2018 DiGRA Distinguished Scholars

The 2018 DiGRA Distinguished Scholars: Helen Kennedy and Petri Lankoski

In 2016 DiGRA established the Distinguished Scholars program to recognize senior scholars in the field of game studies who have been at the forefront of the development of rigorous scholarship, the establishment of game studies and game development programs, and who have made significant contributions to DiGRA itself as an organization. Below are biographies for Kennedy and Lankoski. You can find the complete list of scholars at:

http://www.digra.org/the-association/distinguished-scholars/

Helen Kennedy: Helen is currently Head of the School of Media at the University of Brighton overseeing the leadership and management of undergraduate and postgraduate courses currently delivered across four sites throughout the city . Helen’s career has been characterised by her passion for the integration of research, innovative curriculum development and collaborative and creative partnerships. She has an international reputation for her research and advocacy work in Game Studies and for her leadership in the development of the field.

Her current research interests are feminist interventions into games culture, experience design and cultural evaluation. She is Principal Investigator on an international project aimed at the transformation of games (REFIG.ca). Over the past 3 years she has been researching experiential cinema as an aspect of the ludification of contemporary culture with Dr Sarah Atkinson at King’s College London with whom she has written a number of field defining publications. Recently she has been awarded further significant UK Research Council funding to investigate new technologies and new creative practices in immersive experience design.

Petri Lankoski: (D.Arts) is an associate professor at Södertörn University where he teaches game development and game research. He has been working with game research since early 2000. His research has looked at various aspects of game design research, as well as emotions, embodiment, and fictionality in games. Lankoski also develops games as part of the research. He has published three books: Character-Driven Game Design (Aalto University, 2010) and Game Research Methods: An Overview (co-edited with Staffan Björk, ETC Press, 2015) and Game Design Research: An Introduction to Theory and Practice (co-edited with Jussi Holopainen, ETC Press, 2017).

CfP: The 5th Annual Chinese DiGRA Conference

Chinese DiGRA is excited to announce the fifth annual conference to be held at the CityU Shenzhen Research Institute from the 7th to the 9th of September 2018. 

Conference themes

We invite submissions on any aspect of Chinese games, game industries, game design and gaming cultures. We also invite submissions from people located in the Chinese-speaking region who are researching any aspect of games. Topics may include, but are not limited to:

  • Analyses of game design and development traditions and practices in the region
  • Representation, diversity and inclusiveness in ‘Chinese’ games and game (development/play) cultures
  • The Chinese game industries and their future possibilities/weaknesses
  • Critical analysis of the Chinese game industries
  • Gaming and production cultures in specific ‘Chinese’ regions
  • China as the biggest videogame market in the world
  • Critical analyses of ‘Chinese’ games and games popular in China
  • Critical considerations of future game development in the Chinese-speaking region
  • Local ‘game design issues’
  • Specificities regarding computer games within Chinese cross-media environments
  • Computer games and playability in the context of interactive art and creative media
  • Government policy on production and consumption of games
  • Esports in the Chinese speaking region and beyond
  • The history of Chinese games and gaming
  • Comparative analyses of Chinese and other games, game industries and game cultures

*The Chinese DiGRA conference facilitates networking amongst game scholars working in the Chinese-speaking region. Therefore, apart from the above topics we also encourage submissions from scholars located in the Chinese-speaking region working on any aspect of game research. Continue reading

CFP for DiGRA Italia 2018: Women, LGBTQI & Allies: videogiochi e identità di genere // video games and gender identities

We are proud to announce the CFP for DiGRA Italia 2018: Women, LGBTQI & Allies: videogiochi e identità di genere // video games and gender identities.

The conference will be held in Palermo (Sicily), Cantieri Culturali della Zisa, 1 June 2018.

In the following the Italian CFP, followed by the English version.

 
 
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DiGRA Italia – Palermo, 1 giugno 2018
Women, LGBTQI & Allies: videogiochi e identità di genere

                                                            

In collaborazione con:
Sicilia Queer Filmfest (http://www.siciliaqueerfilmfest.it)
CIRQUE – Centro interuniversitario di ricerca queer (http://cirque.unipi.it)
Women in Games Italia (www.womeningamesitalia.org)

 

Presso i Cantieri Culturali della Zisa, Palermo.

 

Invio proposte entro il 16 Aprile 2018 (digraitalia@gmail.com)

L’industria dei videogiochi è tradizionalmente associata a un pubblico maschile e adolescenziale, e caratterizzata da un immaginario che in ampia parte rifletteva (e tuttora riflette) un’industria dominata dagli uomini. Nella maggior parte dei videogiochi (seppure con le dovute eccezioni) i personaggi principali sono uomini, spesso raffigurati in chiave iper-mascolinizzata (God of War), mentre quelli femminili hanno ricoperto il ruolo di principesse da salvare (Super Mario Bros), oggetti ipersessualizzati (Dead or Alive) e personaggi marginali o laterali (Grand Theft Auto). Parimenti, le identità queer, transgender e transessuali sono spesso rappresentate in maniera altamente stereotipata, e restituiscono un immaginario di figure passive e devianti (Birdo di Super Mario Bros, Vendetta, Poison di Final Fight) – come del resto è il caso delle rappresentazioni tipiche di personaggi non occidentali.

 

L’industria del videogioco è prevalentemente la proiezione dell’immaginario di white straight men: maschi bianchi eterosessuali. Casi come il Gamergate hanno riproposto il problema di un’industria e comunità di videogiocatori che parla prevalentemente al maschile, quando non è apertamente misogina, omofoba e transfobica. Tali rappresentazioni eteronormate, costrette in un binario donna/uomo radicale e restrittivo, riflettono effetti di marginalizzazione e stereotipi che operano diffusamente sul piano sociale e ideologico. Si tratta, di fatto, di rappresentazioni che hanno cause che precedono l’avvento dei videogiochi nella sfera pubblica e che dai videogiochi sono poi riflesse e amplificate.

Elementi di trasformazione positiva iniziano ad affiorare tramite un aumento delle istanze femministe e LGBTQIA (lesbian, gay, bisexual, transgender, queer/questioning, intersex, and allies) nell’industria, nella stampa e nell’accademia. Sempre più giochi presentano personaggi femminili non stereotipati (The Last of Us) o dalle identità di genere fluide e non eteronormative (Mass Effect), o degli spunti di riflessione su tali temi (Dad Dating Simulation, Life is Strange). La sempre maggiore diffusione del videogioco come forma di intrattenimento e la sua continua espansione tra nuove fasce sociali e demografiche – complici Internet e smartphone, accanto alle tradizionali console e computer – hanno ridotto le barriere di accesso alla produzione e al consumo, e consentito di rispecchiare la pluralità e diversità del pubblico. Tali esperienze, tuttavia, possono considerarsi come tendenze promettenti ma tuttora marginali, nate talvolta più con l’intento di spettacolarizzare e vendere il movimento LGBT come tema e prodotto che per rispecchiare le istanze di liberazione di quant* lo compongono.

Partendo dalla constatazione che i videogiochi sono una pratica sociale e una forma di rappresentazione dall’immenso impatto simbolico – non solo per la loro abilità di riprodurre stereotipi, ma anche per la loro capacità di configurarsi come media per la rivendicazione di soggettività e istanze marginalizzate – DiGRA Italia intende stimolare un dibattito con gruppi di ricerca, addette ai lavori e giocatrici in Italia nel senso più inclusivo e aperto possibile. Invita dunque ricercatrici e ricercatori, studiosi, attivisti, giocatrici e appassionati a prendere parte ad una riflessione sul videogioco come prodotto culturale attraverso cui affrontare temi e istanze legate agli studi di genere, femministi e LGBTQIA; l’obiettivo è generare un dibattito attraverso cui esplorare molteplici prospettive e condividere un terreno di analisi delle pratiche esistenti, nonché di critica delle radici ideologiche di sessismo, omofobia, bifobia, transfobia e intolleranza.

Sono apprezzate proposte di studi e ricerche di singoli o gruppi di studio, ma anche contributi creativi come corti, videogiochi, animazioni, arte e performance, su argomenti che includono, ma non si limitano a:

–   Rappresentazione di donne e identità LGBTQI nell’industria dei videogiochi
–   Giocatrici e giocatori nella stampa e nell’accademia
–   Personaggi femminili, queer e trans nella storia dei videogiochi
–   Identità di genere e temi LGBTQI nel videogioco in Italia
–   Sessualità, pornografia e sperimentazioni tecnologiche
–   Sguardi, feticismi, iper-sessualizzazione e violenza
–   Audience e ideologie normate nella produzione di giochi
–   Continuità tra videogiochi e altri mezzi: cinema, fumetti, musica, ecc.
–   Aspetti di intersezionalità nelle relazioni tra stereotipi LGBTQI, etnici e razziali
–   Prospettive di ricerca e per la produzione di videogiochi inclusivi
–      Problematiche politiche e legislative relative alla discriminazione di genere

La conferenza sarà moderata da Marco B. Carbone e Ilaria Mariani
Le proposte saranno sottoposte a una procedura di blind peer reviewing.

Data finale per l’invio di proposte (abstract di 500 parole, paper completi e altri contributi): 16 aprile 2018
Data di notifica dell’esito della selezione: 23 aprile
E-mail a cui inviare le proposte: digraitalia@gmail.com

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DiGRA Italia – III – Palermo, 1 June 2018
Women, LGBTQI & Allies: video games and gender identities

In collaboration with:
Sicilia Queer Filmfest (http://www.siciliaqueerfilmfest.it)
CIRQUE – Centro interuniversitario di ricerca queer (http://cirque.unipi.it)
Women in Games Italia (www.womeningamesitalia.org)

Hosted by Cantieri Culturali della Zisa, Palermo

Deadline for submission of proposals: 16 April 2018 (digraitalia@gmail.com)

 

Research has traditionally associated video games with an audience of male adolescents, acknowledging the industry as being primarily dominated by men. In most video games (albeit with certain exceptions) the main characters are male, often portrayed in hyper-masculine fashion (God of War). On the other hand, female characters have mostly been portrayed as damsels in distress (Super Mario Bros), hypersexualised and objectified figures (Dead or Alive) or as peripheral characters (Grand Theft Auto). Similarly, queer and transgender characters have often been represented in a highly stereotypical manner:  as passive and/or deviant (Birdo from Super Mario Bros; Vendetta, Poison from Final Fight) –as is the case with dominant representations of non-white, non-Western characters.

The video game industry is mostly a projection of white, straight, male ideologies. Cases like Gamergate have reiterated the issue of an industry and gaming community that mainly caters for males, when it is not openly misogynist, homophobic, bi-phobic, and transphobic. Heteronormative representations of characters in games, constrained in a radical and restrictive woman/man gender binary, reflect structural forms of marginalisation and stereotypes, operating, broadly, at a social and ideological level. Such ideologies originated before the emergence of video games in the public sphere and are, consequently, reflected by and amplified through the games.

Elements of positive change have been emerging in the video game industry, press, and academia over the past few years, through the increasing recognition of Lesbian, Gay, Bisexual, Transgender, Questioning, Intersex, and Allies (LGBTQIA) issues. A growing number of games may feature non-stereotypical female characters (The Last of Us) and fluid, non-heteronormative gender identities (Mass Effect), or, indeed, contain elements of reflection on such issues (Dad Dating Simulation, Life is Strange). Through the expansion of the internet, and the mainstream availability of smartphones, alongside more traditional consoles and personal computers, video games have begun to incorporate broader social demographic groups and, consequently, lowered the barriers of access to production and consumption, with the potential for a more inclusive and progressive industry. Games featuring LGBTQIA themes have emerged as a promising tendency. Yet, most of these products seem to have been designed to target niche audiences, or have even attempted to package and commodify LGBTQIA causes rather than representing and empowering diverse individuals within mainstream narratives.

Acknowledging the high cultural and symbolic impact of video games as a social practice and as a potent form of representation, alongside their ability to both reproduce stereotypes and, potentially, affirm marginalised gender identities, the Italian chapter of DiGRA aims to stimulate an all-inclusive, open debate between Italian and international research groups, practitioners, and players. We are inviting researchers, scholars, practitioners, activists, players, artists, and enthusiasts to take part in a research conference on video games and gender, feminist, and LGBTQIA studies. We aim to generate a debate, which will enable the exploration of multiple perspectives and create a shared platform for the critical analysis of gendered representations in games, while addressing the ideological roots of sexism, homophobia, transphobia, biphobia, and intolerance.

We welcome proposals for abstracts, research papers, and panels, as well as creative contributions such as short films, (video) games, animations, art, and live performance.
The topics of the conference include, but are not limited to:

– Representations of women and LGBTQI identity in the video game industry
– Gendered identities in the press, industry, and academia
– Female, queer and trans characters in the history of video games
– Gender identities and LGBTQI themes in the Italian gaming context
– Sexuality, pornography, and technological experimentations
– Gazes, fetishes, hyper-sexualisation, violence
– Normalisations of audiences and ideologies in games production
– Continuities between video games and other media: cinema, comics, music, and literature
– Intersectionality and relations between LGBTQI representations and ethnic or racial stereotypes
– Perspectives on the study and production of inclusive video games
– Political and legal implications of gender discrimination

        Conference chairs: Marco B. Carbone and Ilaria Mariani.
Contributions will be subject to a double blind peer reviewing.

Deadline for submission (500 word abstracts, full papers, and other proposals): 16 April 2018
Date of notification of acceptance: 23 April 2018
Submissions to digraitalia@gmail.com

Announcement: DiGRA Nordic 2018

Nordic DiGRA 2018 Call for Papers

“Subversion, Transgression, and Controversy in Play”

University of Bergen, Norway, Nov 28-30, 2018

Video games have a reputation of being rebellious, often being the target of controversies and criticism for their inclusion of excessive and speculative content, as well as for the opportunities for players to engage in subversive practices. Today video games are no longer a subcultural medium, but are addressing the mainstream as well as diverse subcultures. Also, analogue genres such as board games and role-playing games are becoming more visible for a broader audience. As games mature as a medium, there is also a growing expectation that games should be able to tackle difficult content in a meaningful way, for instance by provoking the player into reflecting upon what they have just encountered, what it means and how they feel about it in the context of play. In this conference, we are focusing on subversive play practices, the engagement with controversial topics, and the debate about games and the freedom of expression.

This call has focus on subversion, transgression, and controversy in games and play but also invites submissions on a range of topics relating to research on both digital and analogue games, including, but not limited to the following:

  •   Game cultures
  •   Player studies
  •   Minority gamers
  •   Gender and gaming
  •   Games and freedom of expression
  •   Games and representation
  •   Game content
  •   Research methods
  •   Game controversies
  •   Subversive gameplay practices
  •   Game design
  •   Game journalism
  •   Game production and industry studies

Review process: The conference accepts the following submissions:

  • full papers (4000-6000 words excluding references), which will be handled in blind peer review.
  • extended abstracts (800-1000 words excluding references)
  • workshop proposals (800-1000 words excluding references)
  • panels of 3-5 presenters (800-1000 words excluding references per participant, with a 100-word biography of each participant)

Full papers and extended abstracts will be subject to a double-blind peer review. Panels and workshops will be reviewed by the organizing committee. All submissions must use the Nordic DiGRA 2018 submission template. All word and page limits exclude references, and references are expected for full papers and extended abstracts.

All submissions will be handled through Easychair.org, which will be opened for submissions to DiGRA Nordic 2018 no later than June 01, 2018.

Deadline for all submissions is August 13, Aug 26, 2018.

call for papers

CfP: British DiGRA 2018 (14th – 15th June 2018), Staffordshire University, Stoke on Trent

Call for Papers (published 19/2/2018)

British DiGRA 2018

The second annual conference of British DiGRA.

14th – 15th June 2018

Staffordshire University, Stoke on Trent

The Medium is the Game

Since 2003 and the first DiGRA convention in 2003, we have seen a huge change in the ways that Games Studies understands itself and has conveyed itself as a discipline to (and sometimes within) other critical media. This conference takes as its theme the media of the game, playfully repositioning the 2018 DiGRA theme of ‘The Game is the Message’.

We welcome submissions that move beyond digital gaming, for example submissions relating to boardgames LARP, pervasive games or other forms of analog gaming.

We actively encourage early scholars and PhD candidates, as well as more established voices.

Submissions should consider, but not be restricted to, the following topics in this light:

  • ·         - Revisiting Games as Inter/Multidisciplinary subject
  • ·         - Gaming as Media
  • ·         - Representation in Games
  • ·         - Playfulness and the Medium of Games (Why/Not so Serious…?)
  • ·         - Building games
  • ·         - Pedagogical practice and gaming
  • ·         - Game design/development/theory – the un/holy? trinity
  • ·         - Changes in gaming culture
  • ·         - After the Storm (post gamergate theory)
  • ·         - Games production as critical medium
  • ·         - eSports theory

We welcome the following submission types:

Full papers, of 5000 – 7000 words, to be presented as papers in a panel session.

A template for full papers is here - http://bdigra.org.uk/events

Abstracts of 500 words, to be presented in a series of quickfire round table sessions.

Please follow the relevant areas of the template, including Abstract, Keywords and References.

Workshops to last approx half a day – to be submitted as precis of approx 500 – 1000 words underlining core objectives and aims.

Discussion panels – to be submitted as precis of approx 500 – 1000 words underlining core objectives and aims.

Please submit work to BritishDigra@gmail.com by 31st March 2018. Papers and abstracts should be anonymised, but please make sure you identify yourself in the e-mail so that we can respond when the paper has been reviewed.

Acceptance of papers 14th April 2018

Selected proceedings will be published in a special edition of ToDiGRA, in second quarter 2019.

We have decided to charge a small attendance fee of £25 to cover costs. Any surplus funding will be carried over to future BDiGRA events. An eventbrite with details of this will be forthcoming.

All attendees are expected to abide by the BDiGRA Inclusivity Policy - http://bdigra.org.uk/inclusivity-policy

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DiGRA 2018 – The Game is the Message – CFP

The Game is the Message
July 25-28, 2018
Campus Luigi Einaudi, Università di Torino, Turin, Italy
Lungo Dora Siena, 100 A, 10153 Turin, Italy
Conference chairs: Riccardo Fassone and Matteo Bittanti
Games have long since moved out of the toy drawer, but our understanding of them can still benefit from seeing them in a wider context of mediated meaning-making. DiGRA 2018 follows Marshall McLuhan, and sees games as extensions of ourselves. They recalibrate our senses and redefine our social relationships. The environments they create are more conspicuous than their content. They are revealing, both of our own desires and of the society within which we live. Their message is their effect. Games change us.
To explore this change, we invite scholars, artists and industry to engage in discussions over the following tracks:
- Platforms
Game platforms invite new textualities, new technologies and new networks of power relations. Game structures, their integration with and use of the technology, as well as the affordances and restrictions offered by the platforms on which they live, influence our experience of them.
- Users
Games invite new relations between their users, and players strive for and achieve new modes of perception. This reconfigures our attention, and establishes new patterns and forms of engagement.
- Meaning-making
The connection between a game and its content is often interchangeable – a game is clearly recognizable even if the surface fiction is changed. But games still produce meanings and convey messages. We ask, what are the modes of signification and the aesthetic devices used in games? In this context we particularly invite authors to look at games that claim to be about serious topics or deal with political and social issues.
- Meta-play
The playing of the game has become content, and we invite authors to explore spectatorship, streaming, allied practices and hybrid media surrounding play and the players. How can we describe and examine the complex interweaving of practices found in these environments?
- Context
Games are subject to material, economic and cultural constraints. This track invites reflection on how these contingencies as well as production tools, industry and business demands and player interventions contribute to the process of signification.
- Poetics
Games are created within constraints, affordances, rules and permissions which give us a frame in which games generate meaning. Games have voice, a language, and they do speak. This is the poetics of games, and we invite our fellows to explore and uncover it.
- General
Games tend to break out of the formats given them, and so for this track we invite the outstanding abstracts, papers and panels on alternative topics to the pre-determined tracks.
We invite full papers, 5000 – 7000 words plus references using the DiGRA 2018 submission template (http://www.digra.org/?attachment_id=148233), extended abstracts (from 500 words, maximum 1000, excluding references), and panel submissions (1000 words excluding references, with a 100 word biography of each participant). Full papers will be subject to a double-blind peer review. Extended abstracts will be blinded and peer reviewed by committees organised by the track chairs. Panels will be reviewed by the track chairs and the program chairs. General inquiries should be addressed to Riccardo Fassone – riccardo.fassone AT unito.it. Artist contributions, industry contributions, performances or non-standard presentations should be addressed to Matteo Bittanti  – matteo.bittanti AT iulm.it .
Submission will be opened December 1st, 2017, and the final deadline for submission is January 31st 2018. The URL for submissions is https://easychair.org/conferences/?conf=digra2018 .
Program chairs are
Martin Gibbs, martin.gibbs AT unimelb.edu.au, University of Melbourne, Australia
Torill Elvira Mortensen, toel AT itu.dk, IT University of Copenhagen, Denmark
Important dates:
Submission opens: December 1st, 2017
Final submission deadline: January 31st, 2018
Results from reviews: March 1st, 2018
Early registration deadline: March 15th, 2018
Reviewed and rewritten full papers final deadline: April 15th, 2018
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Call for Papers – DiGRA Italia: Made in Italy – Roma, 15 December 2017

We are happy to announce DiGRA Italia‘s next conference!
The main theme for this event is Made in Italy: we are going to investigate the production, consumption, history and criticism of video games in/about/around Italy. We are interested in contributions on:
- History and frontiers of video game development within the country
- Reception studies and subculture theories on the Italian video game scene
- Discourses surrounding video games on national mainstream media
- Representation of Italian history and culture within video games
- Players and audiences: fan cultures, YouTubers, mainstream and hardcore gaming
- Preservation of video game texts in Italy: museums, emulation, archives
Submission deadline: 6th October.
While the theme of the conference might sound (pen)insular, the Call for Paper is open to submissions in English and by international scholars.
Our hosting institution is VIGAMUS, the video game museum in Rome, Italy, which is in itself worth a visit if you are travelling from abroad.
The conference is the second national event this year from the Italian DiGRA section. Our first meeting at IULM, in Milan, in May 2017, proved to be successful beyond our expectations. We are organising a second conference to gather the growing number of researchers, practitioners, artists and teachers who work with video games in the country, as well as international scholars interested in work on the Italian field of production, consumption and representation. Game studies in Italy are gaining momentum, and it is a splendid time to join in!
For further information, please write at digraitalia@gmail.com
call for papers

2017 DiGRA Distinguished Scholars

Since DiGRA’s founding in 2003, game studies has grown into a large, interdisciplinary community of researchers around the world. These researchers have worked to advance the field of game studies in multiple ways, including through the development of rigorous scholarship, the establishment of game studies and game development programs at multiple colleges and universities, and the continued growth of our field. In response, DiGRA recognizes senior scholars who have been at the forefront of such actions including significant contributions made to DiGRA itself as an organization.

We are happy to announce that two additional world-class researchers have been elected to the group for 2017: Dr. Jennifer Jenson of York University and Dr. T.L. Taylor of MIT.

Dr. Jennifer Jenson is the Director of the Institute for Research on Digital Learning and a Professor of Pedagogy and Technology in the Faculty of Education at York University, Canada. She, along with Suzanne de Castell founded the Canadian Game Studies Association (www.gamestudies.ca) as well as its journal, Loading (http://journals.sfu.ca/loading). Additionally, she was part of the DiGRA conference organizing team that brought DiGRA to North America for the first time (Vancouver, B.C.) in 2005. She has published on games and learning, gender and gameplay, the design and implementation of games in formal school settings, and on games as pathways to computational skills. She is currently the director of a large, Canadian Social Sciences and Humanities research grant that is focused on intervening in the toxic, misogynist spaces of game making and game culture (www.refig.ca).

Dr. T.L. Taylor is Professor of Comparative Media Studies at MIT. She is a qualitative sociologist (Brandeis University, 2000) who has focused on internet and game studies for over two decades. Her research explores the interrelations between culture, social practice, and technology in online leisure environments.Her book Raising the Stakes: E-Sports and the Professionalization of Computer Gaming (MIT Press, 2012) chronicles the rise of e-sports and professional computer gaming. She is also the author of Play Between Worlds: Exploring Online Game Culture (MIT Press, 2006) which used her multi-year ethnography of EverQuest to explore issues related to massively multiplayer online games. Ethnography and Virtual Worlds: A Handbook of Method, her co-authored book on doing ethnographic research in online multi-user worlds, was published by Princeton University Press (2012). She is currently at work on a book about game live-streaming (under contract with Princeton University Press).Dr. Taylor also serves as Director of Research for AnyKey, an organization dedicated to supporting and developing fair and inclusive esports.

You can see the complete list of Distinguished Scholars here:
http://www.digra.org/the-association/distinguished-scholars/

Please join me in congratulating Dr. Jenson and Dr. Taylor on their achievements.

All the best,

Mia