Catálogo de publicaciones - revistas

<jats:p> In looking at the history of U.S. military execution during World War II, this article explores the relationship between memory and psychological interference in the browser-based game Disavowed (2021). As an interesting example of the palimpsestuous negotiation between individual identity, narrativity, and cultural memory, Disavowed structures itself through the misremembering of an actual historical encounter. In such a way, it reconstructs a false history of events misconstrued within the memory of the game designer, put into dissonance with historical documentation of what “really happened” – an execution witnessed by tens of thousands of soldiers, but that seems largely erased from the record. The result is an interplay between the memories of veteran Theodore “Ted” Eaker, the public awareness of Private Eddie Slovik’s execution, and the journey to piece together what is a fractured, unreliable and racially problematic history of the practice of military execution. </jats:p>

<jats:p> Can video games afford authentic heritage experiences, comparable to physical visits to a heritage site? How is authenticity of historical settings related to the player’s immersion? This article explores these questions by looking at the notions of experience and authenticity in tourism/heritage studies and the experience economy and mapping them onto the layers of game immersion. As both video games and site visitation are user-centred designed experiences, they share most of their experiential dimensions: five strategic experiential modules (SEMs) (sense, feel, think, act and relate). Linked through the SEMs, five forms of heritage authenticity reveal close correspondence with five (out of six) dimensions of game immersion/involvement. Therefore, player’s perception of heritage authenticity in historical settings seems to be intertwined with immersion/incorporation. The dual framework of authenticity/immersion presented here allows for detailed analysis of both, the central example being Assassin’s Creed Unity with its famous representation of the Notre-Dame cathedral. </jats:p>

<jats:p> Extant research on e-sports has focused on the growth and value of the phenomenon, fandom, and participant experiences. However, there is a paucity of e-sports scholarship detailing women’s experiences from marginalized communities living in various conservative Muslim countries. This shortage of literature remains despite different radical Islamic groups’ consistent demand for banning several online video games and the Muslim youth’s resistance to these calls. This study aimed to understand the motives and lived experiences of Muslim women e-sports participants from Gilgit-Baltistan, Pakistan. The authors collected data via observations of online video games and in-depth interviews. The study participants revealed that they use e-sports as a vehicle for an oppositional agency and personal freedom from the patriarchal system. The findings also suggest that participants are facing systematic marginalization and grave intrusion of post-colonization. The study contributes to the limited scholarship concerning Indian subcontinent Muslim women’s e-sports participation. </jats:p>

<jats:p> The live streaming of digital and analogue gaming has emerged as a major new topic in games research. One element involves understanding the labour of streaming: studies to date have focused on examining the ‘on-camera’ labour of streamers, but what has yet to be examined is their ‘off-camera’ labour. This includes developing stream aesthetics, networking with other streamers and viewers, building communities on other platforms and management and maintenance activities. These forms of labour are undertaken by those who broadcast for leisure purposes and those who aspire to a part-time or even full-time job in game streaming. Drawing on extensive interview data with professional and semi-professional live streamers, this article explores off-stream labour and the demands it makes on game broadcasters. The article sheds new light on the behind-the-scenes labours and lives of aspirational gaming live streamers, who are collectively becoming increasingly influential in global gaming communities. </jats:p>

<jats:p> Let’s Players have emerged as a successful class of entertainers in the YouTube® universe. Most of their broadcasts not only relate to video games and gaming but also feature elements of talk shows and other modes of personality entertainment, including star–fan interaction through social media channels. Hence, they represent focal points of reference for gamers and important manifestations of contemporary gaming culture. The present contribution applies the concept of parasocial relationships (PSR) to examine how dimensional compositions and formation dynamics of audience engagement with Let’s Players are affected by the specific conditions of digital online media environments. Findings from an online survey indicate that PSR with popular Let’s Players are composed partially similar to “conventional” stars, but seem to rest more on interactive responsiveness and less on idolizing “larger-than-life” characters. Implications for PSR theory in hybrid mass/online communication settings and for digital gaming culture are discussed. </jats:p>

<jats:p> In game studies, meaningful play is commonly discussed and situated through Salen and Zimmerman’s (2004) definition describing it as the integrated and discernible relationship between player actions and system outcomes within the context of the game. However, this overlooks other ways that play can be meaningful. Based on observation and interviews with 20 Australian players, this article examines experiences with death in the tabletop role-playing game Dungeons &amp; Dragons (D&amp;D). In the context of meaningful play ( Salen &amp; Zimmerman, 2004 ) and positive negative experiences ( Hopeametsä, 2008 ), we discuss (1) the impact of shared physical and social realities on death in D&amp;D, (2) the design of death in D&amp;D, and (3) how death in D&amp;D shapes the future play and lives of players. From this, we argue that play can have meaning that transcends game boundaries, subsequently proposing the concept of “ pivotal play” to describe appealing, memorable, and transformative play experiences. </jats:p>

<jats:p> Recent research has started focusing on the representation of history in videogames. Such representation is almost always of mainstream history and usually presented from a Western perspective. Set in a fictitious Himalayan kingdom in South Asia, Ubisoft’s Far Cry 4 is arguably a crucial example of how history is represented using Western and even colonial frameworks and where the narratives that do not emerge from conventional written history are almost always rendered invisible. Using the frameworks of Subaltern Studies and “border-thinking,” this essay attempts to unpack issues of Orientalism and “colonial difference”; it then engages with postcolonial digital humanities and postcolonial game studies to comment on how history is represented in videogames and how the neglected gaps and silences in the game are important in constructing the historiography in videogames. In the process, the essay engages in a debate with current notions of videogame-historiography. </jats:p>

<jats:p> In this article, we describe three layers of ruins related to computer game technology: in a surface layer, we examine the imagery of ruins in digital games, highlighting game design tools for developing in-game ruination. Secondly, we approach the industrial design model of technological obsolescence as an infrastructural layer that intrinsically demands the production of new provisional spaces for material decay. Lastly, through a waste layer, we unfold the geopolitical dimension of technological obsolescence, calling attention to the transcontinental flows of electronic waste, which also underscores a geological stage of ruination. While exploring these different layers of ruins, we wish to perceive how game design models might relate to different forms of contemporary ruination, inquiring what such material traces have to say as strata of the complex deterioration processes of present-day media. </jats:p>

<jats:p> This article examines Indigenous video games that critique mainstream environmental politics at the level of mechanics. An analysis of video games’ influences on ecological values requires looking beyond the representational to the mechanical relationships between player and software. As a cultural–computational medium, video games are embedded with ethics of interaction that inflect this representational dimension by requiring that players generate the text as participant. With the recent visibility of Indigenous rights movements, developers have embedded Indigenous cultural protocols in the mechanical interactions (or technical protocols) of gameplay. In the context of critique, their integration produces “critical protocols,” configurations of gamic action that encourage players to evaluate their treatment of real-world environments. Critical protocols emerge between the technical and cultural, where scripts for interaction in algorithmic spaces intervene in affirmative game design and work as an analog beyond the game. Indigenous developers call for new ways of computing and critiquing settler digitality through play. These games aim toward representational as well as computational sovereignty. </jats:p>

<jats:p> This article uses the Bourdieusian tradition to examine the relationship between gameplay elements and contentious politics. When investigating Chinese progressive social movements, this study found that the development of local gaming industries has conditioned three ways in which gameplay elements are employed to organize “playful resistance”: game as an action tactic, game as the mechanism for critical pedagogics, and game as a tool for public education . Gaming capital has become a useful resource for organizing contentious activities and disseminating progressive political views. Two forms of gaming capital are identified: one is the technical competencies needed to design games; the other is the cultural capacity to imagine social movements through game design mechanisms. This article shows how playful resistance challenges both authoritarian governance and the capitalist logic of gaming, offering a glimpse into how the actual process of gamification has taken place in a non-Western context. </jats:p>