Catálogo de publicaciones - revistas

<jats:p> This article analyzes the quick-response binary combat game genre, suggesting that so-called "finger-twitch" games, often maligned by academics, are both complex and significant for cultural studies. While the game structure of binary combat is most often seen in terms of simple entertainment, lacking narrative power and encouraging an apathetic and passive attitude to violence, the author argues that games such as Mortal Kombat, Street Fighter, and Soul Calibur are complex in terms of their construction of stereotyped identity and in the binary structure of combative play. Further, the significance of the genre lies in the performative aspects of gameplay, which problematize accepted models of identification and immersion. Once the player is introduced into the superficial binary structure of combat, then that player's choice and agency become the primary factors in gameplay, ultimately creating space for the inversion of stereotype, the subversion of gender roles and the possible transcendence of the binary system. </jats:p>

<jats:p> This article is concerned with the role that fan-programmers (generally known as “modders”) play in the success of the PC digital game industry. The fan culture for digital games is deeply embedded in shared practices and experiences among fan communities, and their active consumption contributes economically and culturally to broader society. Using a survey of the most commercially successful PC games in the first-person shooter category from 2002 until 2004, this article answers a series of questions concerning fan-programmer produced content: (a) What is the value of the fan produced game add-ons in terms of labor costs? (b) What motivates fans to make add-ons for their favorite games? and (c) How does the fan-programmer phenomenon in PC gaming fit into broader trends in the high-tech economy? </jats:p>

<jats:p> This article investigates the relationships between norms and the rich visual environment of the multiplayer game The Sims Online (TSO). Literature suggests that people exhibit normative behavior in online environments. The complex actions and interactions possible with the game's avatars and a minimal game structure make TSO an evocative online space in which to examine social interaction. Through participation and observation, we examined conversation and avatar conduct in TSO and found norms for verbal and nonverbal behavior that governed both text and avatar use. These norms are related to offline expectations of politeness and etiquette associated with visiting and hosting in people's homes, and they correspond with the visual dollhouse-like environment of TSO and its characters. This game is a special context where social norms are clear and powerful, affecting not only players' game play but also their social interaction. </jats:p>

<jats:p> Against the hegemony of ocularcentrism currently pervading video game theory, the author situates the practice of video gaming for further inquiry by performance studies to account for it as a wholly embodied phenomenon. Personal narratives of players engaging in performances of the game Dance Dance Revolution indicate the necessity of accounting for both the intersubjective and interobjective elements of video game play. The performativity of video gaming insists on a consideration of its material and discursive dimensions that not only refuses to metonymically reduce the gamer's body to a pair of eyes but also complicates popular dualistic understandings of the player—game relationship. </jats:p>

<jats:p> Baudrillard's “game” was writing and in it, he had interesting things to say about games. This article explores his thought concerning our passion for games and the experimental role gamers perform in our culture. It concludes that Baudrillard was ambivalent about gaming despite the fact that he saw it as a central aspect of the obsession of our age—the lack of distinction between the real and the virtual. </jats:p>

<jats:p> To describe the virtual worlds of digital games as hyperreal and simulacra has become almost a cliché. The perfect copy without an original, complete and even flowing over with signs adding to its real appearance but simultaneously disguising a basic loss of referentials—many of the games can be looked on as substitutes for the real world (if there is such a thing). In this article, I use World War II digital games as examples of hyperrealities, using some of Baudrillard's thoughts on hyperreality and simulacra, on our relation to history and on what he considers to be a fundamental longing for reality that has been lost to us in (post)modern Western society. </jats:p>

<jats:p> There are two voices in the work of Jean Baudrillard, the early voice, which lasted less than 10 years, and the mature voice, which lasted about 30. The first voice is younger and more conventionally leftist. It was fully embedded in the intellectual debates of the late 1960s. A committed Marxist, the younger Baudrillard wrote on labor and needs, use-value and production. But after this period as a young man, Baudrillard transitioned into a very different thinker in the middle to late 1970s. He developed a whole new theoretical vocabulary that was completely in tune with that decade's historical transformation into digitization, postindustrial economies, immaterial labor, mediation, and simulation. His theories of play and games are at the very heart of this transformation. Through a close reading of several texts, this essay explores Baudrillard's interest in play and games through the concepts of seduction, the fatal strategy, illusion, and what he called the “principle of separation.” </jats:p>

<jats:p> This article plays a game with Jean Baudrillard's thought and the intellectual traditions on which it draws. Or rather, it plays Baudrillard's game but with a cheat code. The game or program here is the hyperreality of the contemporary world—Baudrillard's integral or virtual reality characterized by the dominance of things—of objects over subjects. The cheat code identifies and accentuates the development, application, and interconnection of theories of play, waste, technology, and multiple realities in aspects of 20th-century French avant-garde and social scientific thought and practice. It suggests ways in which everyday technoculture, not least videogame culture, can be addressed as at once playful and simulacral. </jats:p>

<jats:p> Baudrillard, the “most famous theorist of simulation,” exists on the margins of the emerging field of computer game studies where he most often appears as a perfunctory reference to “postmodern” theory that the emerging discourse supercedes in its passage to specificity. By turns strange and symptomatic, the relegation of his thought to marginality where it could have been considered as central enables the unfolding of orthodox positions in game studies of both instrumental and conventionally critical hue. This article remembers the profound challenge to conceptual work in the era of computer simulation that Baudrillard posed in his writings, a challenge perhaps too quickly forgotten in the model-building race of games studies' early years. </jats:p>