Catálogo de publicaciones - revistas

<jats:p> Games Workshop is a juggernaut in the world of tabletop games and miniatures with a long history and near total market dominance of the wargaming industry. However, over the last decade Oldhammer, a game and hobby community, has sought to contest this hegemony by rejecting Game Workshop’s 21st century games, miniatures, and aesthetics in favor of an attempted return to an earlier vision of the Games Workshop hobby and an accompanying possibility of alterity. We explore how Oldhammer uses memory and craft to return to the conditions of possibility which allowed for other possible tabletop futures and even the potential for resistance. In doing so, we draw on theories of memory, craft, and nostalgia to show how Oldhammer, however imperfectly, contests corporatization and control. </jats:p>

<jats:p> More than mere entertainment, video games can be studied as cultural texts, relevant for the interpretation and understanding of the public imaginary relating to crime. Drawing on ideas of Gothic and popular criminology and using a critical lens of hauntology, this study aims to explore themes of carcerality in the video game The Legend of Zelda: Majora’s Mask. By constructing the text of Majora’s Mask as a horror game, and a cultural text ‘in distress’, encompassing a crypt incorporating a phantom of past trauma, this paper identifies themes of carceral violence within the text as symptomatic of a deep, haunting disillusionment of carceral justice. Relating back to the culture and context in which the game was created, we argue that this cultural text is ‘haunted’ by the trauma of lost ideals in relation to punishment; a deep disillusionment towards a carceral machinery producing the socially dead instead of rehabilitating them. </jats:p>

<jats:p> With the proliferation of technologies and digital platforms, contemporary game development firms’ value propositions have become more complex. While on a global scale a considerable share of the game industry’s revenue is captured by a few dozen firms, we are also witnessing the emergence of local and regional hotspots. In this context, legitimacy is of utmost importance if new competitive advantages are to become institutionalized as an industry. This paper extends studies which have offered temporal snapshots to the regional or local formation of game industry by focusing on the Finnish context. The concept of resilient values is introduced as legitimizing how the game industry is shaped and how the values are interpreted to develop the industry further. Our findings suggest legitimacy is intertwined with resilient values, thus resulting in the industry evolving over time through three different stages: (1) incubation period, (2) growth phase, and (3) institutionalized legitimacy. </jats:p>

<jats:p> This article explores the relationship between monetisation models, game design and ethical considerations from the perspective of three different small-scale Norwegian game companies: an indie company, a freemium company and a premium company. The aim is to explore critically how small-scale game companies reason and act in the current economy. Interviews with game designers and CEOs form the empirical basis of the analysis. The motives and practices of the informants are categorised according to three ethical schools, namely, deontology, virtue ethics, and utilitarianism. The informants believe that freemium models and free games have made the computer game industry markedly more challenging to monetise. Their views on what is considered ethical monetisation varies between companies, most distinctly between the freemium company and the two others. Informants from the freemium company downplay ethical responsibilities, with reference to the huge number of existing free games and costumers unwilling to pay for games. </jats:p>

<jats:p> Video games, while a digital art, live on physical media. Whether cartridge, magnetic tape or floppy disk, they degrade. Without care and study, they disappear and cannot be played again. While it might be possible to preserve play using emulation or video captures, scholars need to consider every option at their disposal to preserve video games for future study. This includes securing original versions of games and ephemera, recording play, interviewing game creators, and players, and much more. This article develops a new approach to conceptualise video games as material and cultural heritage, and proposes a methodology for their study, especially those for which there is no original version left. </jats:p>

<jats:p> The COVID-19 problem has not gone away with the passing of the seasons. Although most countries have achieved remarkable results in fighting against epidemic diseases and controlling viruses, the general public is still far from understanding the new crown virus and lack imagination on its transmission law. Location-based games (LBGs) have been challenged during the on-going pandemic. No research has shown that LBGs can be used to help prevent COVID-19 infection. Therefore, we designed the game MeetDurian, which integrates entertainment, sports, and education. For investigating factors influencing intention to play the MeetDurian, we proposed some comparative evaluation. Data were gathered from participants who participated in capturing virtual durians and completed questionnaires about immersion into the game, workload assessment, user’s emotions, learning outcomes, and personal hygiene. These results proved the acceptability and usability of the mobile game-based MeetDurian for preventing the infection and severity of the COVID-19 pandemic. </jats:p>

<jats:p> While previous studies showed that persuasive games can have positive effects on attitudes and behavioral intentions, little is known about the underlying processes that cause these effects. This study investigates immersion and involvement in order to provide a better understanding of the effects of persuasive games. We conducted an experiment with 152 college students in which participants either played a persuasive game or watched the playback of the game. Our results showed that affective and ludic involvement and immersion mediated the relationship between interactivity (gameplay vs. playback) and persuasive outcomes (attitude and behavioral intention). </jats:p>

<jats:p> Collectible card games are taking up more space in popular culture with traditional paper card games even embracing e-sports. However, longevity in such games is not as common, with some suspecting power creep as a culprit behind why some of these games fail. Yet, Magic: the Gathering has not just survived but thrived for over 25 years with the game’s designers publicly stating their aim to keep curbing power creep. Therefore, it is of interest to determine the rate of power creep in the game. Herein, we formally define a conservative metric power creep and calculate its occurrence in the game of Magic: the Gathering. Although having an increasing rate, power creep appears low with an average of 1.56 strictly better card faces released per year. </jats:p>

<jats:p> Self-Determination Theory proposes that people are intrinsically motivated to play video games to fulfil the psychological needs of autonomy, competence and relatedness. However, video games can also actively thwart and frustrate these needs. This paper investigates how need frustration affected motivation to solve cognitively challenging puzzle video games. Participants ( n = 27) played two cognitively challenging puzzle video games, with data collected through a survey, recorded gameplay footage and interviews. The analysis reveals that when a player’s primary need for playing was frustrated, they quit easily and did not enjoy the game and when a player’s primary need for playing was satisfied, they displayed resilient behaviours and enjoyed the game. These findings suggest cognitively challenging video games that are more likely to be used in educational contexts should contain features that support autonomy and relatedness as well as competence, in order to be motivating for as many players as possible. </jats:p>

<jats:p> The COVID-19 pandemic was stressful for everyone, particularly for families who had to supervise and support children, facilitate remote schooling, and manage work and home life. We consider how families coped with pandemic-related stress using the video game Animal Crossing: New Horizons. Combining a family coping framework with theorizing about media as a coping tool, this interview study of 27 families (33 parents and 37 children) found that parents and children individual coped with pandemic-related stress with media. Parents engaged in protective buffering of their children with media, taking on individual responsibility to cope with a collective problem. Families engaged in communal coping, whereby media helped the family cope with a collective problem, taking on shared ownership and responsibility. We provide evidence for video games as coping tools, but with the novel consideration of family coping with media. </jats:p>