Miguel Aguilo Valentin, B. Clark, K. Johnson, J. Robbins, Ryan Viertel
{"title":"Optimization-based design for additive manufacturing.","authors":"Miguel Aguilo Valentin, B. Clark, K. Johnson, J. Robbins, Ryan Viertel","doi":"10.2172/1870271","DOIUrl":"https://doi.org/10.2172/1870271","url":null,"abstract":"","PeriodicalId":43635,"journal":{"name":"Journal of Gaming and Virtual Worlds","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2021-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89330267","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
K. Klise, David Hart, Joseph Hogge, D. Villa, T. Haxton
{"title":"Recent updates to the Water Network Tool for Resilience software.","authors":"K. Klise, David Hart, Joseph Hogge, D. Villa, T. Haxton","doi":"10.2172/1863185","DOIUrl":"https://doi.org/10.2172/1863185","url":null,"abstract":"","PeriodicalId":43635,"journal":{"name":"Journal of Gaming and Virtual Worlds","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72367760","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: Dans la peau des gamers: Anthropologie d’une guilde de World of Warcraft (Inside the Gamers: Anthropology of a Guild of World of Warcraft), Olivier Servais (2020)Paris: Karthala, 344 pp.,ISBN 978-2-81112-630-8, p/bk, €25.00
评论：《游戏玩家：魔兽世界人类学》（Inside the gamers:Anthropology of a Guild of Warcraft），奥利维尔·塞尔维斯（Olivier Servais）（2020），巴黎：Karthala，344页，ISBN 978-2-81112-630-8，p/bk，25.00欧元
{"title":"Dans la peau des gamers: Anthropologie d’une guilde de World of Warcraft (Inside the Gamers: Anthropology of a Guild of World of Warcraft), Olivier Servais (2020)","authors":"Stanley Y. Kollasch","doi":"10.1386/jgvw_00032_5","DOIUrl":"https://doi.org/10.1386/jgvw_00032_5","url":null,"abstract":"Review of: Dans la peau des gamers: Anthropologie d’une guilde de World of Warcraft (Inside the Gamers: Anthropology of a Guild of World of Warcraft), Olivier Servais (2020)Paris: Karthala, 344 pp.,ISBN 978-2-81112-630-8, p/bk, €25.00","PeriodicalId":43635,"journal":{"name":"Journal of Gaming and Virtual Worlds","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47306462","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Popular horror video game titles such as Outlast, Dead Space, and Amnesia: The Dark Descent are well-known for their effectiveness at evoking negative affects of terror and anxiety. The various camera tricks, control schemes, and visual cues these games deploy to confuse players and limit their sense of control and personal mastery. This article examines how Frictional Games’s Amnesia: The Dark Descent pairs confined spatial layouts with an intentionally vague user interface design to disorient players and heighten the likelihood that they will walk into one of the game’s threatening monsters. This article deploys Marxist and Affect theory conceptualizations of proximity and space to analyse how the game’s use of corners frighten players by narrowing their available field of view. The resulting analysis examines the negative feelings and subjective experiences players are likely to feel when they are unable to properly see the virtual diegetic world with absolute clarity.
流行的恐怖视频游戏，如Outlast、Dead Space和Amnesia:The Dark Descent，以其有效唤起恐怖和焦虑的负面影响而闻名。这些游戏采用的各种摄像技巧、控制方案和视觉提示会让玩家感到困惑，并限制他们的控制感和个人掌控力。这篇文章探讨了《摩擦游戏的失忆：黑暗降临》如何将有限的空间布局与故意模糊的用户界面设计结合起来，让玩家迷失方向，并增加他们撞上游戏中威胁性怪物的可能性。本文运用马克思主义和情感理论对接近和空间的概念来分析游戏中对角落的使用是如何通过缩小玩家的可用视野来恐吓玩家的。由此产生的分析考察了玩家在无法以绝对清晰的方式正确看待虚拟数字世界时可能感受到的负面感受和主观体验。
{"title":"Running scared: Fear and space in Amnesia: The Dark Descent","authors":"Charles Lee","doi":"10.1386/jgvw_00030_1","DOIUrl":"https://doi.org/10.1386/jgvw_00030_1","url":null,"abstract":"Popular horror video game titles such as Outlast, Dead Space, and Amnesia: The Dark Descent are well-known for their effectiveness at evoking negative affects of terror and anxiety. The various camera tricks, control schemes, and visual cues these games deploy to confuse\u0000 players and limit their sense of control and personal mastery. This article examines how Frictional Games’s Amnesia: The Dark Descent pairs confined spatial layouts with an intentionally vague user interface design to disorient players and heighten the likelihood that they will\u0000 walk into one of the game’s threatening monsters. This article deploys Marxist and Affect theory conceptualizations of proximity and space to analyse how the game’s use of corners frighten players by narrowing their available field of view. The resulting analysis examines the negative\u0000 feelings and subjective experiences players are likely to feel when they are unable to properly see the virtual diegetic world with absolute clarity.","PeriodicalId":43635,"journal":{"name":"Journal of Gaming and Virtual Worlds","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41878161","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The main aim of this article is to explore how posthuman values and premises can change the approach to video game research, in terms of reframing the relation between game and player as a meaning-making process. The idea of the bio-object, which originated in Tadeusz Kantor’s avant-garde theatre, is introduced and reread in the context of the critical posthumanism and new materialism of Karen Barad, especially her concept of intra-action. By meshing together Kantor’s and Barad’s ideas, a framework is developed for conceptualizing the bond between the player and the video game object, pointing out how their constant rivalry is not only resolved in meaning-generative tension, but also intra-actively shapes their ontic borders. The game and the player become equal in this new unity, and the video game object stops being perceived as a secondary to the player and can be analysed as the equal partner in this relation.
{"title":"Intra-acting bio-object: A posthuman approach to the player‐game relation","authors":"Justyna Janik","doi":"10.1386/jgvw_00026_1","DOIUrl":"https://doi.org/10.1386/jgvw_00026_1","url":null,"abstract":"The main aim of this article is to explore how posthuman values and premises can change the approach to video game research, in terms of reframing the relation between game and player as a meaning-making process. The idea of the bio-object, which originated in Tadeusz Kantor’s\u0000 avant-garde theatre, is introduced and reread in the context of the critical posthumanism and new materialism of Karen Barad, especially her concept of intra-action. By meshing together Kantor’s and Barad’s ideas, a framework is developed for conceptualizing the bond between the\u0000 player and the video game object, pointing out how their constant rivalry is not only resolved in meaning-generative tension, but also intra-actively shapes their ontic borders. The game and the player become equal in this new unity, and the video game object stops being perceived as a secondary\u0000 to the player and can be analysed as the equal partner in this relation.","PeriodicalId":43635,"journal":{"name":"Journal of Gaming and Virtual Worlds","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41761747","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The connection between player and avatar is central to digital gaming, with identification assumed to be core to this connection. Often, scholarship engages single dimensions of identification, yet emerging perspectives reveal that identification is polythetic (PID) ‐ comprising at least six sufficient (but not necessary) mechanisms. The current study investigates the intersections of polythetic identification mechanisms and two different approaches to player‐avatar sociality (as a marker of differentiation): general types of player‐avatar relationships (PARs) and discrete dimensions of player‐avatar interaction (PAX). Secondary analysis of an existing dataset of gamers revealed two main findings: (1) players reported overall diminished identification when they engaged in non-social relations with their avatar, and (2) increased liking and perspective-taking were most likely with human-like social relations, which require differentiation from rather than identification as the avatar. These findings are interpreted to suggest that player‐avatar identification and differentiation are conceptually independent relational phenomena that are experientially convergent ‐ some relational orientations and dynamics are associated with distinct combinations of identification mechanisms.
{"title":"Mechanisms of identification and social differentiation in player‐avatar relations","authors":"N. Bowman, J. Banks, Edward Downs","doi":"10.1386/jgvw_00028_1","DOIUrl":"https://doi.org/10.1386/jgvw_00028_1","url":null,"abstract":"The connection between player and avatar is central to digital gaming, with identification assumed to be core to this connection. Often, scholarship engages single dimensions of identification, yet emerging perspectives reveal that identification is polythetic (PID) ‐ comprising\u0000 at least six sufficient (but not necessary) mechanisms. The current study investigates the intersections of polythetic identification mechanisms and two different approaches to player‐avatar sociality (as a marker of differentiation): general types of player‐avatar relationships\u0000 (PARs) and discrete dimensions of player‐avatar interaction (PAX). Secondary analysis of an existing dataset of gamers revealed two main findings: (1) players reported overall diminished identification when they engaged in non-social relations with their avatar, and (2) increased liking\u0000 and perspective-taking were most likely with human-like social relations, which require differentiation from rather than identification as the avatar. These findings are interpreted to suggest that player‐avatar identification and differentiation are conceptually independent relational\u0000 phenomena that are experientially convergent ‐ some relational orientations and dynamics are associated with distinct combinations of identification mechanisms.","PeriodicalId":43635,"journal":{"name":"Journal of Gaming and Virtual Worlds","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45908198","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article examines how games set in the past reflect contemporary social and political events without overtly communicating messages. Using a simplified version of Astrid Ensslin’s methodological toolkit, the author studies four critically acclaimed retrospective mystery games produced in France within the 1986‐91 period. The research results allow one to externalize a trend marked by ambiguous meanings called La mode rétro, namely a nostalgic re-creation of the past and a simultaneous coming-to-terms with France’s history. The author contextualizes the games examined here in terms of their references to a problematic past ‐ the nation’s wartime stance towards Nazi Germany, and colonialism ‐ and contemporaneous events such as the emergence of the National Front in France. The titles examined here demonstrate how discursively ambiguous computer games are as cultural texts.
本文将探讨过去的游戏如何在不公开传达信息的情况下反映当代社会和政治事件。作者使用Astrid Ensslin方法工具包的简化版本，研究了1986 - 91年期间在法国制作的四款广受好评的回顾性神秘游戏。研究结果使人们能够将一种带有模糊含义的趋势外化，这种趋势被称为La mode r tro，即对过去的怀旧再创造，同时与法国的历史达成协议。作者将这两届奥运会的背景结合起来，分析了它们与过去的问题——国家对纳粹德国和殖民主义的战时立场——以及同时期的事件，如法国国民阵线的出现。这里考察的标题表明，作为文化文本，电脑游戏在话语上是多么模棱两可。
{"title":"La mode rétro: French mystery games ‐ Between nostalgia and historical revisionism (1986‐91)","authors":"Filip Jankowski","doi":"10.1386/jgvw_00027_1","DOIUrl":"https://doi.org/10.1386/jgvw_00027_1","url":null,"abstract":"This article examines how games set in the past reflect contemporary social and political events without overtly communicating messages. Using a simplified version of Astrid Ensslin’s methodological toolkit, the author studies four critically acclaimed retrospective mystery games\u0000 produced in France within the 1986‐91 period. The research results allow one to externalize a trend marked by ambiguous meanings called La mode rétro, namely a nostalgic re-creation of the past and a simultaneous coming-to-terms with France’s history. The author\u0000 contextualizes the games examined here in terms of their references to a problematic past ‐ the nation’s wartime stance towards Nazi Germany, and colonialism ‐ and contemporaneous events such as the emergence of the National Front in France. The titles examined here demonstrate\u0000 how discursively ambiguous computer games are as cultural texts.","PeriodicalId":43635,"journal":{"name":"Journal of Gaming and Virtual Worlds","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48125570","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article focuses on the design and preliminary experimentation of a tabletop game called Kitchen Table, created to encourage more empathy towards people with severe anaphylactic food allergies. To measure the effectiveness of this game, the study ‘Use of persuasive games to promote empathy for persons with food allergies’ was conducted at the University of Waterloo in collaboration with the Games Institute and Department of Geography and Environmental Management's Genetics, Environment and Therapies: Food Allergy Clinical Tolerance Studies (GET-FACTS) project. This study involved volunteers completing a Likert scale-based pre-playtest questionnaire, playing the game, and then completing a post-playtest questionnaire identical to the original. Their pre-playtest and post-playtest responses were compared to measure the degree to which attitudes changed as a result of playing the game. In the end, the game was demonstrated to encourage more empathy towards people with severe anaphylaxis through the production of emergent narrative from the interaction between the players, the game mechanics and the participatory community experience.
{"title":"Playing with the Kitchen Table: Using persuasive games to promote empathy for persons with anaphylactic food allergies","authors":"R. Clement","doi":"10.1386/jgvw_00029_1","DOIUrl":"https://doi.org/10.1386/jgvw_00029_1","url":null,"abstract":"This article focuses on the design and preliminary experimentation of a tabletop game called Kitchen Table, created to encourage more empathy towards people with severe anaphylactic food allergies. To measure the effectiveness of this game, the study ‘Use of persuasive\u0000 games to promote empathy for persons with food allergies’ was conducted at the University of Waterloo in collaboration with the Games Institute and Department of Geography and Environmental Management's Genetics, Environment and Therapies: Food Allergy Clinical Tolerance Studies (GET-FACTS)\u0000 project. This study involved volunteers completing a Likert scale-based pre-playtest questionnaire, playing the game, and then completing a post-playtest questionnaire identical to the original. Their pre-playtest and post-playtest responses were compared to measure the degree to which attitudes\u0000 changed as a result of playing the game. In the end, the game was demonstrated to encourage more empathy towards people with severe anaphylaxis through the production of emergent narrative from the interaction between the players, the game mechanics and the participatory community experience.","PeriodicalId":43635,"journal":{"name":"Journal of Gaming and Virtual Worlds","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44741076","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article focuses on the interactivity afforded to audiences by the video game livestreaming platform twitch.tv. Drawing on theories of audience labour, we explore what audience interactivity on Twitch might mean within the context of the contemporary digital economy. Specifically, and inspired by a range of existing work in media and cultural studies research on audiences, we argue that interactive audience practices on Twitch can be read as a site of ‘audience work’. Our contention is that the various kinds of interactive, audience practices on Twitch generate considerable economic value for the platform and its broadcasters. In the context of growing academic interest in livestreaming platforms like Twitch, this article contributes a new perspective towards the role that the interactivity of Twitch plays in creating commodified and commercially desirable experiences via the labour of audience activity.
{"title":"The work of watching Twitch: Audience labour in livestreaming and esports","authors":"M. Carter, Ben Egliston","doi":"10.1386/jgvw_00025_1","DOIUrl":"https://doi.org/10.1386/jgvw_00025_1","url":null,"abstract":"This article focuses on the interactivity afforded to audiences by the video game livestreaming platform twitch.tv. Drawing on theories of audience labour, we explore what audience interactivity on Twitch might mean within the context of the contemporary digital economy. Specifically,\u0000 and inspired by a range of existing work in media and cultural studies research on audiences, we argue that interactive audience practices on Twitch can be read as a site of ‘audience work’. Our contention is that the various kinds of interactive, audience practices on Twitch generate\u0000 considerable economic value for the platform and its broadcasters. In the context of growing academic interest in livestreaming platforms like Twitch, this article contributes a new perspective towards the role that the interactivity of Twitch plays in creating commodified and commercially\u0000 desirable experiences via the labour of audience activity.","PeriodicalId":43635,"journal":{"name":"Journal of Gaming and Virtual Worlds","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48819902","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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