Playing For Keeps: Digital Games to Preserve Indigenous Languages & Traditions.

This paper examines the potential for digital games to be used as a conduit to preserve and share Indigenous languages and traditions. It does this by interviewing game industry and academic representatives from a variety of Indigenous communities around the world to ask their opinions on the topic via three questions. The paper aims to provide justification for a model of co-design utilizing the methodology of two-eyed seeing which allows Indigenous communities to be involved in every step of the design process and also to retain Sovereignty over their cultural practices and how they are portrayed and shared with the wider populace. The benefits of which may be felt by not only the Indigenous communities themselves but also communities like DiGRA as it will help to inform and build lasting bonds between the game industry/academia and Indigenous peoples.

Classification of Gameplay Interaction in Digital Cultural Heritage

Digital heritage has matured over the past twenty years and now calls are being made for interactive experiences that augment digital representation with digital performance. The paper considers sources for such a performance: be it documented sources, contemporary cultures, or gameplay from other entertainment game genres. It considers the needs of various stakeholders: the archaeologist, the historian, the game designer and the target audience and suggests thematically consistent multiple gameplay options that serve the different needs while reusing game assets and characters. This aims to contribute to the collaboration with the DiGRA community on serious cultural heritage game development, focusing on the player as performer, rather than just as an observer.

“It Sucks for Me, and It Sucks for Them”: The Emotional Labor of Women Twitch Streamers

Increasing and sustaining women’s participation in gaming spheres is a persistent problem DiGRA audiences are familiar with. This paper looks at the barriers to increasing and sustaining women’s participation on Twitch through examining the experiences of women streamers. Emotional labor (Hochschild 1983) is used as a framework for interpreting how these women’s individual experiences resonate within larger societal contexts of work and play more broadly. The paper relies on data from 8 in-depth interviews with international, English-speaking women who receive a primary or secondary income source from Twitch streaming videogames. The results of this study show that participants performed emotional labor, on top of the mental and physical labor of playing videogames on a live stream, and this emotional labor has potential negative implications for the longevity of their streaming careers.

Serious Game Jam Operation Manual: Prototype Development and Evaluation

Serious Game Jam (SGJ) is one of the major events organized by DiGRA JAPAN every year since 2014. This study proposes a prototype SGJ operation manual. Although eight SGJ events have been organized so far, the first few events were conducted based on the manuals for a general game jam and the organizer’s experiences. However, considering the process of developing entertainment and serious games is different, an operation manual is required for organizers of SGJs.

Games on Working, Games on Gaming, Working on Games, and Games on Working on Games: On the self-referentiality that entangles neoliberal play and work

YomeciLand: Found Sound as Play

From Technological Revolution to Cultural Obsolescence. NEC’s PC Engine between American erasure and French edification

Bridging Meaningful Play and Playful Learning – Supporting the Design Process of Gamification in Education

The materiality on the hermeneutics of Chinese character- based playable media

Monetising memory? MMOGs, anniversaries, and ownership of the past