Catálogo de publicaciones - revistas

<jats:p> Combining perspectives from the new science of happiness with discussions regarding “problematic” and “addictive” play in multiplayer online games, the authors examine how player motivations pattern both positive and negative gaming experiences. Specifically, using ethnographic interviews and a survey, the authors explore the utility of Yee’s three-factor motivational framework for explaining the positive or negative quality of experiences in the popular online game World of Warcraft (2004-2012). The authors find that playing to Achieve is strongly associated with distressful play, results that support findings from other studies. By contrast, Social and Immersion play lead more typically to positive gaming experiences, conclusions diverging from those frequently reported in the literature. Overall, the authors suggest that paying attention to the positive as well as negative dimensions of inhabiting these online worlds will provide both for more balanced portraits of gamers’ experiences and also potentially clarify pathways toward problematic and addictive play. </jats:p>

<jats:p> Men are more reluctant to seek help for their problems than women. This difference is attributed to social expectations regarding the male gender role. Today, help-seeking is moving online: instead of traditional peer groups and counselors, people depend on online communities and e-counselors. But online users can appear in guises that differ from their physical sex. An empirical study was conducted in an online game to examine whether users’ avatars’ gender influences how they seek and receive help. Analysis is based on user-to-user communications and back-end data. Results indicate that male avatars are less likely to receive sought-for help than female avatars and more likely to be the recipients of indirectly sought help. The authors conclude that avatar gender influences help seeking independent of physical sex: Men overcome their inhibition for help seeking when using female avatars. Practitioners should ensure that means for indirect help seeking are available in order not to exclude male-pattern help seekers. </jats:p>

<jats:p> This article explores issues of racial essentialism and ethnicity in the massively multiplayer online role-playing game World of Warcraft (WoW). The fantasy world of Azeroth mirrors elements of real-world race-based societies where culture is thought to be immutably linked to race. The notion of biological essentialism is reinforced throughout the gamescape. Race plays a primary role in the social and political organization of Azeroth. Among other things, race determines alliances, language, intellect, temperament, occupation, strength, and technological aptitude. The cultural representation of the respective racial groups in WoW draws upon stereotypical imagery from real-world ethnic groups (e.g., American Indian, Irish/Scottish, Asian, African, etc.). </jats:p>

<jats:p> Approaching the video game Super Mario Galaxy on the Nintendo Wii console using Deleuzian concepts, the article identifies a series of formal qualities it is argued pertain to all video games. Concepts from Gilles Deleuze’s books on Francis Bacon and cinema are appropriated for this purpose. Three qualities in particular are identified; they center on the role of the player in contributing to the finished form, the nature of the player’s canvas, and the sensations that return back to the player when traversing the video game field. It is argued that the concepts used to define the formal qualities of the video game can be deployed to distinguish where a video game succeeds or fails. On the basis of the position developed here, it is argued that Super Mario Galaxy is a masterpiece of the form. </jats:p>

<jats:p> Space is reconfigured through the participations of both gamers and the game, where game is understood as the programming and hardware of a game technology. Extending our understandings of the contributions of both gamer and game, the outcome of play emerges as the agencies of each are co-constituted. This space is recursive, based on feedback between the state of the game (relations between the objects) and the state of the gamer, which includes their knowledge, skill, mood and attention. The idea of recursive space is developed in two ways. First, as another means of describing a gamer's engagement with space, one that gives a greater account of the participation of technology. Secondly, it gives us a way of thinking about play as a process of creating space. </jats:p>

<jats:p> Interactive storytelling has been a topic of much debate for the past two decades. Many have foreseen exciting new works; while others have cast doubt on the whole endeavor. In terms of actual titles, most games express a familiar story of a hero triumphing against the odds in order to save the day. However, a number of recent titles have attempted to innovate. The Path is one such game. Rather than a tale of heroism, The Path is a tragedy of shattered innocence, powerfully told through play. The authors perform a close reading of this work and highlight the importance of the ludic contract between the player and the game. The authors distinguish two different contracts employed by the work, antagonistic and exploratory, which make different appeals and offer different rewards. The Path manipulates these contracts to lead the player into being both the architect of the tragedy and its helpless victim. </jats:p>

<jats:p> The Nintendo DS has been, given its huge popularity, relatively understudied. This article is a small step toward correcting that and, in doing so, contributes to game studies in general. Using Goffman’s and Benjamin’s theories of play and Innis’s analysis of media, this article explores the nature of play on a handheld videogame system as an illuminating case of the tension between time-based storage media and space-based transmission media. Storage, transmission, space, and time are intertwined and made complicit in the ways in which the Nintendo DS is used and played. By engaging with non-diegetic aspects of the video game experience, such as saving and pausing, we can begin to address the materiality of handheld video gaming systems as objects with which we play with and rework time and space. In turn, mobile play itself is highly contingent and spatial–temporal practices take on special significance in this light. </jats:p>

<jats:p> This article discusses the relationship between the user interface (UI) and the game world in computer games, with point of departure in qualitative studies including players and game developers. The developers’ evaluation of the relationship from a design point of view will first be presented, before the article goes on to discuss the degree to which the players accept the presence of UI features within the game world. We will see that developers find it challenging to balance between functionality and fiction, but see system features as a necessity that must be present for usability purposes. From the point of departure of players, they rarely consider system features intrusive to the game world, but accept them as integrated to the conventions established within modern computer game aesthetics. </jats:p>

<jats:p> This article discusses knowledge production in game studies by exploring notions of emotion, closeness and (queer) desire in new media ethnography. It uses field notes and experiences from an ethnographic study of the online game World of Warcraft. As opposed to the kind of fieldwork where being, living, and staying in the field is the only option, new media ethnography brings with it the possibility of moving through different locations and bodies to the point where the borders between them may start to blur. The text positions itself within this very uncertainty to investigate its consequences for ways of knowing online game cultures. Drawing on autoethnography, as well as the body of ethnographic work interrogating erotic subjectivity and desire in the field, the discussion makes use of personal experiences - in particular an in-game as well as out-of-the game love affair - as potentially important sources of knowledge. Was it her, regardless of the game? Was it her through the game? Or was it the game “itself ”? The article provides the story of a particular way of being introduced to and of falling for a game, a woman, and the ways in which these two were intensely connected. Set against the backdrop of “the affective turn” in cultural and feminist theory, and in making visible how desire may circulate through game spaces, the article argues for an articulation of desire as intimately related to technology; of desiring technology and of technological, or perhaps technologized desires. </jats:p>

<jats:p> Advances in gaming and other entertainment technologies are evolving rapidly and create new conceptual challenges for understanding and explaining the user experiences they can facilitate. The present article reports a prospective study on a particularly promising entertainment technology of the future: Interactive storytelling (IS). Integrating various streams of computing technology, such as advanced visualization, natural speech processing, and autonomous agents, IS systems are envisioned to offer new, personalized and thus unique kinds of entertainment to mass audiences of the future. The authors refer to existing models of media entertainment for a theoretical analysis and analyze expert interviews with members of the international IS development community to lay out the foundations for a forecast model of the entertainment experience of future IS systems. The resulting model organizes fundamental requirements, modes of users’ information processing, and specific types of (pleasant) experiences, which holds implications for (future) entertainment theory and research that accompanies further development of IS media. </jats:p>