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This is not a game: play in cultural environments



2003 DiGRA '03 - Proceedings of the 2003 DiGRA International Conference: Level Up

Games have a particular set of relationships to the contexts in which they are played. Although games have clearly delineated boundaries in time and space that set them apart from the “real world”, some games are designed to blur that boundary. This essay, comprised of several selections from the authors’ book Rules of Play: Game Design Fundamentals, investigates the complex ways in which games interact with their cultural environment. Focusing on these questions from a game design viewpoint, the essay begins by identifying key concepts related to these questions and ends with detailed design analyses of three games that play with the cultural environments in which the games take place.

 

Computer games and the complexicity of experience


Kattenbelt Chiel Raessens Joost
2003 DiGRA '03 - Proceedings of the 2003 DiGRA International Conference: Level Up

Computer games are usually studied on the basis of a sensory- motor model related to classical cinema, a model which is almost exclusively oriented towards the actuality and causality of action. This assumption of an actiondriven, Aristotelean dramaturgy does not only concern the possible world which is represented in the game, but also the playing of the game itself. We argue that such an approach does not sufficiently recognize the complexity of the experience represented in the game and gone through by the game player. In order to determine the complexity of experience, two other –this time modern-cinema related – models are used, based on Peirce’s phenomenological categories of firstness, secondness and thirdness, and on Deleuze’s cinematographical categories of the movementimage, the time-image, and the thought-image. According to these triadic theories the actuality and causality of action is broken through by the predominance of the intensity of experience and/or the reflexivity of thought. We develop a conceptual framework which provides us the tools in order to understand the three dimensions of the experience of the game and of the playing of the game in their triadic relations.

 

Player Character Design Facilitating Emotional Depth in MMORPGs


Eladhari Mirjam Lindley Craig
2003 DiGRA '03 - Proceedings of the 2003 DiGRA International Conference: Level Up

How can we create computer games facilitating emotional depth in the playing experience? When entering into a persistent virtual game world the player leaves the body behind. It is up to the game designer to create a virtual body with skills, needs and drives necessary for survival and pleasure in the game world. Would it be sensible also to create a virtual mind for the player to possess and evolve? Can models like Maslow’s hierarchy of needs and ‘being-values’, or the personality trait model popularly called ‘the big five’ be used for character design in a way that suits massive multi-player game form? Based upon a view of the player character as the concentrated mirror of the functionality of an RPG game and adding features inspired from psychology, cognitive science and behavior science, this paper presents the high-level system design of a virtual mind for the player to possess in a MMORPG. The mind model is being implemented in a research demonstration game in which game play emphasizes emotional engagement and dramatic interaction. This research is conducted in the Zero-Game Studio within the frame of the open research MMORPG Ouroboros.

 

Wargaming and Computer Games: Fun with the Future


Crogan Patrick
2003 DiGRA '03 - Proceedings of the 2003 DiGRA International Conference: Level Up

This essay explores aspects of the history of wargaming in order to develop fresh perspectives on the analysis of contemporary computer games. Wargaming is considered in relation to the ludological approach to games studies with a view to developing an understanding of the marginality of narrative content in games that ludology takes as its point of departure. Wargaming is interpreted as a forerunner of contemporary modelling and simulation practices. It is associated with the modern project of programming the future by the rational means of mathematically-based measurement and projection. The influence of wargaming on contemporary computer gaming is discussed and the appeal of computer games is explored in terms of a modulation of this modern project.

 

Computer games and violence: Is there really a connection?


Endestad Tor Torgersen Leila
2003 DiGRA '03 - Proceedings of the 2003 DiGRA International Conference: Level Up

The relationship between videogames and violent behaviour was analysed in a representative sample of 9889 Norwegian youth ageing from 13 to 18 years. Videogames were separated in eight different categories. A hypothesis of the relationship between videogames and violence was put forward as a starting – point for reasoning. A unique correlation between violent videogames, specifying first person shooters and action games, and violent behaviour was found. By controlling for age and gender, the effect of first person shooter games disappeared for youth in - between 9th to 12th grades, and the action videogames remained as the significant predictor. Only first person shooter was a significant predictor in 8th grade.

 

Keep the monkey rolling: eye-hand coordination in Super Monkey Ball


Egenfeldt-Nielsen Simon
2003 DiGRA '03 - Proceedings of the 2003 DiGRA International Conference: Level Up

This paper examines the relation between eye-hand coordination and computer games, specifically Super Monkey Ball. The study is exploratory and focuses on theoretical background and method problems. At the end of the paper the results from the pilot study is briefly presented. The results from the study are inconclusive in regard to the two main questions: Is there a connection between good skills in playing computer games and eyehand coordination? Do avid computer game players have better eye-hand coordination than others?

 

Vertigo and verticality in Super Monkey Ball


Johansson Troels Degn
2003 DiGRA '03 - Proceedings of the 2003 DiGRA International Conference: Level Up

The vertical dimension is crucial to Super Monkey Ball on all levels1, and invites us to meditate on vertigo and verticality, falling and failing in the construction of space and game-play in this game and in computer- games as such. In Super Monkey Ball, the vertical dimension should be mastered (landing on tiny islands with the ball glider), avoided (off golf courses, off race tracks, or off fight arenas elevated almost astronomically above the ground), although it may also invite to dangerous downslide acceleration or short-cuts that will give your baby monkey ball a lead in the race (descending tilting planes, falling from one level to another while staying on the course). But most notably, verticality is emphasized by falling and failing. Slipping off the race-track or shooting oneself off the golf course by mistake always means dropping into a spectacular free fall; losing the poor baby monkey in dark swamps, sparkling oceans, or void, endless desertlike spaces. Meditating on this aesthetization of falling and failing in Super Monkey Ball, this brief study outlines the peculiar allegorical, albeit funny and social character of this game, which seems just as important as the playing of the game as such.

 

“You can’t help shouting and yelling”: fun and social interaction in Super Monkey Ball


Klastrup Lisbeth
2003 DiGRA '03 - Proceedings of the 2003 DiGRA International Conference: Level Up

This paper examines the relation between social interaction and fun in multi-player console gaming contexts. It points to the fruitfullness of integrating game studies and game sociology with cultural studies of television and video use in order to explain both the framing and (social) use of console games and the fun of playing them. A prestudy of the relation between social interaction and fun in the playing of the game Super Monkey Ball reveals that there is a close relation between gaming skills, the gaming situation as a pleasurable and relieving social activity and the experience of fun.

 

The appeal of cute monkeys


Tosca Susana Pajares
2003 DiGRA '03 - Proceedings of the 2003 DiGRA International Conference: Level Up

If we agree with Sega and Nintendo advertising and look at the selling numbers of the game Super Monkey Ball, it seems that its characters, MeeMee, GonGon, Baby and AiAi would have to be some of the most successful computer game characters ever created. The game doesn’t have any story, but the monkeys have personality and are ever so cute. Is it possible that the “aesthetics of cuteness” so prevalent in many Japanese consumption and entertainment products has also now conquered Western hearts? This paper examines the construction and reception of the four characters, and reflects about the relationship between the pure visual design element of a game and its success as an entertainment product, including a qualitative study conducted with a number of test subjects exposed to the game.

 

The other game researcher: participating in and watching the costruction of boundaries in game studies


Copier Marinka
2003 DiGRA '03 - Proceedings of the 2003 DiGRA International Conference: Level Up

Game researchers are busy doing game studies: researching, writing and publishing articles, organizing conferences and creating a curriculum. I will argue that creating a new autonomous discipline such as game studies mainly involves constructing boundaries on different levels. In this article I would like to discuss how we can watch and analyze where and how these boundaries are being constructed, while realizing that I am also participating in this process. I mainly focus on the construction of borders between game studies and other disciplines and the ways in which a line is being drawn between game researchers, game designers and gamers. I will argue that Donna Haraway’s concept of situated knowledge can help us to realize where and how knowledge is being produced. I will claim we have to look into the empirical situation of game research in order to see that we all produce knowledge from a certain (hybrid) position and perspective.

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