Catálogo de publicaciones - revistas

<jats:p> This paper scrutinizes the feminization of backseat gaming by examining the successful YouTube gaming reviews channel, Girlfriend Reviews. As video games are considered a male-dominated hobby, this channel, which provides the perspective of a male gamer’s girlfriend offers a compelling case study to explore the ways in which women can access the gaming community. Through analyzing the opinions and sentiments expressed in the comment sections, we explore how viewers engage with the channel and why they support or condone it. We argue that viewers gravitate toward the channel for three significant reasons: the girlfriend being (1) a supportive backseat gamer, (2) who holds no prior knowledge on gaming, and (3) does not engage with feminist discourse. We argue that the position of “the girlfriend”/“backseat gamer” provides women an alternative pathway into the gaming community. However, moments of pushback demonstrate the fragility of women’s position in such presumed male-dominated communities. </jats:p>

<jats:p> Video games such as the successful Assassin’s Creed series allow consumers to engage with various historical contexts and to explore them in engaging and influential ways. However, it is unclear what consumers understand as the difference between the historical authenticity and historical accuracy used by developers in these games. Therefore, this research explored players of Assassin’s Creed games’ understanding of these two concepts and how they expected developers to utilize them. The study used a qualitative analysis of 959 online forum comments and an online survey with 88 respondents. While it was found that players understood historical accuracy and valued it in video games, historical authenticity prompted confusion with 43% describing it as the same as historical accuracy. The results were used to develop a new player-centric definition of historical authenticity to clarify player understandings and present useful and practical implications for developers and publishers. </jats:p>

<jats:p> This study investigates players’ perceived realism of historical video games. Perceived realism is understood as a multidimensional concept, going beyond the more traditional use of ‘realism’ in historical game studies, where it often refers to the plausibility or accuracy of historical reconstructions. The study further examines how perceived realism relates to players’ enjoyment of historical games. Specifically, this study analyses Assassin's Creed, Assassin's Creed Unity and Assassin's Creed Odyssey. Through an online survey among 1,317 respondents, this study found that the five-dimensional structure of perceived realism holds for historical games. The three games differed in their perceptions of social realism, perceptual pervasiveness, freedom of choice and enjoyment. Finally, perceptual pervasiveness and character involvement were identified as strong predictors of enjoyment in historical games. This study contributes towards further validation of the perceived realism scale across game genres and pleads for a systematic use of the multidimensional term ‘realism’ in historical game research. </jats:p>

<jats:p> Portal (2007) presents an unusually complex example for the study of video game paratexts. This article uses the case of the game’s promotional website ApertureScience.com to consider how paratextuality and the associated concepts of ephemerality and materiality may be further refined to open up new dimensions of video games as objects of interpretation and play. The article draws from the field of textual studies, which specializes in the particularities of media, and in the entanglement of technical detail with interpretation and meaning. The first part re-evaluates the nature of the book as an analogy for the materiality of video games, and critiques Gérard Genette’s conception of bookish paratexts and its applicability to video games. The article then offers a detailed analysis of ApertureScience.com as a paratext, including its satirical critiques of positivism and corporate research, and concludes with a discussion of the materiality of digital paratexts. </jats:p>

<jats:p> Toxic behavior is commonplace in online games and has negative consequences for players. Although previous studies have illustrated common types and features of in-game toxic behavior, it remains unclear what psychological mechanisms can explain why toxic behavior emerges and evolves in gaming environments. To fill this research gap, guided by Online Disinhibition Effect theory, this study applies a qualitative interview approach to understand when, how, and why people engage in toxic behavior in online games. Specifically, by interviewing players of the game Honor of Kings (a popular Chinese mobile multiplayer online battle arena game), this study illustrates the evolving processes of both verbal and behavioral in-game toxic behavior and identifies six major motivations for players’ toxic behavior and three theoretical explanations for how the online gaming environment facilitates players’ toxic behavior. Implications of this study on future research are also discussed. </jats:p>

<jats:p> In this article, I examine two contemporary videogames that engage critically and imaginatively with conventional definitions of heroism. In Röki (Polygon Treehouse) and Knights and Bikes (Foam Sword Games), the child-avatars loosen the connection between maturity and self-reliance by framing interdependence as both an inevitable and a desirable condition of human society. Furthermore, by emphasizing children's supposed malleability, these games insist on the relationality of identities: they suggest that one's identity depends on the interactions one has with individuals and institutions. I suggest that by centering cooperation, these games destabilize myths of independence and autonomy that surround the lone hero of hyper-individualism and thereby challenge assumptions about the kinds of heroism videogames can portray. </jats:p>

<jats:p> There is an emerging body of games that simulate the labor of drink making and serving at the forefront of play through the role of a bartender or artisanal mixologist. Both are working class but the creative variance between them challenges how economic precarity is understood. The authors ask how this translates to video games when these positions are foregrounded. How do play, poverty, and precarity interconnect in drink making and serving games? Through the qualitative analysis of four games that put the player in the position of bartender or mixologist, this paper shows how creative labor and precarity are illuminated or obfuscated through mechanics and narrative. In doing so, it argues how games, as one form of media, obscure or make visible labor and precarity to players and simultaneously reinforce the romanticization of often exploited creative labor. These findings prompt further questions and research directions on representations of working-class labor. </jats:p>

<jats:p> Game scholars have discussed both the ways in which video games structurally differ from literary fiction and the ways in which they remediate motifs and narrative strategies from it. In this article, I reverse the direction of that exchange, arguing that video games are disclosing new perspectives on both literary writing and literary interpretation. My focus is on how literature can integrate ludic strategies on a formal level, rather than by merely thematizing games (as genre fiction does extensively). I thus discuss three formal devices—multimodality, present-tense narration, and loop-like repetitions—that evince considerable literary interest in gaming culture. Through these formal experimentations, literature participates in a media environment that is significantly shaped by games. I argue that this intermedial transfer also offers an opportunity for a literary scholarship to enrich its conceptual and interpretive toolbox through dialogue with both game studies and gaming culture. </jats:p>

<jats:p> This article examines how vocal performances of characters can contribute to sociocritical storytelling in video games. We argue that the vocal performances of video game characters–and in particular their accents–can “fill in” the fictional story worlds of video games through associations with real people and places. These associations allow video games to evoke such social themes as are connected with accent, including privilege, conflict, class, and ethnicity. So evoked, these themes can then be critically examined. We apply this perspective in a sociolinguistic analysis of Disco Elysium, an expansive role-playing game in which the characters' vocal performances come to support the player's sociomoral orientation in the game world. Finally, we discuss a result of our analysis that runs counter to previous scholarship, namely that vocal stereotyping can serve to enhance, rather than to undermine, the player's critical apprehension of game worlds. </jats:p>