Le jeu et son nom : qu’est-ce qu’un auteur de jeu vidéo ?

On s’interroge ici sur la possibilité d’élaborer une notion « d’auteur » adéquate au champ du jeu vidéo. L’enquête commence par une réflexion sur quelques grands noms du domaine reconnus par une instance légitime du secteur. Il s’avère que ces créateurs sont peut-être moins des auteurs que des créateurs géniaux d’outils numériques, des architectes ou des raconteurs d’histoires – sans atteindre au statut d’auteur complet. Pour cela, il leur faudrait non seulement avoir réalisé plusieurs jeux marquants auxquels leurs noms seraient associés, mais avoir en outre ambitionné la transmission d’un certain message (politique). L’auteur complet serait alors celui qui réussirait à imposer sa vision singulière à une industrie surpuissante affamée de productions calibrées. Leur heure est peut-être encore à venir. Vingt ans plus tard, un regard rétrospectif permet de confirmer l’intuition. Le secteur a mûri, s’est énormément développé et a donc libéré de la place pour des créations en marge : jeux d’auteur, retrogaming, art game et jeux indépendants

Teenage Visitor Experience: Classification of Behavioral Dynamics in Museums

Teenagers' engagement in museums is much talked about but little research has been done to understand their behavior and inform design. Findings from co-design sessions with teenagers suggested they value games and stories when thinking about enjoyable museum tours. Informed by these findings and working with a natural history museum, we designed: a story-based tour (Turning Point) and a game-based tour (Haunted Encounters), informed by similar content. The two strategies were evaluated with 78 teenagers (15-19 years old) visiting the museum as part of an educational school trip. We assessed teenagers' personality in class; qualitative and quantitative data on their engagement, experience, and usability of the apps were collected at the museum. The triangulation of quantitative and qualitative data show personality traits mapping into different behaviors. We offer implications for the design of museum apps targeted to teenagers, a group known as difficult to reach

A weak scientific basis for gaming disorder: let us err on the side of caution

We greatly appreciate the care and thought that is evident in the 10 commentaries that discuss our debate paper, the majority of which argued in favor of a formalized ICD-11 gaming disorder. We agree that there are some people whose play of video games is related to life problems. We believe that understanding this population and the nature and severity of the problems they experience should be a focus area for future research. However, moving from research construct to formal disorder requires a much stronger evidence base than we currently have. The burden of evidence and the clinical utility should be extremely high, because there is a genuine risk of abuse of diagnoses. We provide suggestions about the level of evidence that might be required: transparent and preregistered studies, a better demarcation of the subject area that includes a rationale for focusing on gaming particularly versus a more general behavioral addictions concept, the exploration of non-addiction approaches, and the unbiased exploration of clinical approaches that treat potentially underlying issues, such as depressive mood or social anxiety first. We acknowledge there could be benefits to formalizing gaming disorder, many of which were highlighted by colleagues in their commentaries, but we think they do not yet outweigh the wider societal and public health risks involved. Given the gravity of diagnostic classification and its wider societal impact, we urge our colleagues at the WHO to err on the side of caution for now and postpone the formalization