Catálogo de publicaciones - revistas

<jats:p>This article is about textual analysis, methodology, and representations (of bodies, identities and social groups) in digital games. The issues under consideration include textual analysis as procedure, the role of fragmentation in textual analysis, game ontology and the remit of textual analysis, and the role of the player-as-analyst in relation to subjectivity and embodied interpretation. These issues are discussed using a combination of game studies literature, film theory, and literary theory–and with reference to Deus Ex: Human Revolution (2011).</jats:p>

<jats:p> This article seeks to clarify the role of the image in video game representation. I argue that virtuality is incompatible with depictive representation and that the distinction between virtual environments and interactive depiction is important in game theory and analysis. In the first part, I combine a critical modification of Kendall Walton’s concept of reflexive representation with Edmund Husserl’s concept of image consciousness, in order to clarify the ontological difference between physical models and depictive images. In the second part, I discuss the relationship between physical models and virtual things, and the difference between photographic depiction and screen-mediated prosthetic vision. Finally, I show how this theoretical framework can help clarify the nature of interactive depiction in games. </jats:p>

<jats:p>Alongside their material dimensions, video game arcades were simultaneously metaphysical spaces where participants negotiated social and cultural convention, thus contributing to identity formation and performance within game culture. While physical arcade spaces have receded in number, the metaphysical elements of the arcades persist. We examine the historical conditions around the establishment of so-called arcade culture, taking into account the history of public entertainment spaces, such as pool halls, coin-operated entertainment technologies, video games, and the demographic and economic conditions during the arcade’s peak popularity, which are historically connected to the advent of bachelor subculture. Drawing on these complementary histories, we examine the social and historical movement of arcades and arcade culture, focusing upon the Street Fighter series and the fighting game community (FGC). Through this case study, we argue that moral panics concerning arcades, processes of cultural norm selection, technological shifts, and the demographic peculiarities of arcade culture all contributed to its current decline and discuss how they affect the contemporary FGC.</jats:p>

<jats:p>Recent scholarship in gaming studies has challenged the field to investigate and critique the hard core gaming audience (stereotypically seen as straight, White, cis-gendered male gamers) in a way that does not reinforce either the perceived marginalization of gamers or broader social hierarchies of gender, sexuality, and class. This article demonstrates a way to acknowledge the complexity of this audience without dismissing its most virulent tendencies via practice theory and weak theory. Using data drawn from a qualitative survey of 393 self-identified first-person shooter video game players, this article looks at the specific practice of “teabagging” in online competitive gaming contexts. Ultimately, this article argues that drawing attention to the gaps and fissures that local gaming practices can produce in broader structures of gaming, sexuality, and class can help critical gaming scholars encourage and cultivate such practices as well as construct new, reparative alliances between different fields and communities.</jats:p>

<jats:p>An ideological analysis of video games should include both the narrative and ludic dimensions, since there can be frictions between these two dimensions and they can even contradict one another. This article’s main aim is to analyze BioShock Infinite, an illustrative case study of these conflicts. On the one hand, it is a video game that portrays a dystopian narrative, aligning itself with this genre’s critical progressive tradition; on the other hand, its gameplay has an accentuated neoliberal bent. The analysis of BioShock Infinite also helps us to critically discuss certain trends in game design in contemporary mainstream video games that connect with and reinforce neoliberal values.</jats:p>

<jats:p> As a case study, this article examines the development of China’s online game industry and how China responds to the forces of globalization. Based on in-depth interviews, ethnographic research, and the analysis of archive documents from the past few years, this study identifies China’s evolving strategy of neo-techno-nationalism. In the Chinese context, this national strategy manipulates technology to create a version of popular nationalism that is both acceptable to and easily censored by the authorities. Therefore, cultural industries that adopt this strategy stand a good chance of prevailing in the Chinese market. This success explains why the regional competitors of Chinese online games—Korean games—are more successful in China than most of their Western counterparts. By providing a snapshot of the current ecology of China’s online game industry, this article also discusses the influence of regional and global forces in a concrete context and argues that the development of China’s online game industry depends more on political factors than economic factors. </jats:p>

<jats:p>This article is an exploration of the importance of feminist analysis and researcher reflexivity in the context of a field where gender inequality is widespread––in games, in the games industry, in the dominant voices in games journalism, games communities, and in games research. Using a framework of intersectionality to understand how the concept of marginality is deployed within this area is important for understanding how power is exerted. Recent outspoken misogyny has brought to the surface some of the underlying gender inequality within games cultures but also points to areas that researchers in the field need to be alive to in their own work.</jats:p>

<jats:p> Designing and developing computer games can be a complex activity that may involve professionals from a variety of disciplines. In this article, we examine the use of game theory for supporting the design of gameplay within the different sections of a computer game and demonstrate its application in practice via adapted high-level decision trees for modeling the flow in gameplay and payoff matrices for modeling skill or challenge levels. </jats:p>

<jats:p>Video games differ from films, books, and other mainstream media both in their interactive capabilities and in their affordances for gameplay. Interactivity and gameplay are closely related, as interactivity is necessary for gameplay. Unfortunately, this close relationship has led many video game scholars to conflate these two concepts when discussing player experience. In this article, I argue that, when discussing emotional responses to video games, gameplay and interactivity should be understood as distinct concepts: Gameplay involves both interactive and noninteractive elements, and interactive works do not always involve gameplay. I propose that there are significant drawbacks to overlooking this distinction and that highlighting it is important for understanding player experience, player emotion, and the ways video games differ from other entertainment media.</jats:p>

<jats:p>Video games can have a variety of intended and unintended effects on players, making the impacts of games and the role that individual design elements play in causing those impacts a valuable area of research. This study explored the social and cognitive effects on players of two “art games” ( Depression Quest and Actual Sunlight) by analyzing player-generated discussion board posts, focusing on (1) what real-life social and cognitive effects the games had on players and (2) what elements of the games made the players consider them “good” or “bad” games. Players reported or demonstrated that the games led to understanding and empathy, self-evaluation, lessons learned, clinical discussion of depression, encouragement to others, a sense of community, and opening dialogue with friends and family. Discussions of game quality centered on realism, game endings and message, and player agency.</jats:p>