scholarly journals Interview: Acclaimed Game Designer Ryan Kaufman Discusses Telltale Games, Star Wars, Harry Potter, and How Video Games Can Transform Us

Arts ◽  
2021 ◽  
Vol 10 (3) ◽  
pp. 46
Author(s):  
Christian Thomas
Keyword(s):  
Video Games ◽  
Video Game ◽  
Harry Potter ◽  
Profound Impact ◽  
Star Wars ◽  
Tv Shows ◽  
Game Designer

Ryan Kaufman—whose rich body of work often centers on video games adapted from movies or TV shows—has had a profound impact on video game designers, writers, and players alike [...]

scholarly journals Semi-automatic construction of video game design prototypes with MaruGen

2020 ◽  
pp. 9-20
Author(s):  
Italo Felipe Capasso-Ballesteros ◽  
Fernando De la Rosa-Rosero
Keyword(s):  
Video Games ◽  
Video Game ◽  
Game Design ◽  
Video Game Design ◽  
L Systems ◽  
Role Based ◽  
Game Designer ◽  
Definition Of ◽  
Game Developers ◽  
Expression Mechanism

Machinations Ruleset Generator (MaruGen) is a semi-automatic system for the generation of mechanics, rules, spaces (environments), and missions for video games. The objective of this system is to offer an expression mechanism for the video game designer role based on the definition of rules, and the ability to explore the concepts of progression and emergence in video games by using a formal, usable, and defined tool to design games with innovative and complex elements, and behaviors defined from combinations of basic elements. Based on the expressed designs and with the participation of programmers and video game artists, MaruGen allows the generation of agile video game prototypes in the Unity game engine. These prototypes can be analyzed by the entire workgroup to look for games with diverse complexities that make them attractive to their users. MaruGen is based on the expression of rules on elements of interest in video games and the rewriting mechanism using L-Systems for the generation of procedural content. MaruGen was evaluated in the construction of the Cubic Explorer video game and tested by gamers and video game developers during the Game Jam Ludum Dare 38.

The U.S. Video Game Industry

2009 ◽  
pp. 499-514
Author(s):  
Janet C. Dunlop
Keyword(s):  
Video Games ◽  
Cultural Studies ◽  
Video Game ◽  
Video Gaming ◽  
Video Game Industry ◽  
Star Wars ◽  
Game Industry ◽  
Cover Art ◽  
Capitalist Ideology ◽  
The U.S

Today’s media are vast in both form and influence; however, few cultural studies scholars address the video gaming industry’s role in domestic maintenance and global imposition of U.S. hegemonic ideologies. In this study, video games are analyzed by cover art, content, and origin of production. Whether it is earning more “powers” in games such as Star Wars, or earning points to purchase more powerful artillery in Grand Theft Auto, capitalist ideology is reinforced in a subtle, entertaining fashion. This study shows that oppressive hegemonic representations of gender and race are not only present, but permeate the majority of top-selling video games. Finally, the study traces the origins of best-selling games, to reveal a virtual U.S. monopoly in the content of this formative medium.

The U.S. Video Game Industry

2011 ◽  
pp. 231-246
Author(s):  
Janet C. Dunlop
Keyword(s):  
Video Games ◽  
Cultural Studies ◽  
Video Game ◽  
Video Gaming ◽  
Video Game Industry ◽  
Star Wars ◽  
Game Industry ◽  
Cover Art ◽  
Capitalist Ideology ◽  
The U.S

Today’s media are vast in both form and influence; however, few cultural studies scholars address the video gaming industry’s role in domestic maintenance and global imposition of U.S. hegemonic ideologies. In this study, video games are analyzed by cover art, content, and origin of production. Whether it is earning more “powers” in games such as Star Wars, or earning points to purchase more powerful artillery in Grand Theft Auto, capitalist ideology is reinforced in a subtle, entertaining fashion. This study shows that oppressive hegemonic representations of gender and race are not only present, but permeate the majority of top-selling video games. Finally, the study traces the origins of best-selling games, to reveal a virtual U.S. monopoly in the content of this formative medium.

scholarly journals Autonomy and nomadic Relativism of Digital Identity

2021 ◽  
Vol 16 (4) ◽  
pp. 0
Author(s):  
Dmitriy Yumartov
Keyword(s):  
Virtual Reality ◽  
Video Games ◽  
Video Game ◽  
Significant Feature ◽  
Digital Identity ◽  
Social Categories ◽  
Artificial Society ◽  
Artificial Environment ◽  
Game Designer ◽  
Digital Spaces

The article examines identity in such digital spaces as video games and virtual reality. These digital spaces are defined as interactive artificial environment, autonomous from reality, with its own ontology, scenario, narrative and mythological context. Video games have an immersive experience that is enhanced in virtual reality due to the ability to integrate into the embodiment of the game's model.  The type of digital identity that is defined by the video game designer in accordance with narrative and artistic goals is what we call a character. The opposite type is an avatar, it reflects strategies of self-presentation of an individual (user). Digital identity interests us primarily because of the ability to be independent (autonomous) from human physiology and from social categories that are attributed to the user in the real world. Digital identity can be constructed by the individuals in accordance with their preferences, which makes it possible to solve many gender, racial, and age problems. The possibility to integrate into an avatar embodiment and interact with in-game items it reinforces the distance from real embodiment. Moreover, in multiplayer games with the civil roleplay, it can exist in an artificial society and have introspective meaning for another members of the society. Another significant feature of digital identity is the relativism. Digital identity can be relativistic due to the which allow one to have different identities in different games or change the appearance of an avatar in one game during a play time. Autonomy and relativism can be the strategy for the implementation of projects of nomadic identity by Rosi Braidotti and Donna Haraway, in which subject is not sticked to any constants, but constantly defines and redefines oneself through performative acts.

scholarly journals Why Imaginary Worlds?

2021 ◽  
pp. 1-52
Author(s):  
Edgar Dubourg ◽  
Nicolas Baumard
Keyword(s):  
Video Games ◽  
Behavioral Ecology ◽  
Developmental Psychology ◽  
Graphic Novels ◽  
Real Life ◽  
Harry Potter ◽  
Fictional World ◽  
Star Wars ◽  
Cultural Preference ◽  
Striking Success

Abstract Imaginary worlds are extremely successful. The most popular fictions produced in the last decades contain such a fictional world. They can be found in all fictional media, from novels (e.g., Lord of The Ring, Harry Potter) to films (e.g., Star Wars, Avatar), video games (e.g., The Legend of Zelda, Final Fantasy), graphic novels (e.g., One piece, Naruto) and TV series (e.g., Star Trek, Game of Thrones), and they date as far back as ancient literature (e.g., the Cyclops Islands in The Odyssey, 850 BCE). Why such a success? Why so much attention devoted to nonexistent worlds? In this article, we propose that imaginary worlds co-opt our preferences for exploration, which have evolved in humans and non-human animals alike, to propel individuals toward new environments and new sources of reward. Humans would find imaginary worlds very attractive for the very same reasons, and under the same circumstances, as they are lured by unfamiliar environments in real life. After reviewing research on exploratory preferences in behavioral ecology, environmental aesthetics, neuroscience, and evolutionary and developmental psychology, we focus on the sources of their variability across time and space, which we argue can account for the variability of the cultural preference for imaginary worlds. This hypothesis can therefore explain the way imaginary worlds evolved culturally, their shape and content, their recent striking success, and their distribution across time and populations.

She Designs Therefore She Is?

2016 ◽  
pp. 147-169
Author(s):  
Carolyn Michelle Cunningham
Keyword(s):  
Video Games ◽  
Gender Equality ◽  
Video Game ◽  
Game Design ◽  
Future Research ◽  
Video Game Industry ◽  
Video Game Design ◽  
Game Industry ◽  
Game Designer

Girls and women play video games in equal number to boys, yet they continue to be under-represented in the video game industry. The goal of this chapter is to examine initiatives that encourage gender equality in video game design. This chapter argues that the process of becoming a video game designer may have the potential to shift girls' notions of identity. Drawing on research on girls and video game design, as well as analyses of informal programs that teach girls video game design, this chapter emphasizes the intersection of design and identity. This chapter offers directions and recommendations for future research, including the need for expanded understandings of the cultural and democratic benefits of video game design for girls.

She Designs Therefore She Is?

2017 ◽  
pp. 441-464
Author(s):  
Carolyn Michelle Cunningham
Keyword(s):  
Video Games ◽  
Gender Equality ◽  
Video Game ◽  
Game Design ◽  
Future Research ◽  
Video Game Industry ◽  
Video Game Design ◽  
Game Industry ◽  
Game Designer

Girls and women play video games in equal number to boys, yet they continue to be under-represented in the video game industry. The goal of this chapter is to examine initiatives that encourage gender equality in video game design. This chapter argues that the process of becoming a video game designer may have the potential to shift girls' notions of identity. Drawing on research on girls and video game design, as well as analyses of informal programs that teach girls video game design, this chapter emphasizes the intersection of design and identity. This chapter offers directions and recommendations for future research, including the need for expanded understandings of the cultural and democratic benefits of video game design for girls.

She Designs Therefore She Is?

2018 ◽  
pp. 74-97
Author(s):  
Carolyn Michelle Cunningham
Keyword(s):  
Video Games ◽  
Gender Equality ◽  
Video Game ◽  
Game Design ◽  
Future Research ◽  
Video Game Industry ◽  
Video Game Design ◽  
Game Industry ◽  
Game Designer

Girls and women play video games in equal number to boys, yet they continue to be under-represented in the video game industry. The goal of this chapter is to examine initiatives that encourage gender equality in video game design. This chapter argues that the process of becoming a video game designer may have the potential to shift girls' notions of identity. Drawing on research on girls and video game design, as well as analyses of informal programs that teach girls video game design, this chapter emphasizes the intersection of design and identity. This chapter offers directions and recommendations for future research, including the need for expanded understandings of the cultural and democratic benefits of video game design for girls.

scholarly journals COVID-19 as ‘Game Changer’ for the Physical Activity and Mental Well-Being of Augmented Reality Game Players During the Pandemic: Mixed Methods Survey Study (Preprint)

2020 ◽  
Author(s):  
Louise A Ellis ◽  
Matthew D Lee ◽  
Kiran Ijaz ◽  
James Smith ◽  
Jeffrey Braithwaite ◽  
...  
Keyword(s):  
Mental Health ◽  
Physical Activity ◽  
Video Games ◽  
Video Game ◽  
Well Being ◽  
Harry Potter ◽  
Physical And Mental Health ◽  
Pokémon Go ◽  
The Impact ◽  
Mental Well Being

BACKGROUND Location-based augmented reality (AR) games, such as Pokémon GO and Harry Potter: Wizards Unite, have been shown to have a beneficial impact on the physical activity, social connectedness, and mental health of their players. In March 2020, global social distancing measures related to the COVID-19 pandemic prompted the AR games developer Niantic Inc to implement several changes to ensure continued player engagement with Pokémon GO and Harry Potter: Wizards Unite. We sought to examine how the physical and mental well-being of players of these games were affected during the unprecedented COVID-19 restriction period as well as how their video game engagement was affected. OBJECTIVE The aims of this study were to examine the impact of COVID-19–related social restrictions on the physical and mental well-being of AR game players; to examine the impact of COVID-19–related social restrictions on the use of video games and motivations for their use; and to explore the potential role of AR games (and video games in general) in supporting well-being during COVID-19–related social restrictions. METHODS A mixed methods web-based self-reported survey was conducted in May 2020, during which COVID-19–related social restrictions were enforced in many countries. Participants were recruited on the web via four subreddits dedicated to Pokémon GO or Harry Potter: Wizards Unite. Data collected included quantitative data on demographics, time spent playing video games, physical activity, and mental health; qualitative data included motivations to play and the impact of video games on mental health during COVID-19 lockdown. RESULTS We report results for 2004 participants (1153/1960 male, 58.8%, average age 30.5 years). Self-reported physical activity during COVID-19–related social restrictions significantly decreased from 7.50 hours per week on average (SD 11.12) to 6.50 hours (SD 7.81) (<i>P</i>&lt;.001). More than half of the participants reported poor mental health (925/1766, 52.4%; raw World Health Organization–5 Well-Being Index score &lt;13). Female gender, younger age, and reduced exercise were significant predictors of poor mental health. Participants reported a significant increase in video game play time from 16.38 hours per week on average (SD 19.12) to 20.82 hours (SD 17.49) (<i>P</i>&lt;.001). Approximately three quarters of the participants (n=1102/1427, 77.2%) reported that playing video games had been beneficial to their mental health. The changes made to Pokémon GO and Harry Potter: Wizards Unite were very well received by players, and the players continued to use these games while exercising and to maintain social connection. In addition to seeking an escape during the pandemic and as a form of entertainment, participants reported that they used video games for emotional coping and to lower stress, relax, and alleviate mental health conditions. CONCLUSIONS AR games have the potential to promote physical and mental health during the COVID-19 pandemic. Used by populations under isolation and distress, these games can improve physical and mental health by providing virtual socialization, sustained exercise, temporal routine, and mental structure. Further research is needed to explore the potential of AR games as digital behavioral interventions to maintain human well-being in the wider population.

scholarly journals Exploratory preferences explain the cultural success of imaginary worlds in modern societies

2021 ◽  
Author(s):  
Edgar Dubourg ◽  
Valentin Thouzeau ◽  
Charles de Dampierre ◽  
Nicolas Baumard
Keyword(s):  
Video Games ◽  
Young People ◽  
Personality Trait ◽  
Graphic Novels ◽  
Demographic Data ◽  
Harry Potter ◽  
The Internet ◽  
Modern Culture ◽  
Star Wars ◽  
Cognitive Preferences

Imaginary worlds are one of the hallmarks of modern culture. They are present in many of the most successful fictions, be it in novels (e.g., Harry Potter), films (e.g., Star Wars), video games (e.g., The Legend of Zelda), graphic novels (e.g., One piece) and TV series (e.g., Game of Thrones). This phenomenon is global (e.g., the worldwide success of Lord of the Ring, the emergence of xuanhuan and xanxia genres in China), and massive: people spend an increasing amount of time, energy and resources involved in fictions with imaginary worlds. Why so much attention devoted to nonexistent worlds? In this paper, we propose that imaginary worlds co-opt exploratory preferences, a set of cognitive preferences that have evolved in humans and non-human animals to motivate individuals to explore new sources of reward. Imaginary worlds are fictional superstimuli that tap into the human’s interest for unfamiliar and potentially rewarding environments. This theory predicts that 1) fictions with imaginary worlds should be more appealing for individuals higher in Openness to experience (because this personality trait is associated with exploratory preferences), 2) such fictions should be more attractive for younger people (because young people reap more rewards from exploratory behaviors) and 3) such fictions should be more successful in more economically developed societies (because affluent ecologies lower the costs of exploration). We successively test these predictions with two large cultural datasets, namely IMDb (N=85,855 films) and Wikidata (N=96,711 novels), as well the Movie Personality Dataset, which aggregates averaged personality traits and demographic data from the Facebook myPersonality Database (N=3.5 million), the films they like on Facebook and metadata for films from the Internet Movie Database (IMDb). We provide evidence that the appeal for imaginary worlds relies on our exploratory psychology.

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