Catálogo de publicaciones - revistas

<jats:p> Drinking games have a history several millennia long. Yet the global community of game scholars has barely touched drinking and games, leaving the area for researchers of health and safety issues. This article is a think piece that approaches drinking games as games and as play, ponders what the study of games can learn from drinking games, weighs what is at stake in them, and connects them to discussions in contemporary game studies relating to materiality, modding, and criticism of the idealization of play. </jats:p>

<jats:p> This special issue is meant to provide an intervention. We are undertaking this project to broaden the corpus of Games Studies by both critiquing casual as a label, yet simultaneously legitimizing it as an important category of both study and play. Additionally, historicizing the terms casual and hardcore as categories uncovers the ways that the video game industry talks about its products and how academic work often replicates biases against casual games. To this end, we argue that the centrality of core games pushes many important texts to the margins. It is our goal, within this special issue, to revalue and reconsider the role of casual games within the larger ecology of game studies. </jats:p>

<jats:p> This article examines “paper puzzle games”—crosswords, Sudoku, Kakuro, word searches, and so forth—in order to historicize and contextualize “casual games,” complicate our notions of “casual” play, and open up paper puzzle games to game studies consideration for the first time. The article begins by identifying the dearth of literature on paper puzzle games and offers an initial examination of these games through the lens of casual games, play, and players. It focuses on six traits in casual game design: appealing themes, ease of access, ease of learning, minimal required expertise, fast rewards, and temporal flexibility. It demonstrates that—from a perspective of mechanics, demographics, and contexts of play—paper puzzle games are excellent examples of casual games and therefore important to fully study. It also shows the complexity of paper puzzles as a topic in their own right, opening them up for future examination. </jats:p>

<jats:p> Mystic Messenger is a real-time mobile dating simulator and otome game that simulates how people fall in love online. In this essay, I will look at significant parallels between casual games and otome games and point out the ways in which both define women as players and consumers of games. By focusing on Mystic Messenger, I examine the ways in which the game’s real-time simulation of emotional labor becomes a way of policing women’s desires, a way of reinforcing nurturing roles over women’s desires, and a way of literally commodifying the assumedly female player’s leisure time. Furthermore, I also examine player practices and discussions of cheating within the player community, tagging these as light forms of resistances and ways in which various individuals in the community assert their identity and their agency over their own time. </jats:p>

<jats:p> Agar.io is a web and app game with simplistic rules and a minimalistic design. Despite this, the game grew to great global prominence in 2015, and the narratives players constructed within the game had great sociopolitical implications from its affects on web culture and even to national political campaigns. This article points to the leaderboard and the ability to broadcast messages to other users through player usernames as the primary reason for the game’s success as a platform for users to broadcast messages. Agar.io, through usernames and omnipresent leaderboards broadcasting these names, affords players the chance to put their ideologies and allegiances in competition through a simulation of a “survival of the fittest” cell culture. Through a formal analysis of the game this article shows that, for Agar.io, the game is in the name(s). </jats:p>

<jats:p> Social network games (SNGs) are genre of casual games that require being logged into a social networking site (e.g., Facebook) to access the gameworld. To date, investigations of these games are typically focused on the rate of attrition or “churn,” reinforcing the idea that SNG players exist to make the developer money rather than participating in a game they derive pleasure from. Seeking to recenter the player in research about SNGs, this article reports on a survey of former players ( N = 147) who were queried about their reason(s) for no longer participating in YoWorld, a Facebook-based SNG. Findings indicate that players typically quit because of external constraints to their leisure time rather than no longer interested in the game, which are not barriers to play that can be overcome by personalized in-game incentives, the typical developer response to prevent churn from taking place. </jats:p>

<jats:p> This study critically assesses the Chinese online games industry through problematizing the creativity of Chinese games. I find that between 1995 and 2001, Chinese online games were mostly developed by amateurs, noncommercial, and considerably creative. Between 2002 and 2005, industrial growth allowed some room for local creativity despite commercialization and dominance of imported games. Current scholarly, business, and media discourses unfairly ignore creativity in these first two periods and yet praise the Chinese game industry’s commercial success since the late 2000s. I challenge these discourses by illustrating that between 2006 and early 2009, a new, ethically dubious, and uniquely Chinese business model emerged, became domestically dominant, and quietly and profoundly impacted on global online game design. From mid-2009 to 2015, there is ongoing corporatization based on the dubious Chinese business model on the one hand, and a reemphasis on creativity motivated by browser and mobile game formats on the other. </jats:p>

<jats:p> This article is an exploration of players’ understandings of games that offer moral dilemmas in order to explore player choice in tandem with game mechanics. We investigate how game structures, including the presence of choice, a game’s length, and avatar presentation, push players in particular ways and also how players use those systems for their own ends. We explore how players “rehearse their ethos” through gameplay and how they are continually pushing back against the magic circle. It is based on two-dozen semi-structured interviews with players conducted in 2012. It illustrates that there are no clear-cut answers—game structures, including narratives, character designs, length, or save systems, can push players to act in certain ways that may or may not align with their own beliefs and goals. </jats:p>

<jats:p> In this article, I examine the phenomenon called Let’s Play (LP) and conduct a narrative analysis on two LPs made of Sierra Entertainment’s Phantasmagoria games. The LPs tell viewers a story different from the one told in the games, that is, they tell the story of the player rather than that of the game. In that story, the experience of playing a video game is revealed to the audience. This story would be hidden without the player-narrators know as LPs around the world. I conduct my analysis by describing seven different narrative elements that form the narration of a LP and explain how these elements together form this story of the player. </jats:p>

<jats:p> This article examines the agricultural dimensions of Portal 2 and two of its key paratexts, arguing that the game’s potato motif functions as a satire of industrial agricultural practice, dramatizing both the vastness of corporate power and the plight of its silenced victims. I argue for an understanding of the potato as a biotechnological product, drawing from a range of contemporary and historical texts to establish its role in a long history of exploitation and social inequality. These aspects enable the game’s establishment of a cohesive narrative in which potato science originates Aperture Science’s ascent and growing corruption, in a trajectory that culminates in its brutal exploitation of human test subjects. The game also celebrates rebellion against that corruption through the dynamics of gameplay and the development of its main character as a rival biological power. </jats:p>