Catálogo de publicaciones - revistas

<jats:p> Due to its affiliation with formalism, ludology, the scientific perspective prioritized in game studies, considers the rule–mechanic binomial to be an essential principle of any scholarly approach to video games. Nevertheless, the limitation of the game system order implies that, as a fundamental part of this epistemological approach, the empirical validity of its methodology is already being rejected. As such, this article attempts to shift the focus away from the rule–mechanic relation, and from a cybersemiotic perspective, to refocus it on a conceptualization of the human–machine relationship. In order to do so, the concept of convolution regarding said relation is defined, including both parts of the video game system in terms of signal processing. Likewise, this model is contrasted with a randomized total sample of 1,200 games ( N = 1,200, n = 300) in order to arrive at a set of conclusions about the behavior of the distinct video game genres in the indicated terms. </jats:p>

<jats:p> The goal of the article is to present a new theory of the concept of gameplay, a term everybody uses without ample definitions and with little consistency. The aim is to provide an understanding of gameplay outlining the inherent complexities and convoluted layers of play and game which exist in the playing of a game. The theory is inspired by phenomenology and Martin Heidegger’s concept of Dasein. We do not intent to resolve the paradox that games are both objects and activities. Instead, we offer an analytical and methodological guide to the ontology of gameplay resting on an oscillating relationship between a double-layered structure of “here” and “there” in playing and gaming. </jats:p>

<jats:p> This article identifies the limitations of queerness in Gone Home (The Fullbright Company, 2013) by exploring the ways in which players’ movements through space in video games can be considered queer or “straight.” Drawing from Sara Ahmed, I demonstrate how the potential for queer in-game movement in Gone Home has been straightened both by the game itself and by elements of its player reception. Gone Home is widely seen as exemplifying a current shift toward increased LGBTQ (lesbian, gay, bisexual, transgender, and queer) representation in video games. The game is also associated with queerness through its status as a “walking simulator,” a genre with ties to the queer flaneur. Indeed, Gone Home’s gameplay seems to encourage queer wandering, moving not straight but instead meanderingly. Yet, a closer analysis of its interactive elements reveals that Gone Home is far less queer than it may initially appear. The player’s path is rigid and linear, much like in a “rail shooter.” The potential for queer movement in Gone Home has been furthered straightened by speedrunners who play the game along the straightest possible paths. This article argues for player movement as an important site of meaning in video games and calls for an increased engagement with the tensions that surround queerness and video games. </jats:p>

<jats:p> This theoretical inquiry explores how prison-themed video games embody gendered stereotypes about prison and how these portrayals more broadly represent gendered representations serving to create a double-masculinization effect through intersecting masculine gaming cultures and masculinized assumptions about prison. Here, we form conceptual linkages between literature on gaming and gender, prison and gender, and two prior studies on prison-themed video games. Although we draw on past research, the primary intent of this inquiry is to serve as a review of the extant literature as it relates to an emerging area of research (i.e., gender- and prison-themed video games). We consider why such portrayals are important to the current discourse regarding gender in games, and in what ways inclusion in this conversation could create more comprehensive and critical outcomes in the future direction of game development, as well as the possibility for games to engage the public regarding traditionally gendered institutions. </jats:p>

<jats:p> Increasingly, more people do notice that female designers wrote their first games in the 1970s and 1980s. However, there was another country where women did also design games decades before the #GamerGate movement. This article examines the selected works of three French designers: Clotilde Marion, Chine Lanzmann, and Muriel Tramis. The analysis of those games took into account the self-representation of those designers—and women in general—within the game content. The conducted research has proven that within their games, Marion, Lanzmann, and Tramis included their everyday experiences as women. Using such techniques as simulated point of view and authorial signature, those women indicated their own role in the development and showed how females in general face male oppression against them. This means that the United States is not the only country with a long tradition of female game developers. Thus, video game history remains an undiscovered research field. </jats:p>

<jats:p> Previous research on learning-related digital games has focused on studying learning outcomes with mostly adult participants. This study explores what children have experienced they have learned by playing digital games, how these learning experiences relate to 21st-century skills, and in which contexts do the children benefit from playing digital games. The data were collected from children’s essays, which were analyzed using qualitative content analysis. Results reveal that children’s learning experiences are often related to 21st-century core subjects and skills, but they also reported improved physical abilities and sports competences from digital games. Children felt that the skills they had gained were beneficial in the contexts of school, sports, and friendships. The results contribute to our understanding of digital games and children by providing children’s perspective on digital games and learning. </jats:p>

<jats:p>This essay develops the concept of “quantified play” to describe and analyze the recent practice of self-tracking in the play of videogames. I argue that statistical, self-tracking utilities in videogames shape how gameplay “appears” and how it is experienced and valued by users. I proceed by situating contemporary self-tracking in games as part of a broader history of play as “quantified.” From there, drawing on interdisciplinary studies of self-tracking, as well as Bernard Stiegler’s postphenomenological analyses of technology, I characterize quantified play in three main ways. First, it is voluntary and occupied with self-knowledge. Second, it is used in mundane or everyday contexts. Third, it relates to the habitual faculty of users. The remainder of the essay illustrates the concept of quantified play through two examples of tracking hardware and software—showing how numerical or statistical apprehensions of player activity (and visualizations thereof) shape how we negotiate videogames.</jats:p>

<jats:p> This article introduces the concept of the ludic bestiary, a game mechanic that the authors argue produces abject bodies. Using the “hag” in Dungeons &amp; Dragons as a case study, the authors demonstrate how the game’s bestiary, the Monster Manual, functions as a tool of patriarchal control by defining, categorizing, and classifying the body of the female other as evil, abject, and monstrous. Importantly, the ludic bestiary not only exists as a core rulebook in Dungeons &amp; Dragons but has also been remediated as a narrative-heavy submenu in several digital games. The authors find that the figure of the monstrous woman persists in games because of the widespread distribution of the Monster Manual to young men in hobby communities, the cultural influence of Dungeons &amp; Dragons, depictions of monstrosity that blend the erotic with the maternal, and the discursive categorization and objectification of the female body by ludic systems. </jats:p>

<jats:p> In this special issue of Games and Culture, we present papers originally delivered at the “Literature and Video Games: Beyond Stereotypes” event co-organized by colleagues from the University of St Andrews, the University of Glasgow, and Abertay University. Instead of gesturing toward a summary and synthesis of the published articles, we invite readers to consider these in light of the issues raised in this Introduction, which is itself a very condensed version of many exchanges between the coeditors. </jats:p>

<jats:p> Contemporary narrative video games still owe a debt to notions of plotting and characterization inherited from realist novels, even as they demonstrate how digital technologies are driving the development not merely of new fictional forms but also new conceptions of identity and subjectivity. This article expands upon these claims through analyses of three texts. Published in 1888 and revised in 1908, Henry James’s novella The Aspern Papers follows a protagonist obsessed with laying his hands on a long-dead Romantic poet’s archive; released in the 21st-century, Christine Love’s (2012) Analogue: A Hate Story and Fullbright’s (2017) Tacoma imagine technologically advanced posthuman futures in order to pose questions about datafication, identity, and the terms on which the past remains accessible in the present. Considered together, they shed light on longer generic traditions, the relationship between literature and video games, and the ethical and epistemological issues raised by new technologies. </jats:p>