Shakespeare in Digital Games and Virtual Worlds

The article attempts first to introduce the reader to the deeper needs that gave rise to animation, a fundamental aspect of digital gaming and virtual worlds. It then tries to illuminate the various facets of digital performance and gaming, especially in relation to Shakespeare-themed and inspired digital games and virtual worlds, by putting forward some axes of classification. Finally, it both suggests some ideas that may be of use in rendering the Shakespeare gaming experience more “complete” and “theatrical” and ends by acknowledging the immense potential for the exploration of theatricality and performativity in digital games and virtual worlds

A phenomenological study of problematic internet use with massively multiplayer online games

Massively multiplayer online games (MMOG’s) are a specific form of online computer games that allow for millions of people to simultaneously play online at any time. This form of online gaming has become a huge phenomenon worldwide both as a popular past time and a business endeavour for many individuals. There are more than 16 million people worldwide who subscribe to fantasy role-playing online games. Although such games can provide entertainment for many people, they can also lead to problematic Internet use (PIU). PIU has also been referred to as Internet addiction, and can cause significant problems in an individual’s functioning. The study aimed to enhance a greater understanding of the phenomenon of male adults’ experiences PIU with MMOG’s. More specifically the study aims to identify if PIU with MMOG’s can be considered a form of Internet addiction within South Africa. Furthermore, assisting in the further development of online addiction diagnosis and treatment strategies. The study utilised an interpretive phenomenological approach (IPA) and participants were purposively sampled. The data was collected using semi-structured individual interviews. Furthermore, Braun and Clarks thematic analysis was used during data analysis while incorporating the four major processes in phenomenological research, namely 1) epoche, 2) phenomenological reduction, 3) imaginative variation and, 4) synthesis. Themes that emerged from the analysis of the participants’ experiences included, initial description of use, motives for continued use of MMOG’s, consequences of PIU with MMOG’s, perceptions of PIU with MMOG’s, and treatment considerations. This study provided a thick description of South African and international literature and combines the literature with the themes that emerged from the participants experiences in order to produce discussions based on the findings of this qualitative study. Conclusions, recommendations, and limitations of this study informed future research on cyber citizenship by providing a detailed understanding of the context of South African male adults’ experiences of PIU with MMOG’s

Development and Mental Health Care Services: A Case Study at RTCCD, Hanoi

Vietnam’s rapid development since 1986 has had both positive and negative impacts on Vietnam’s mental health services. A health system was put into place and is expanding to overcome many challenges. Conversely, development has also brought with it new amenities and technologies that, in some cases, are being abused – one such is example is video games. As Vietnam deals with disturbing violent video game related episodes, parents and community members are searching for answers. This study project focuses on understanding the mental health care system in Vietnam and its current growth and advances. Three weeks were spent in Hanoi, Vietnam working for a think-tank organization focused on mental health policy advocacy, research, and training. During my eighty hours spent at the Research and Training Centre for Community Development (RTCCD), I was tasked with creating a flyer on Internet Gaming Disorder to spread information on video game addiction to Vietnamese communities. While working on this project I participated in various office activities and through participant observation I was able to witness how RTCCD is working to implement change. Additionally I was able to interview three staff members at RTCCD gaining further understanding. RTCCD is generating progressive change to the way mental illness is being viewed and treated through training programs, community intervention, and most importantly policy advocacy. In the future RTCCD should continue its impressive work, aiming to expand services into more provinces while focusing on local tactics

Art Practice in Collaborative Virtual Environments

This article addresses and characterises creative art processes in Collaborative Virtual Environments (CVEs), examining how most art works in CVEs escape and resist taxonomic classification given their unstable and fluid nature, which is often open and participatory.info:eu-repo/semantics/publishedVersio

Producing Affection : Affect and Mediated Intimacy in Pokémon

Pokémon is a global multimedia franchise formed around a core series of videogames and a variety of characters to collect, learn about, and play with. Throughout its decades of development, Pokémon has grown into a media mix comprising of digital and analog games, animations, comics, toys, and a plethora of branded merchandize, all centering on the Pokémon characters and the audience’s relationship with them. In this thesis, I explore how affection is formed and distributed in Pokémon. I view the relationship with Pokémon characters as a form of mediated intimacy, theorizing it as feelings of affection and closeness expressed through and aimed at technology. Through this, I discuss how technological and fantastical bodies wield agency and actively participate in the formation of everyday affects. By drawing primarily on game studies and affect studies, I develop an interdisciplinary method for playing and reading media texts for their affects and use it to analyze the media mix of Pokémon and the affective relations therein. I focus primarily on the Pokémon videogames that serve as the core product of the entire media mix. I examine what it means to construct an entire media mix based on videogames and play and suggest this as a key interpretive arrangement for understanding the mediated intimacy of Pokémon. This study presents the mediated intimacy of Pokémon as the result of the ludic and technological foundations of the Pokémon media mix, at the heart of which is the role-playing form of the original videogames and the way they have positioned audiences as participants and characters in the world of Pokémon. In this playful environment that overlaps fiction and everyday reality, the media mix guides its players to conduct a form of affective labor to access and traverse the textual whole of Pokémon and furthermore aligns this effort with the diegetic theme of caretaking as captured on the transmedia bodies of Pokémon. Additionally, this work contributes to the theorization and rethinking of intimacies by exploring affection in human and non-human networks as an entanglement of biological and technological actors.Tuotettua kiintymystä. Pokémonin affekti ja medioitu intiimiys Pokémon on globaali monimediakokonaisuus. Sen keskiössä on joukko videopelejä sekä niiden hahmoja, joita kerätään, joista opitaan ja joiden kanssa leikitään. Pokémonista on vuosikymmenten mittaan kasvanut mediatuotteiden rypäs, media mix: monista tuote- ja julkaisukanavista koostuva kokonaisuus, joka sisältää digitaalisia ja analogisia pelejä, animaatioita, sarjakuvia, leluja ja brändituotteita, joissa kaikissa korostuvat Pokémon-hahmot sekä yleisön suhde niihin. Väitöskirjassani tarkastelen, miten kiintymystä rakennetaan ja levitetään Pokémonissa. Tutkin Pokémon-hahmoihin muodostettuja suhteita medioidun intiimiyden käsitteen kautta. Tutkimuksessani suhteet näyttäytyvät kiintymyksellisten tunteiden tiivistyminä sekä läheisyytenä, jota ilmaistaan teknologian avulla ja sitä kohtaan. Näin tarkastelen, miten teknologisten sekä fantastisten kehojen toimijuus näkyy arkipäiväisten affektien muodostumisessa. Ammentamalla pelitutkimuksesta ja affektitutkimuksesta kehitän monitieteisen metodin mediatekstien pelaamiseen ja lukemiseen, ja käytän sitä Pokémonin media mixin, sen affektien ja sen piirissä muodostettujen kiintymyssuhteiden analysointiin. Keskityn erityisesti Pokémon-videopeleihin, jotka toimivat koko media mixin ydintuotteena. Tutkin, miten Pokémonin media mix on rakennettu ensisijaisesti pelilliselle ja leikilliselle pohjalle, ja ehdotan tätä tulkintamallia keskeiseksi Pokémonin medioidun intiimiyden ymmärtämiselle. Tutkimuksen tuloksena esitän Pokémonin medioidun intiimiyden muodostuvan Pokémonin media mixin leikillisistä ja teknologisista juurista, joiden perustana on alkuperäisten Pokémon-videopelien roolipelillinen rakenne sekä se, miten sen avulla pelaajat on asemoitu hahmoiksi Pokémonin maailmaan. Fiktiota ja todellisuutta sekoittavassa leikillisessä ympäristössä Pokémonin media mix ohjaa pelaajia hoivan ja huolenpidon teemojen kautta tekemään tunnetyötä tuoteperheen mediatekstien parissa ja piirtää tämän työn tulokset Pokémon-hahmojen monimediakehoille. Lisäksi väitöstutkimukseni osallistuu intiimiyden laajempaan teoretisointiin ja uudelleenmäärittelyyn tarkastelemalla elollisten ja leikillisesti elävien toimijoiden suhteita biologisena ja teknologisena yhteenliittymän

EMDR Gaming Recovery and Insight Protocol (E-GRIP): An Approach For Treating Video Game Addiction

The prevalence of video game addiction has escalated with the advancement of digital technologies, posing significant psychological and social challenges. This dissertation introduces the eye movement desensitization and reprocessing (EMDR) Gaming Recovery and Insight Protocol (E-GRIP), a novel therapeutic approach designed to address the complexities of video game addiction. Grounded in the principles of EMDR therapy and incorporating insights into video game culture, E-GRIP aims to treat individuals struggling with problematic gaming behaviors by integrating their gaming experiences and preferences into the therapeutic process. The E-GRIP methodology extends the conventional EMDR framework by including an in-depth exploration of the client’s gaming behavior, character identification, and the utilization of gaming jargon to enhance the relevance and efficacy of the therapy. Through the lens of video game character archetypes and gaming scenarios, the protocol addresses the emotional, cognitive, and somatic components of addiction, facilitating a comprehensive treatment strategy that resonates with the gaming community

Cyberbullying in \u27Left 4 Dead 2\u27: a Study in Collaborative Play

This study sought to further our understanding of the role of cyberbullying in the cooperative team-based game Left 4 Dead 2 (L4D2). A sample of 41 4-person groups generated a total n = 415 messages used for evaluating the behavioral content of game play. Four hypotheses were advanced assessing cyberbullying behavior and game outcome (success vs. failure), group cohesion, target participation, and perceptions of bullies. Out of the 41 groups 25 groups had cyberbullying behavior present and 16 groups had prosocial behavior. Overall, cyberbullying behavior had little effect on game outcome, group cohesion and target participation. Groups using only prosocial messages were more successful than groups with cyberbullying messages and had a significantly better survival score when prosocial messages occurred late in the game. Additionally, cyberbullying behavior and prosocial behavior increased a sense of belonging compared to groups where cyberbullying occurred earlier in the game. Furthermore, the amount of cyberbullying in groups generated no effect on target participation. Finally, players considered leaders influence the game more than non-leaders and players identified as both leader and cyberbully generate no effect on game influence compared to players not identified as both cyberbully and leader. Results are discussed in terms of study limitations and possible conceptual and operational applications

Pivoting the player:a methodological toolkit for player character research in offline role-playing games

This thesis introduces an innovative method for the analysis of the player character (PC) in offline computer role-playing games (cRPGs). It derives from the assumption that the character constitutes the focal point of the game, around which all the other elements revolve. This underlying observation became the foundation of the Pivot Player Character Model, the framework illustrating the experience of gameplay as perceived through the PC’s eyes. Although VG characters have been scrutinised from many different perspectives, a uniform methodology has not been formed yet. This study aims to fill that methodological void by systematising the hitherto research and providing a method replicable across the cRPG genre. The proposed methodology builds upon the research of characters performed in video games, fiction, film, and drama. It has been largely inspired by Anne Ubersfeld’s semiological dramatic character research implemented in Reading Theatre I (1999). The developed theoretical model is applied to three selected cRPGs, which form an accurate methodological sample: The Witcher (CD Projekt RED 2007), Fallout 3 (Bethesda Game Studios 2008), and Vampire: The Masquerade – Bloodlines (Troika Games 2004). The choice of the game genre has been incited by the degree of attention it draws to the player character’s persona. No other genre features such a complex character development system as a computer role-playing game. <br/

Understanding player experience in social digital games : the role of social presence

Including others in a playful activity fundamentally changes the concept of play into social play. This thesis focuses on social play in digital gaming. Previous studies have revealed the crucial part of social interaction in play, as the intrinsic need to belong seems to be the core motivation for engaging in such activities. Besides interacting with the game and focusing on the game content, gamers are confronted with emotions, behaviours, opinions and performances of others that can easily be perceived when playing side by side (co-located co-play). However, the widespread penetration of the Internet also allows for social play without the restriction of co-players having to be in the same room (mediated co-play). In online co-play settings a smaller amount of social information can be exchanged compared to co-located co-play. These settings therefore differ in the way gamers can interact with each other, which has an influence on how digital gaming is experienced. Focus groups, contextual inquiries, and four experimental studies were employed to uncover which aspects of social play in digital gaming make mediated and co-located co-play feel different. The first study was conducted to explore the motivations of gamers to physically meet others to play digital games, compared to meeting them online. Based on interpersonal communications, focus groups and contextual inquiries, findings revealed that the appeal of co-located above online co-play results from the sociable, warm, sensitive, personal and intimate interactions that are possible when playing side-byside. Furthermore, co-located co-play offers the possibility to experience social fun before and after game play, which often is not afforded in online co-play. The first lab experiment was conducted to empirically demonstrate to what extent player experience is influenced by the way co-players are present; e.g. as a virtual (human controlled), mediated or co-located co-player. Results on self-reports indicated that playing sidebyside significantly adds to the enjoyment and involvement in games compared to playing against a virtual (i.e. computer controlled) or distant co-player. These results could be explained by introducing the concept of social presence, which is defined as the feeling of being together with another individual. Results demonstrated that social presence mediated the enjoyment in social play. In the second and third lab experiment the possibilities for verbal and non-verbal interaction were manipulated between coplayers in co-located co-play. One experiment investigated this for competitive play; a the other for collaborative play. Self-reports showed that interactions through auditory cues positively influenced player experience. Interestingly, the presence of visual cues of one’s co-player had no significant influence on play. Observation data of players confirmed that audio cues (e.g., talking, laughing) were far more often used than visual cues (e.g., eye contact, making gestures); visual cues were only used before and after play. Furthermore, we demonstrated that social presence – due to interaction by audio cues – mediates the enjoyment in social play. A final lab experiment was conducted to investigate the importance of the connection between players through the game for our results in the previous chapters. In this experiment players were colocated, but not always played together and/or were not always able to see each other’s scores. Results showed that a subjective shared experience increases the strength of the social connection between players, and positively affects feelings of social presence, enjoyment and involvement. Similar to the previous findings, social presence mediated the increase in feelings of enjoyment and involvement. In sum, our set of studies offered empirical support for when, why and how social interaction influences players’ experience in co-play settings. Furthermore, the results indicate the importance of social presence as a mediating factor of enjoyment and involvement in social play. This provides new theoretical insights for communication experiences in other media, and social presence in general. Furthermore, findings may be useful to game designers who may want to enhance players’ experiences in during digital play

New directions in the rhizome of children\u27s literature and children\u27s culture: a case study in transmedia storytelling

This thesis examines the changing idea of what constitutes a “text” in twenty-first century children’s literature and children’s culture. Beginning with John Newbery’s A Little Pretty Pocket-Book (1744), through the Golden Age of Children’s Literature—that of the 1860s to 1900—and as a result of the shift to a children’s culture in the 1950s onward, my project interrogates the historical rhizome of children’s literature and children’s culture. The historical rhizome, which serves as the framework for this thesis, indicates the emergence of a fourth branch in the rhizome in our current epistemic mutation to the digitized text. Using J.K. Rowling’s Harry Potter series as a case study, this thesis illuminates the ways Rowling’s texts can be used as a model to follow in the historical rhizome due to her twenty-first century awareness of audience and text