Pub Date : 2024-05-15DOI: 10.1177/15554120241255417
Can Özgü
Dealing with the Devil is one of most prominent cultural motifs across the history of recorded folk tales. From ancient folk tales to contemporary cultural products, the Devil has appeared as an illicitly desirable being. The focal point of dealing with the Devil is that it is instigated by a pre-existent desire to exceed one's capacity determined by their temporal circumstances. In the Christian narrative tradition, a deal with the devil occurs over a Manichean undercurrent and ends in the condemnation of the participant or in the devil's humiliation. Pantheistic traditions discombobulate this contract by virtue of the nonexistence of Manichean binaries. This study aims to analyze the prevalence of desire in the deal with the devil motif throughout various tales and how the video game Witcher 3: The Wild Hunt (2015) complicates notions that are often taken for granted in Christian folk tales through its core narrative design.
{"title":"“The Devil in the Mirror: Projections of Desire from Folk Tales to Witcher 3: The Wild Hunt”","authors":"Can Özgü","doi":"10.1177/15554120241255417","DOIUrl":"https://doi.org/10.1177/15554120241255417","url":null,"abstract":"Dealing with the Devil is one of most prominent cultural motifs across the history of recorded folk tales. From ancient folk tales to contemporary cultural products, the Devil has appeared as an illicitly desirable being. The focal point of dealing with the Devil is that it is instigated by a pre-existent desire to exceed one's capacity determined by their temporal circumstances. In the Christian narrative tradition, a deal with the devil occurs over a Manichean undercurrent and ends in the condemnation of the participant or in the devil's humiliation. Pantheistic traditions discombobulate this contract by virtue of the nonexistence of Manichean binaries. This study aims to analyze the prevalence of desire in the deal with the devil motif throughout various tales and how the video game Witcher 3: The Wild Hunt (2015) complicates notions that are often taken for granted in Christian folk tales through its core narrative design.","PeriodicalId":507709,"journal":{"name":"Games and Culture","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-05-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140971840","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}
Pub Date : 2024-04-25DOI: 10.1177/15554120241246575
Lina Eklund, Andrei Zanescu
This study analyzes representations of women—protagonists and NPCs—in Assassińs Creed games between 2007 and 2024, to explore the impact of the last decades’ work for gender rights on the English language AAA game industry. Through close playing, we explore game bodies with attention to the surface level of narrative, graphics, sound, and underlying mechanics of actions and reactions. Through netnography, we add promotional material, retail sites, and social movements of importance to the analysis. Results show four eras for female protagonists: nonexistent, protagonists in side games, defined by their male coprotagonists, and choose your gender. Over the 17 years studied, women are more present, and NPCs are more complex. Though female protagonists remain sidelined or shallow representations as female skins on male characters. We discuss how discrepancies and conflicts between artistic visions, marketing, and brand choices impact how women are represented, and the impact on representation by external cultural events, for example Gamergate/Metoo, during this period.
{"title":"Times They Are A-Changin’? Evolving Representations of Women in the Assassin's Creed Franchise","authors":"Lina Eklund, Andrei Zanescu","doi":"10.1177/15554120241246575","DOIUrl":"https://doi.org/10.1177/15554120241246575","url":null,"abstract":"This study analyzes representations of women—protagonists and NPCs—in Assassińs Creed games between 2007 and 2024, to explore the impact of the last decades’ work for gender rights on the English language AAA game industry. Through close playing, we explore game bodies with attention to the surface level of narrative, graphics, sound, and underlying mechanics of actions and reactions. Through netnography, we add promotional material, retail sites, and social movements of importance to the analysis. Results show four eras for female protagonists: nonexistent, protagonists in side games, defined by their male coprotagonists, and choose your gender. Over the 17 years studied, women are more present, and NPCs are more complex. Though female protagonists remain sidelined or shallow representations as female skins on male characters. We discuss how discrepancies and conflicts between artistic visions, marketing, and brand choices impact how women are represented, and the impact on representation by external cultural events, for example Gamergate/Metoo, during this period.","PeriodicalId":507709,"journal":{"name":"Games and Culture","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-04-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140656828","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}
Pub Date : 2024-04-24DOI: 10.1177/15554120241249518
Yu-Leung Ng
Biophilic simulation games designed to simulate natural environments could have the potential to promote eco-friendly attitudes and behaviors. By adopting the uses and gratifications approach, this study investigated gaming gratifications of a biophilic simulation game, Animal Crossing: New Horizons, and associated pro-animal attitudes and pro-environmental behaviors. Results showed that individuals played Animal Crossing to satisfy fantasy, social, diversion, and enjoyment gratifications. While fantasy and enjoyment gratifications were positively associated with pro-animal attitudes, fantasy, and social gratifications were positively correlated with pro-environmental behaviors.
{"title":"Uses and Gratifications of Biophilic Simulation Games","authors":"Yu-Leung Ng","doi":"10.1177/15554120241249518","DOIUrl":"https://doi.org/10.1177/15554120241249518","url":null,"abstract":"Biophilic simulation games designed to simulate natural environments could have the potential to promote eco-friendly attitudes and behaviors. By adopting the uses and gratifications approach, this study investigated gaming gratifications of a biophilic simulation game, Animal Crossing: New Horizons, and associated pro-animal attitudes and pro-environmental behaviors. Results showed that individuals played Animal Crossing to satisfy fantasy, social, diversion, and enjoyment gratifications. While fantasy and enjoyment gratifications were positively associated with pro-animal attitudes, fantasy, and social gratifications were positively correlated with pro-environmental behaviors.","PeriodicalId":507709,"journal":{"name":"Games and Culture","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-04-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140663521","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}
Pub Date : 2024-03-27DOI: 10.1177/15554120241238262
Rory Summerley, Brian McDonald
The spectatorship of games has become a topic of growing interest with the parallel rise of esports and livestreaming platforms. Taking Saltybet.com as its primary case study, this paper examines cases where zero-player games played by artificial intelligence-controlled characters are the focus of spectatorship. A discourse analysis identifies trends and themes in the recorded chat transcripts of 15 livestreamed tournaments from Saltybet.com where players bet fake money on the outcome of fighting game matches between AI opponents. Several themes are identified that guide discussion on how spectators discuss AI players as well as their own and the community's behaviour. These insights may be applicable to understanding the broad appeal of the entertainment people derive from AI generally whether they were meant to entertain or not. The discussion explores how the absence of human players and the scale of Saltybet's niche audience contribute to a unique, but foolish space.
{"title":"Perceived Foolishness: How Does the Saltybet Community Construct AI vs AI Spectatorship?","authors":"Rory Summerley, Brian McDonald","doi":"10.1177/15554120241238262","DOIUrl":"https://doi.org/10.1177/15554120241238262","url":null,"abstract":"The spectatorship of games has become a topic of growing interest with the parallel rise of esports and livestreaming platforms. Taking Saltybet.com as its primary case study, this paper examines cases where zero-player games played by artificial intelligence-controlled characters are the focus of spectatorship. A discourse analysis identifies trends and themes in the recorded chat transcripts of 15 livestreamed tournaments from Saltybet.com where players bet fake money on the outcome of fighting game matches between AI opponents. Several themes are identified that guide discussion on how spectators discuss AI players as well as their own and the community's behaviour. These insights may be applicable to understanding the broad appeal of the entertainment people derive from AI generally whether they were meant to entertain or not. The discussion explores how the absence of human players and the scale of Saltybet's niche audience contribute to a unique, but foolish space.","PeriodicalId":507709,"journal":{"name":"Games and Culture","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-03-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140376850","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}
Pub Date : 2024-02-06DOI: 10.1177/15554120241226837
Angelo Maria Andriano
The application of the Theory of Information to the works of art can show why incompleteness and ambiguity offer a more engaging experience to readers and users. But when ambiguity becomes a deliberate strategy of the work, it becomes difficult to understand how to interpret it: in this article I argue that the correct way to interpret a work that makes incompleteness the rule of its poetics is to analyze how that strategy is conveyed throughout its basic grammar, without trying to solve the puzzles and contradictions that incompleteness and ambiguity inevitably produce. This is a relevant issue in the videogame Dark Souls as the basic elements of its grammar, level design, gameplay mechanics and narrative, offer the player the experience of incompleteness in different ways. In this article, I explain how the strategy of incompleteness works in Dark Souls and propose a framework for a Zen-wise interpretation of the game mechanics.
{"title":"Enjoying the Uncertainty. How Dark Souls Performs Incompleteness Through Narrative, Level Design and Gameplay","authors":"Angelo Maria Andriano","doi":"10.1177/15554120241226837","DOIUrl":"https://doi.org/10.1177/15554120241226837","url":null,"abstract":"The application of the Theory of Information to the works of art can show why incompleteness and ambiguity offer a more engaging experience to readers and users. But when ambiguity becomes a deliberate strategy of the work, it becomes difficult to understand how to interpret it: in this article I argue that the correct way to interpret a work that makes incompleteness the rule of its poetics is to analyze how that strategy is conveyed throughout its basic grammar, without trying to solve the puzzles and contradictions that incompleteness and ambiguity inevitably produce. This is a relevant issue in the videogame Dark Souls as the basic elements of its grammar, level design, gameplay mechanics and narrative, offer the player the experience of incompleteness in different ways. In this article, I explain how the strategy of incompleteness works in Dark Souls and propose a framework for a Zen-wise interpretation of the game mechanics.","PeriodicalId":507709,"journal":{"name":"Games and Culture","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-02-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139799227","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}
Pub Date : 2024-02-06DOI: 10.1177/15554120241226837
Angelo Maria Andriano
The application of the Theory of Information to the works of art can show why incompleteness and ambiguity offer a more engaging experience to readers and users. But when ambiguity becomes a deliberate strategy of the work, it becomes difficult to understand how to interpret it: in this article I argue that the correct way to interpret a work that makes incompleteness the rule of its poetics is to analyze how that strategy is conveyed throughout its basic grammar, without trying to solve the puzzles and contradictions that incompleteness and ambiguity inevitably produce. This is a relevant issue in the videogame Dark Souls as the basic elements of its grammar, level design, gameplay mechanics and narrative, offer the player the experience of incompleteness in different ways. In this article, I explain how the strategy of incompleteness works in Dark Souls and propose a framework for a Zen-wise interpretation of the game mechanics.
{"title":"Enjoying the Uncertainty. How Dark Souls Performs Incompleteness Through Narrative, Level Design and Gameplay","authors":"Angelo Maria Andriano","doi":"10.1177/15554120241226837","DOIUrl":"https://doi.org/10.1177/15554120241226837","url":null,"abstract":"The application of the Theory of Information to the works of art can show why incompleteness and ambiguity offer a more engaging experience to readers and users. But when ambiguity becomes a deliberate strategy of the work, it becomes difficult to understand how to interpret it: in this article I argue that the correct way to interpret a work that makes incompleteness the rule of its poetics is to analyze how that strategy is conveyed throughout its basic grammar, without trying to solve the puzzles and contradictions that incompleteness and ambiguity inevitably produce. This is a relevant issue in the videogame Dark Souls as the basic elements of its grammar, level design, gameplay mechanics and narrative, offer the player the experience of incompleteness in different ways. In this article, I explain how the strategy of incompleteness works in Dark Souls and propose a framework for a Zen-wise interpretation of the game mechanics.","PeriodicalId":507709,"journal":{"name":"Games and Culture","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-02-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139859095","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}
Pub Date : 2024-02-04DOI: 10.1177/15554120241228490
M. Mochocki, Stanisław Krawczyk, Aleksandra Mochocka
Situated within historical and regional (CEE) game studies, this article is an overview of games made in Poland after 1989 about Polish history up to the eighteenth century. It also outlines research made on those games, and it comments on changing cultural and political factors shaping the development of Polish history/heritage-themed games over the last three decades. We group the games in thematic-chronological categories: early medieval Slavic settings up to 1000, medieval to Renaissance Poland, and Polish-Lithuanian Commonwealth 1569–1795. Main findings: (a) Slavic fantasy became very popular with game developers after Witcher 3, but it has received little scholarly attention beside the witcher series. (b) Medieval Polish monarchies have barely caught the eye of game developers, which translates to the absence of related research. (c) The PLC period is well-represented in digital and nondigital games, and well-researched in historical games studies by Polish scholars in Polish and English.
{"title":"Polish History up to 1795 in Polish Games and Game Studies","authors":"M. Mochocki, Stanisław Krawczyk, Aleksandra Mochocka","doi":"10.1177/15554120241228490","DOIUrl":"https://doi.org/10.1177/15554120241228490","url":null,"abstract":"Situated within historical and regional (CEE) game studies, this article is an overview of games made in Poland after 1989 about Polish history up to the eighteenth century. It also outlines research made on those games, and it comments on changing cultural and political factors shaping the development of Polish history/heritage-themed games over the last three decades. We group the games in thematic-chronological categories: early medieval Slavic settings up to 1000, medieval to Renaissance Poland, and Polish-Lithuanian Commonwealth 1569–1795. Main findings: (a) Slavic fantasy became very popular with game developers after Witcher 3, but it has received little scholarly attention beside the witcher series. (b) Medieval Polish monarchies have barely caught the eye of game developers, which translates to the absence of related research. (c) The PLC period is well-represented in digital and nondigital games, and well-researched in historical games studies by Polish scholars in Polish and English.","PeriodicalId":507709,"journal":{"name":"Games and Culture","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-02-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139806716","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}
Pub Date : 2024-02-04DOI: 10.1177/15554120241228490
M. Mochocki, Stanisław Krawczyk, Aleksandra Mochocka
Situated within historical and regional (CEE) game studies, this article is an overview of games made in Poland after 1989 about Polish history up to the eighteenth century. It also outlines research made on those games, and it comments on changing cultural and political factors shaping the development of Polish history/heritage-themed games over the last three decades. We group the games in thematic-chronological categories: early medieval Slavic settings up to 1000, medieval to Renaissance Poland, and Polish-Lithuanian Commonwealth 1569–1795. Main findings: (a) Slavic fantasy became very popular with game developers after Witcher 3, but it has received little scholarly attention beside the witcher series. (b) Medieval Polish monarchies have barely caught the eye of game developers, which translates to the absence of related research. (c) The PLC period is well-represented in digital and nondigital games, and well-researched in historical games studies by Polish scholars in Polish and English.
{"title":"Polish History up to 1795 in Polish Games and Game Studies","authors":"M. Mochocki, Stanisław Krawczyk, Aleksandra Mochocka","doi":"10.1177/15554120241228490","DOIUrl":"https://doi.org/10.1177/15554120241228490","url":null,"abstract":"Situated within historical and regional (CEE) game studies, this article is an overview of games made in Poland after 1989 about Polish history up to the eighteenth century. It also outlines research made on those games, and it comments on changing cultural and political factors shaping the development of Polish history/heritage-themed games over the last three decades. We group the games in thematic-chronological categories: early medieval Slavic settings up to 1000, medieval to Renaissance Poland, and Polish-Lithuanian Commonwealth 1569–1795. Main findings: (a) Slavic fantasy became very popular with game developers after Witcher 3, but it has received little scholarly attention beside the witcher series. (b) Medieval Polish monarchies have barely caught the eye of game developers, which translates to the absence of related research. (c) The PLC period is well-represented in digital and nondigital games, and well-researched in historical games studies by Polish scholars in Polish and English.","PeriodicalId":507709,"journal":{"name":"Games and Culture","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-02-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139866940","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}
Pub Date : 2023-11-26DOI: 10.1177/15554120231209801
Carl Harrington
Niklas Nylund argued that videogames lacked a coherent descriptive framework required to understand their complex position as museum artifacts. He proposed a matrix model consisting of three overlapping aspects of games display: objects, context, and experience. Although a starting point for exploring the role of videogames in museums, this required further detailed analysis. The present article extends the matrix model by exploring the area of ‘experience’, separating this aspect of display into three sub-categories: (a) playable experience, (b) collective experience, and (c) situational experience. These sub-categories of experience are discussed regarding videogame display in European museums. It is argued that this extended view of experience, rather than distracting from contextual information, is central to videogame display. Extending this category beyond playable games enables exhibitions to use the area of experience within a wider framework.
{"title":"Experience in Videogame Display: An Extension of the Matrix Model","authors":"Carl Harrington","doi":"10.1177/15554120231209801","DOIUrl":"https://doi.org/10.1177/15554120231209801","url":null,"abstract":"Niklas Nylund argued that videogames lacked a coherent descriptive framework required to understand their complex position as museum artifacts. He proposed a matrix model consisting of three overlapping aspects of games display: objects, context, and experience. Although a starting point for exploring the role of videogames in museums, this required further detailed analysis. The present article extends the matrix model by exploring the area of ‘experience’, separating this aspect of display into three sub-categories: (a) playable experience, (b) collective experience, and (c) situational experience. These sub-categories of experience are discussed regarding videogame display in European museums. It is argued that this extended view of experience, rather than distracting from contextual information, is central to videogame display. Extending this category beyond playable games enables exhibitions to use the area of experience within a wider framework.","PeriodicalId":507709,"journal":{"name":"Games and Culture","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139235570","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}
Pub Date : 2023-11-26DOI: 10.1177/15554120231216545
Xiaochun Zhang, Huawei Song
This article investigates the impact of using pivot language on the quality of game localization via a case study on the Japanese game Dark Souls 3. It first discusses the indirectness of the source text and the complexity of the target text in game localization by highlighting the “born translated” nature of the game narrative design. It then explicates the intricacy of having game audio voiced over in English only and including both direct and indirect translations in the localization workflow. It demonstrates the complication in evaluating localization quality from players’ perspectives and suggests that using English as a pivot language has certain advantages in ensuring multimodal cohesiveness in game localization. The rationale behind the localization approach is then explored through the lens of the mukokuseki strategy, which suggests that the application of pivot translation is driven by market globalization and, ultimately, the pursuit of economic gain.
{"title":"The Mukokuseki Strategy and the Application of Pivot Translation in the Localization of Japanese Games","authors":"Xiaochun Zhang, Huawei Song","doi":"10.1177/15554120231216545","DOIUrl":"https://doi.org/10.1177/15554120231216545","url":null,"abstract":"This article investigates the impact of using pivot language on the quality of game localization via a case study on the Japanese game Dark Souls 3. It first discusses the indirectness of the source text and the complexity of the target text in game localization by highlighting the “born translated” nature of the game narrative design. It then explicates the intricacy of having game audio voiced over in English only and including both direct and indirect translations in the localization workflow. It demonstrates the complication in evaluating localization quality from players’ perspectives and suggests that using English as a pivot language has certain advantages in ensuring multimodal cohesiveness in game localization. The rationale behind the localization approach is then explored through the lens of the mukokuseki strategy, which suggests that the application of pivot translation is driven by market globalization and, ultimately, the pursuit of economic gain.","PeriodicalId":507709,"journal":{"name":"Games and Culture","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139235004","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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