raises two main problems. 1. In most cases, it is illegal. 2. Emulation can reproduce the playing experience, but we loose the feelings and the game athmosphere. I previously dealt with the first problem in a book in 2001 (in French: Emulation et jeux vidéo) and in an article presented at the ICHIM 04 conference (http://www.utc.fr/~nesposit/publications/esposito2004.pdf). Here, I will focus on the athmosphere reproduction. The game athmospheres is one of the strongest souvenirs in the players\u27 memory: the place, its arrangement, the light, the other players, etc. So the question is: how can we add this kind of athmospheres to virtual museums and real world exhibits? Our answer is to propose a virtual reality approach. Following the travelog method to record athmospheres, we have asked numerous players about their game experiences. We did it by using Web forums to take advantage of the discussion between players (some players add elements to other players\u27 descriptions). Then, we have been able to identify typical elements of athmospheres. We have included these elements in a prototype that allows an immersion in game athmospheres. Our first two athmospheres are: a bedroom (in the mid nineties) and a game room (at the end of the eighties). This approach allows: immersion, manipulation, and information acquisition. Indeed, for example inside the bedroom, the user can catch a game cartridge, put it into the Super Nintendo, and get information about the game on the TV screen. Thanks to the technology we use (Virtools), these athmospheres can be accessed on the Web. This is a new way to access information about games. This is not like a fast database access; it is much more like a walk through game athmospheres that brings you to games you did not look for at the beginning. This project is also a new way to access the games of an exhibit. Information that you get can contain a map of the exhibit and where to find the game. * Pictures of this project can be seen here: http://www.utc.fr/~nesposit/tmp/rv01/ * Note: this project is part the Inspiration project (http://www.utc.fr/inspiration/

Collaborative game development with indigenous communities; A theoretical model for ethnocultural empathy

This thesis studies how collaboratively designed games can be used as a means to empathically share cultural perspectives and emotions between unrelated communities. The paper also discusses some of the diversity issues present within the video game industry, especially those dealing with Indigenous cultural content, and to promote the “world games” movement of inclusive game production. The project began with an examination of various concepts that make up the current psychological theory of empathy. Academic findings on cultural empathy were specifically explored, and Wang et. al’s (2003) theory of ethnocultural empathy was examined. A literature review continued with further examination of the methods for empathic game design and production. The literature also considered how specific game elements and practices of intercultural sensitivity function within collaborative game design and development, leading to a more in-depth study of co-development with Indigenous communities. From this, two theoretical models were developed and proposed. The Ethnocultural Empathy Analysis model looked specifically at methods for e-empathic game design, and the Intercultural Sensitivity model presented reflective questions for Indigenous co-development. These models were then applied to three game project case studies. Two of the studies examined the commercial games, Never Alone and Mulaka. The third study, the Sámi Game Jam, included a personal reflection of my first-hand experience in an Indigenous co-development setting. Finally, the results of this thesis proposed ways that games, as a unique, interactive medium, can be successfully used to both address, and even eliminate, much of the cultural disconnection and ignorance present in today’s world

2023 International Conference on Heritage and Affect

Conference ProgramNoAffective Architectures Lab aalab.org/2023conferenc

Where have all the games gone? An exploratory study of digital game preservation

It is 50 years since the development of the first computer game and digital games now have an unprecedented influence on our culture. An increasingly popular leisure activity, digital games are also permeating other aspects of society. They continue to influence computer technology through graphics, animation and social networking; an influence which is also being felt in other media, in particular film and television. They are a new art form and they are seen to be influential on children s learning and development. However, despite their pervasiveness and apparent importance within our society and culture, they are still largely ignored as part of our cultural heritage. Dismissed as disposable, entertainment products, they have not specifically been addressed in most of the academic literature on digital preservation which represents a serious omission in past research. This was justification for an exploratory study into the preservation of digital games and the aim of this study has been to explore the value of digital games, their significance in our culture, and the current status of their preservation. Investigating the relationship of games to culture; reviewing current preservation activities and drawing conclusions about the value of digital games and the significance of their preservation were the study s objectives. These have been achieved through interviews with key stakeholders the academic community, as potential users of collections; memory institutions, as potential keepers of collections; fan-based game preservation experts; and representatives from the games industry. In addition to this, case studies of key game preservation activities were explored. Through this research, a clearer picture of attitudes towards digital games and opinions on the need for preservation of these cultural products has been established. It has become apparent that there is a need for more coherent and collaborative efforts to ensure the longevity of these important aspects of digital heritage