Videos Games as Expression

Challenges and storytelling are mutually exclusive because challenges are tasks with short breath, perspective and horizons for easy entertainment, while storytelling comes with wide horizons, long breath, holistic vision, deep contents, complex relationships along the time dimension for expressing sublime art. Stories are interrupted by challenges. Challenges are the product of a ludic approach to games; but it can exist also a narrative approach, games without "ludum". If gameplay is aimed at challenges, there is no room for expression of stories and contents, which are therefore confined in cut scenes or documents; but that's not interactive narration, it's a coupling of electronic toys & digital cinema. Today narrative design has a wrong approach because story is build around challenges. First has to come story, then mechanics and algorithms for telling story. We need no challenges, but varied actions, mechanics, contexts and situations for moving stories forward through interactivity and processing, just as in Edith Finch. The key is: not to confine narration in cut scenes or documents, but make the flow of events interactive and playable! All actions useful for determining events and relationships should be executed in gameplay through varied mechanics; all situations and contexts necessary for storytelling should be experienced in real time.

With impunity, millions of players traverse the fictional landscapes of video games every day. Video Game Narrative and Criticism treats gameplay as the player's own psychological experience where fears, desires, and anxieties are projected onto the game's fictional world. By exploring the structural peculiarities of storytelling in video games, the book develops a critical paradigm that explains the meaning of gameplay as self-discovery. The player-response criticism considers the nature of game fiction by centralizing the player in the analysis. This interpretative model is not a rigorous analytical toolbox. Rather, it responds flexibly to the essential fluidity, temporality, and openness of a player's own experience in an intelligent fictional world.

This book is about the three identities of the videogame, the gamer, and Game Studies. I write that there are no definitive truths but rather discourses and constructions; ideas, actions, beliefs, and practices related to videogames are discourses that merge and shape our perception of videogames as an area of study of its own right. These discursive responses meet and clash creating what we call truths, which are temporary and negotiable.

This perspective is inspired by Foucauldian ideas and present few questions about videogame-related identities in and outside of academe. Does Game Studies have a conceptual core? What makes game studies difficult to be disciplined in academe? What do we learn from the scholarly and popular discourses on videogames that would help understand the identity questions related to games?

I go on to describe what makes the videogame identity according to game studies: aesthetics, fictions, meaning-making, performance, transformation, etc. and what makes it difficult for game studies being an open market of ideas and an academic "un-discipline". This leads me to the gamer's identity: an aficionado first, and a connoisseur of fictional worlds.

Nowadays, that videogames are an Art, a cultural production and conjunction of several Art forms, is just considered fact by many authors. But, what I try to achieve through this article, which is directly linked to my research project (my doctoral thesis and the publications that will follow it), is that we could, and we should take that relationship more seriously at the time of analysing them, and also, when we face the task of creating a new videogame project from scratch. Videogames should have more publications related to them that can go deeper than mere commercial analysis we would make about any kind of product. We can find studies related to videogames, and also publications about them, but our society still lacks the capacity of studying them as we would, for example, study other Art disciplines, such as Sculpture, Architecture, Drawing… Our programs use to limit videogames to Design or Computer Engineering careers. These studies are mostly aimed at private faculties or enterprises mostly, but they have not yet been integrated into their own Videogame studies at their own, or public degrees at all. What I am trying to achieve with my research work, is to develop new forms of research, and methodologies for studying and analysing videogames, by taking a close look at their key relationships with another forms of art, and the technologies that made these relationships available, as well as their improvements and influences coming from other Art disciplines over the years. As this is a work in progress, what I will explain in this article, is what I have achieved to date. The aim of my research work is to expand my thesis, and, through the years, to write different publications related to these issues.

Per molti anni, e per molti versi anche a tutt’oggi, i videogiochi si sono trovati a dover combattere contro numerosi pregiudizi, che li vedevano additati come pericolosi strumenti per distrarre il pubblico più giovane e confonderne le idee. Non potrebbe essere altrimenti: il videogioco è il medium di intrattenimento ed espressione artistica di maggior rilevanza e al contempo di più recente invenzione, e in quanto tale deve combattere contro le istituzioni culturali nel tentativo di ottenere riconoscimenti e legittimità.

The 21st century opened the door for the videogame industry to become a 100-billion-dollar industry according to Super Data’s 2017 . A lot of scholars have been studying why video games generates so much monetary and social interactions between populations around the world. Among the reasons why this industry boomed, some regard the evolution of digital technologies as a major source of democratization, others help to discuss the various qualities of gaming experiences whether online or offline and many always put forward the people who helped the industry, community and culture to progress.
Our focus will not be aimed at the people responsible for the creation of games but rather at the ones who entertain people by playing video games. Although we will still discuss about how both have been stimulating interactions between game studios and their communities. We will mainly be describing the role of influencers as driving forces of content within the videogame community.
We will try to give an overall picture of what is a gaming influencer and the various digital or physical platforms that they interact with, to hopefully become famous and live from their activity. We will build our analysis upon a quick historical summary, my personal experience, the recent stories of current major influencers and writings about influencer social, cultural and marketing practices. Keep in mind that we will also try to interpret the reasons behind the influencers’ decision-making as well as why his or her community reacted in such ways. Finally, we will conclude our arguments by regarding how online communities thrive through social media practices allowed by a sharing system of user and influencer generated contents.

There can be few other words in the English language that inspire such scepticism as “interactivity.” However, this article starts from a qualitatively different perspective reasserting interactivity as a useful concept with specific respect to video games. This article addresses the question: What is interactivity for? The analysis of interactivity, when seen as a means to an end, must consider the forms of that end. Put simply: what is gained through modes of interactivity is content in a vast variety of forms. The authors move onto an analysis of interactivity in terms of the following definition: interactivity is a conceptualising facility that mediates between environments and content and users enabling generation. A key development in the analysis of interactivity is the examination of the significance of environment in relation to content including the use of virtual environments within the interactive scope of video games. This environmental characteristic was examined in a series of investigations into cybernetics by Gordon Pask in the 1970s and 1980s. This was an early attempt to devise a human/computer system that was both mutual in its relations and supportive of creativity. We assert that it is time for Pask’s work to be recognised as of fundamental importance for the examination of interactivity and the constitution of dynamic, creative environments including video games. Pask offers a description of a “Cyberarchitecture” for the sharing and making of content. This formulation is complementary to Espen Aarseth’s concept of cybertext. The authors explore examples in video games through the lens of Cyberarchitecture with particular reference to Pask and Curran’s framework of concept sharing, concept making, privacy and balance. The article concludes with a call for further application of this framework to video games and beyond. 

Keywords: Interactivity, Cybernetics, Cyberarchitecture, Concept Sharing, Concept Making, Privacy, Balance

Video games are increasingly becoming an important media today, despite the light connota-tion of its initial categorization. Today they are an industry that produces billions of dollars and employs engineers and artists alike in an art form spanning interactive games, to virtual socie-ties where millions of people dwell. However, like all human products, our same fears, flaws and xenophobia show in the games, with the reflection of hatred, racism and stereotypes that are our everyday experience. Also, because of the influence of other media, like television, with misrepresentations of blacks, Latinos and other races, or the objectification of women are pre-sent in video games. The significant thing found researching for this assignment is that most of those who use these games are themselves part of minorities or races that are not exactly white Americans. Abuse of the frustrations and desires of the user, handling codes and the system an-swers of gamers to maintain the player engagement, has more resemblance to the use of illegal drugs than with art, but however, the complexity of the design, stories and global assessment, have led to other considerations by experts. Competing in the games could be considered as having more of escapism that the reality of engaging, but all human beings are expected in their tribes to compete and demonstrate their value as a member while complying with social norms or expectations. Same as satisfying or surrender to corporate or group interests. Here are some thoughts for the purpose of this study.

Il videogioco ha subito un cambiamento ontologico e culturale estremamente significativo e tornare a interrogarsi sull’identità del videogioco risulta pertanto oggi fondamentale. Partendo da diverse classificazioni, andremo a definire una nuova concezione di Videogioco, che racconti l’evoluzione del medium nel corso degli anni.

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MindTrek’11, September 28-30, 2011, Tampere, Finland. Copyright 2011 ACM 978-1-4503-0816-8/11/09....$10.00.

At the ten year anniversary of the Global Game Jam] we collected community provided stories and images from around the globe. We simply asked our community to share their experiences, which we have arranged chronologically for our readers. Some of the stories are funny, some demonstrate perseverance, and yet others just remind us how wonderful the Global Game Jam has become. The stories are included in the original language of the author, with English translation, and provided without major editing. They share the tone and spirit of the authorÍs own experience. The Global Game Jam] experiment started 10 years ago and it has grown from 1,650 participants in 2009 to the more than 42,000 people who participated in 2018. This growth and successes comes from the tapestry of individual efforts that makes each year bigger and better than the previous. Much like a Global Game Jam, this book was created by pooling the time and effort of people all over the world.

During the 2019 protests in the city of Hong Kong, videogames emerged as more than key themes and sites of protest, but an all-encompassing cultural discourse around which demonstrations crystallised. Drawing extensively on reportage of the 2019 Hong Kong protest movement, this article concerns itself with how digital platforms enact, elaborate and represent activist movements and spatial politics in both virtual and embodied worlds. Surveying videogames developed specifically as objects of protest and the ways in which digital platforms have been tactically deployed by protesters (Twitch streaming, Pokémon GO, Airdrop, Uber), this article examines how protests in Hong Kong have been distinctively articulated within, through and in relation to videogame spaces. At stake is the political mobilisation of communities through videogames and play, both in Hong Kong and beyond. With the Arab Spring of 2011 remembered as the 'Facebook revolution', the 2019 anti-extradition protests in Hong Kong might ultimately be recalled as the 'Videogame revolution'.

The present study aims to discover how myths are being utilized in video games, more specifically, how they are continued, adapted, and created in video games. Video games have become the newest storytelling device to transmit myths across the world, yet there are few studies that touch on this phenomenon. This study fills the gap in literature by using Ghost of Tsushima (2020) as a case study to understand this phenomenon. A textual analysis
of Ghost of Tsushima was conducted to understand how Japanese mythology is being used in the game. After analyzing the data, it was concluded that myths are most commonly used to camouflage gameplay mechanics and enhance world building. It was also discovered that myths in video games conform to mythical structures theorized by Joseph Campbell and Levi
Strauss.

Nowadays, that videogames are an Art, a cultural production and conjunction of several Art forms, is just considered fact by many authors. But, what I try to achieve through this article, which is directly linked to my research project (my doctoral thesis and the publications that will follow it), is that we could, and we should take that relationship more seriously at the time of analysing them, and also, when we face the task of creating a new videogame project from scratch. Videogames should have more publications related to them that can go deeper than mere commercial analysis we would make about any kind of product. We can find studies related to videogames, and also publications about them, but our society still lacks the capacity of studying them as we would, for example, study other Art disciplines, such as Sculpture, Architecture, Drawing… Our programs use to limit videogames to Design or Computer Engineering careers. These studies are mostly aimed at private faculties or enterprises mostly, but they have not yet been integrated into their own Videogame studies at their own, or public degrees at all. What I am trying to achieve with my research work, is to develop new forms of research, and methodologies for studying and analysing videogames, by taking a close look at their key relationships with another forms of art, and the technologies that made these relationships available, as well as their improvements and influences coming from other Art disciplines over the years. As this is a work in progress, what I will explain in this article, is what I have achieved to date. The aim of my research work is to expand my thesis, and, through the years, to write different publications related to these issues.

The development of more meaningful video games is becoming increasingly possible by recent advances in video game technologies, neurosciences, and biofeedback. In the near future, meaningful video games will be designed to facilitate personal-psychological transformation. Unlike “serious games” that focus on education and “conditioning” the mind, meaningful games will cultivate emotional intelligence, somatic awareness, and archetypal integration in order to “un-condition” the mind and thereby facilitate psychologically meaningful personal transformations. Meaningful game research will access the dynamics of psychological transformation in order to enhance archetypal awareness, intuition, and insight on the part of players. Within the genre of meaningful video games, Drama-Based Games (DBG) add an unprecedented dimension for psychological engagement and decision-making. Because they extend psychological player immersion to the dimension of “physical” interactivity, (DBG) incorporate...

Before discussing whether and how video games can be works of expressive art, it is necessary to define what is meant by expressive art in its narrowest meaning. The best way is to refer empirically to other media and their works universally and traditionally recognized as the greatest examples of expressive art and trace their common characteristics.

Challenges and storytelling are mutually exclusive because challenges are tasks with short breath, perspective and horizons for easy entertainment, while storytelling comes with wide horizons, long breath, holistic vision, deep contents, complex relationships along the time dimension for expressing sublime art. Stories are interrupted by challenges. Challenges are the product of a ludic approach to games; but it can exist also a narrative approach, games without "ludum". If gameplay is aimed at challenges, there is no room for expression of stories and contents, which are therefore confined in cut scenes or documents; but that's not interactive narration, it's a coupling of electronic toys & digital cinema. Today narrative design has a wrong approach because story is build around challenges. First has to come story, then mechanics and algorithms for telling story. We need no challenges, but varied actions, mechanics, contexts and situations for moving stories forward through interactivity and processing, just as in Edith Finch. The key is: not to confine narration in cut scenes or documents, but make the flow of events interactive and playable! All actions useful for determining events and relationships should be executed in gameplay through varied mechanics; all situations and contexts necessary for storytelling should be experienced in real time.

Tema ovog rada je virtuelna realnost u smislu njenog uvrštavanja u umetnost, pri čemu se virtuelna realnost posmatra kao kategorija proširenog medija filma. Kroz analizu tehnološkog razvoja koji je doveo do stvaranja, testiranja i komercijalizacije VR sadržaja analizira se sveobuhvatnost primene ove tehnologije. U najširem smislu, virtuelna realnost se može smatrati, ako ne novom, onda svakako posebnom vrstom komunikacije, gde je korisniku omogućeno da iskusi virtuelna okruženja kao stvarna. Rad sadrži analizu uloge video-igara u kontekstu virtuelne realnosti i potencira da ono što najviše ukazuje na VR kao nadgradnju filmske umetnosti kroz mehaniku video-igara jeste doživljaj filmskog iskustva kroz aktivno učešće u narativu.
Ključne reči:
Virtuelna stvarnost, virtuelna realnost, računarska grafika, video-igre, korisnik, film

This book addresses the “Singularity” (a hypothetical point in time at which technological growth becomes uncontrollable and irreversible, resulting in unforeseeable changes to human civilization) from the “preternatural” viewpoint of the coherent heart-mind. The technological Singularity is being contemplated as a probable future based on the assumption that the “brain” is the only source of “consciousness” and that its progeny is a technology ruled by mathematical algorithms. Our hypothesis is different. It is focused on the “Heart” as the primary source of “invisible” consciousness which is coordinated with a harmonious combination of heart-mind transducers. The synergy of “embodied” transducers can be measured as “coherence” according to the signature called heart-rate variability (HRV) and—being measurable—coherence becomes an authentic measure of the degree of “entrainment” experienced as human “agency”. The capacity to measure coherent entrainment relative to the qualitative range of human agency could result in the establishment of an authentic dynamic of “heart-mind” singularity in the Media-sphere. Moreover, this mediated coherent singularity could be designed as a template for a global culture of conscience.

The objective of this book, then, is to establish an alternative template based on electromagnetic (EM) Quantum Field Theory (QFT) and the morality of “coherent states of being”. Eventually, the alternative will require a comprehensive study by a global “task force” created to address the GLOBAL MEDIA MANDATE as a SCIENTIFIC REALITY that has PARANORMAL INFLUENCE (both positive and negative) on GLOBAL CULTURE.  In other words, current events that include global sedition, control of paranormal dimensions of the Media-sphere by fascist-authoritarian powers, issues of planetary ecological survival, and questions of holographic morality in a global media-sphere have become the Media Mandate (MM).  The scope of the mandate is defined by the EM parameters of an infinite “dreamlike” illusion structured according to paranormal dynamics which have only recently become sufficiently accepted by mainstream science. The mediated Jungian “Dreamscape” exists as a “universal conscious (sentient) singularity (universality)” which exists as a holographic “unity in diversity”.  Unity in diversity goes by a variety of names, but our approach is to base the argument on research evidence that verifies the fractal universal holographic quantum field (QF) as a direct analog to the mediated “Dreamscape”.

By now, I think you've gotten the message that drugs are bad. If you haven't, back up and examine the culture of prescription drug use around the world. Go ahead, young scholar, approach Google with that question in hand and learn. To enter the discussion at all is a bold step. It was even bolder in 2001, which saw the release of a video game called Max Payne. I recall the usage of "painkillers" (abundant in puns, Max was) being extraordinarily liberal, but somehow acceptable in the moment. In the 20 years that narcotic prescriptions have dominated our society's mental and physical health treatment cycles, an early voice in the conversation on the nature of addiction was the author of Max Payne's tale, Sam Lake, now creative director for the same studio, Remedy Entertainment.

Expressive and narrative features of Video Games (VG) are bread and butter of Video Games Art. In my articles I often make implicit comparison between artistic evolution of Cinema and VG's. Here I want to clarify such comparison; the degree of detail cannot be high, so forgive the essentiality of certain passages that otherwise would require very articulated dissertations. I trust in readers to have a basic knowledge of the history of Cinema; usually followers of Video Games Art are quite educated! In the end you can find an unprecedented comparison with Comics, another important medium established in the 20th century, whose evolution has several common points with VG's. Even in this case I count on readers to have a basic knowledge of Comics history.

Los videojuegos son una tecnología que avanza precipitadamente, y dan lugar a que surjan círculos socioculturales nuevos; con dinámicas específicas entre los usuarios y no usuarios, particularmente en niños y jóvenes; los más reservados sobre el uso de estos recursos como herramientas sociales con impacto en la vida familiar: los progenitores.

La necesidad de alfabetizar en cultura digital y desarrollar competencias parentales llevó al diseño de un taller; la aplicación piloto y la recolección de datos, con una observación participativa de dos sesiones con dos módulos cada una; el taller develó que un producto con estas características permitirá a los padres la obtención de conocimientos sobre la cultura de los videojuegos, derrumbamiento de mitos sobre éstos; además, abrió en los tutores la posibilidad de un ambiente que propicie una comunicación asertiva, control de impulsos, resolución de conflictos y habilidades sociales en el núcleo familiar.

Acte du colloque « Espaces Imaginés » - Université Rennes 2 (2020)

Cet acte de colloque s'inspire de l'article de Rune Klevjer "in Defense of Cutscenes" et propose de défendre les écrans de chargement et de considérer qu'ils font partie intégrante de ce que sont les jeux vidéo. Cette défense s'articule en trois points : les écrans de chargement peuvent aider les utilisateurs à comprendre et appréhender le jeu vidéo en tant que processus technique ; ils peuvent également être de précieux outils de narration, notamment en servant de seuil à l'entrée dans un espace diégétique, et enfin ces écrans peuvent être considérés comme des "exhausteurs de gameplay" qui favorisent les interactions signifiantes avec des systèmes de jeu. 
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This papers emulates Rune Klevjer's "In Defense of Cutscenes" and proposes to defend loading screens as an integral and important part of what video games are. This defense is threefold: loadings can be useful to help users make sense of the technical process that materializes games on screen ; they can be narrative tools that allow easier (re)entry into a diegetic space ; and they can enhance gameplay and help provide meaningful interactions with a game system.

Increase in popularity of games like "Second Life" has contributed not only to significant changes in the development of the electronic entertainment industry. Promoting Games 2.0, the new trend of video game production that are assumed to be the virtual worlds that contain user-generated content (eg, graphics, music, animations) makes both measured with a specific technological innovation, as well as a serious change in the organization of socio-cultural heritage. The article presents problems of the existing difficulties of terminology, the implications of the availability of Games 2.0 for social life, the concept of leisure as work in the new economy and creative non-material and the characteristics of "Generation C". Work stresses the need for discussion on trends in the development of video games - defined as a choice between the projects' of "socio-cultural ideology of perpetual motion" and "utopia of universal creativity". These approaches allow to identify the methodological basis for analysis of relations between the operators and users of Games 2.0, taking into account the wider social environment.
**
Wzrost popularności gier typu „Second Life” przyczynił się nie tylko do znacznych przemian w rozwoju branży rozrywki elektronicznej. Upowszechnianie Games 2.0, nowego nurtu produkcji gier wideo które z założenia mają stanowić wirtualne światy zawierające treści tworzone przez użytkowników (np. grafikę, muzykę, animacje) sprawia, że mierzymy się zarówno z określoną innowacją technologiczną, jak też z poważną zmianą organizacji życia społeczno-kulturowego. Artykuł przedstawia problematykę istniejących trudności terminologicznych, konsekwencje dostępności Games 2.0 dla życia społecznego, pojęcie rozrywki jako pracy w nowej gospodarce niematerialnej i twórczej oraz charakterystykę „generacji C”. Praca podkreśla potrzebę dyskusji nad kierunkami rozwoju gier wideo - określanymi jako wybór między projektami „ideologii społeczno-kulturowego perpetuum mobile” i „utopii powszechnej twórczości”. Podejścia te pozwalają na wskazanie podstaw metodologicznych do prowadzenia analiz relacji między operatorami, a użytkownikami Games 2.0 przy uwzględnieniu szerszego otoczenia społecznego.

Narrating my reflections on the quarantine during the COVID-19 pandemic in 2020 and my experience of the crisis in Syria, this paper studies the ways fear can transform into resilience by examining the self-reflexive works Path Out (Karam, 2017) and Another Kind of Girl (Jibawi, 2015). Using digital media, the creators of these works of art construct autobiographical, educational, and interactive narratives about coping and belonging in the course of crisis. I propose viewing both texts as examples of "resilient communication" that reacts to social and cultural issues brought about by crisis and suggests creative solutions that convey optimistic views of the future. Outlining the conventions of resilient communication, in turn, promotes the production of media works that use educational, creative, autobiographical techniques to foster collective resilience.

Eine Hausarbeit, die im Rahmen des Seminars "Noir. Literatur - Film - Comic" (Leitung: Joachim Harst) verfasst wurde.

(Bewertung 1,3)

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In Form einer komparatistischen Analyse werden ambivalente Charakterzeichnungen, Stilelemente und Erzählstrukturen im Videospiel "L.A. Noire" (Rockstar Games, 2011) untersucht.

Cada etapa de la Historia de la humanidad se ha caracterizado por un movimiento, estilo o arte determinado, surgiendo así nuevas formas de expresión artísticas ligadas a la sociedad del momento. En nuestros tiempos de constante cambio y evolución tecnológica, los videojuegos son uno de los elementos más influyentes de la cultura de masas. Éstos se afianzan, a cada paso en su propia evolución, como un nuevo arte independiente, siendo así necesario su estudio para el conocimiento de sus formas y fases creativas y, en definitiva, para su comprensión. El presente trabajo tiene por objetivo, bajo el prisma de la Historia del Arte, describir y establecer los mecanismos y procesos creativos y artísticos del videojuego, utilizando como ejemplo la franquicia Assassin’s Creed, una de las sagas que utiliza con más sensibilidad la Historia del Arte para su desarrollo y diseño, y que tendrán su posterior reflejo en el artbook, libro contenedor de las obras artísticas creadas en el proceso creador.

As interest in video games increases, so does the need for intelligent access to them. However, traditional organization systems and standards fall short. Through domain analysis and cataloging real-world examples while attempting to develop a formal metadata schema for video games, we encountered challenges in description. Inconsistent, vague, and subjective sources of information for genre, release date, feature, region, language, developer and publisher information confirm the imporatnce of developing a standardized ...

Purpose Empirical studies using the technology acceptance model (TAM) have mainly focussed on utilitarian technologies. The purpose of this paper is to extend the TAM in order to develop a more nuanced understanding of the family dynamic around video game acceptance within households. Design/methodology/approach This paper proposes a new and unique adaptation of the TAM to study the acceptance of hedonic technologies in the context of parents’/carers’ acceptance and integration of video games within family-life dynamics. This adaptation of the TAM attempts to shed light on the social influences and intrinsic motivations behind parents’ and carers’ intentions to purchase video games for their children’s consumption. Findings The usefulness of video games lies in how enjoyable and entertaining they are, and this seems to be influenced by the convenience and ease of use that ultimately affects the behavioural intention towards video games. Convenience of use brings in social influences...

Este artículo versa sobre la complacencia histórica observada en algunos videojuegos, analizada aquí como parte de una avanzada tesis doctoral en Historia del Arte. En algunas ocasiones, bien por falta de ideas o por una mirada nostálgica hacia un pasado mejor, surgen olas de recuperación de lo vintage, o de un estilo retro como sucede en los videojuegos. Cuphead del estudio MDHR no solo es un guiño al cartoon de los años 30, sino también al retorno de un estilo de juego de los salones recreativos de antaño y a una forma creativa que con el tiempo se está volviendo a recuperar.