L’articolo colloca i videogiochi nell’area di ciò che chiamo “esperienze progettate”. Le esperienze progettate sono esperienze – nel mondo reale o attraverso i media – che sono progettate per sollecitare specifici effetti o affetti. Nei miei lavori precedenti, ho indagato il modo in cui gli insegnanti, nelle loro classi, o i designer dei videogiochi, nei loro giochi, progettino esperienze volte, in entrambi i casi, a condurre verso l’apprendimento. Tuttavia, le esperienza progettate possono essere volte a sollecitare attività diverse dall’apprendimento. Esse (...) possono anche cercare di sollecitare cose come il cambiamento sociale, i cambiamenti di atteggiamento o di comportamento, le emozioni o altri effetti del (o sul) corpo, la mente o l’anima. Nell’articolo considero la relazione tra i videogiochi intesi come esperienze progettate e i videogiochi intesi come arte. (shrink)

This article builds upon earlier research in which the authors presented case studies focused on the design and development of two original ethical learning video games. Through this case study and a review of relevant literature, the authors explored the content creation of, and theoretical rationale for, the design and development of ethics games. Both games were geared toward an undergraduate student audience as casual learning games to be completed in a few hours of gameplay. To update (...) and expand this original work, the authors reviewed contemporary research on identity, cognition, and self in relation to video game environments as well as literature dealing more specifically with ethics and video games. From this literature base and their applied design experiences, the authors offer ten guidelines as best practices to follow for aspiring ethics game developers. (shrink)

Video games are ethically controversial. Some video games are effective training tools for learning various skills and approaches to problem-solving, but some video games are notorious for promoting discriminatory and barbaric behavior. We consider such ethical pros and cons of video games, but we also present a more fundamental ethical issue about video games. Most video games have a bias toward self-centered decision-making. Often the decision-making driver is not the impact of the decision (...) on society but rather the quantity of rewards for their individual character. This bias can be an obstacle to employing good ethical analysis and good ethical decision-making in video games. In this paper we discuss the ethical theory of Just Consequentialism and show how it can be used to introduce ethical values into video game design and how it can be useful for ethical decision-making, even rapid ethical decision-making, in both virtual world and real worlds. (shrink)

Introduction : growing up gamer -- Leveling up in life : how meritocracy works in society -- A toxic culture : studying gaming's jerks -- Coding meritocracy: norms of game design and narrative -- Judging skill, from World of warcraft to Kim Kardashian : Hollywood -- Learning from others -- Conclusion : an obligation to do better.

If he were alive today, what might Heidegger say about _Halo, _the popular video game franchise? What would Augustine think about _Assassin’s Creed _? What could Maimonides teach us about Nintendo’s eponymous hero, Mario? While some critics might dismiss such inquiries outright, protesting that these great thinkers would never concern themselves with a medium so crude and mindless as video games, it is impor­tant to recognize that games like these are, in fact, becoming the defining medium of our (...) time. We spend more time and money on video games than on books, television, or film, and any serious thinker of our age should be concerned with these games, what they are saying about us, and what we are learning from them. Yet video games still remain relatively unexplored by both scholars and pundits alike. Few have advanced beyond out­moded and futile attempts to tie gameplay to violent behavior. With this canard now thoroughly and repeatedly disproven, it is time to delve deeper. Just as the Museum of Modern Art in Manhattan recently acquired fourteen games as part of its permanent collection, so too must we seek to add a serious consideration of virtual worlds to the pantheon of philoso-phical inquiry. In _God in the Machine, _author Liel Leibovitz leads a fas­cinating tour of the emerging virtual landscape and its many dazzling vistas from which we are offered new vantage points on age-old theological and philosophical questions. Free will vs. determinism, the importance of ritual, transcendence through mastery, notions of the self, justice and sin, life, death, and resurrection—these all come into play in the video games that some critics so easily write off as mind-numbing wastes of time. When one looks closely at how these games are designed, at their inherent logic, and at the cognitive effects they have on players, it becomes clear that playing these games creates a state of awareness vastly different from that which occurs when we watch television or read a book. Indeed, gameplay is a far more engaged process—one that draws on various faculties of mind and body to evoke sensa­tions that might more commonly be associated with religious experience. Getting swept away in an engrossing game can be a profoundly spiritual activity. It is not _to think_, but rather simply _to be_, a logic that sustained our ancestors for millennia as they looked heavenward for answers. Today, as more and more of us look screenward, it is important to investigate these games for their vast potential as fine instruments of moral training. Anyone seeking a concise and well-reasoned introduction to the subject would do well to start with _God in the Machine_. By illuminating both where video game storytelling is now and where it currently butts up against certain inherent limitations, Liebovitz intriguingly implies how the field and, in turn, our experiences might continue to evolve and advance in the coming years. (shrink)

If he were alive today, what might Heidegger say about _Halo, _the popular video game franchise? What would Augustine think about _Assassin’s Creed _? What could Maimonides teach us about Nintendo’s eponymous hero, Mario? While some critics might dismiss such inquiries outright, protesting that these great thinkers would never concern themselves with a medium so crude and mindless as video games, it is impor­tant to recognize that games like these are, in fact, becoming the defining medium of our (...) time. We spend more time and money on video games than on books, television, or film, and any serious thinker of our age should be concerned with these games, what they are saying about us, and what we are learning from them. Yet video games still remain relatively unexplored by both scholars and pundits alike. Few have advanced beyond out­moded and futile attempts to tie gameplay to violent behavior. With this canard now thoroughly and repeatedly disproven, it is time to delve deeper. Just as the Museum of Modern Art in Manhattan recently acquired fourteen games as part of its permanent collection, so too must we seek to add a serious consideration of virtual worlds to the pantheon of philoso-phical inquiry. In _God in the Machine, _author Liel Leibovitz leads a fas­cinating tour of the emerging virtual landscape and its many dazzling vistas from which we are offered new vantage points on age-old theological and philosophical questions. Free will vs. determinism, the importance of ritual, transcendence through mastery, notions of the self, justice and sin, life, death, and resurrection—these all come into play in the video games that some critics so easily write off as mind-numbing wastes of time. When one looks closely at how these games are designed, at their inherent logic, and at the cognitive effects they have on players, it becomes clear that playing these games creates a state of awareness vastly different from that which occurs when we watch television or read a book. Indeed, gameplay is a far more engaged process—one that draws on various faculties of mind and body to evoke sensa­tions that might more commonly be associated with religious experience. Getting swept away in an engrossing game can be a profoundly spiritual activity. It is not _to think_, but rather simply _to be_, a logic that sustained our ancestors for millennia as they looked heavenward for answers. Today, as more and more of us look screenward, it is important to investigate these games for their vast potential as fine instruments of moral training. Anyone seeking a concise and well-reasoned introduction to the subject would do well to start with _God in the Machine_. By illuminating both where video game storytelling is now and where it currently butts up against certain inherent limitations, Liebovitz intriguingly implies how the field and, in turn, our experiences might continue to evolve and advance in the coming years. (shrink)

Why do we seek out and enjoy uncertain success in playing games? Game designers and researchers suggest that games whose challenges match player skills afford engaging experiences of achievement, competence, or effectance—of doing well. Yet, current models struggle to explain why such balanced challenges best afford these experiences and do not straightforwardly account for the appeal of high- and low-challenge game genres like Idle and Soulslike games. In this article, we show that Predictive Processing provides a coherent formal cognitive framework (...) which can explain the fun in tackling game challenges with uncertain success as the dynamic process of reducing uncertainty surprisingly efficiently. In gameplay as elsewhere, people enjoy doing better than expected, which can track learning progress. In different forms, balanced, Idle, and Soulslike games alike afford regular accelerations of uncertainty reduction. We argue that this model also aligns with a popular practitioner model, Raph Koster’s Theory of Fun for Game Design, and can unify currently differentially modelled gameplay motives around competence and curiosity. (shrink)

Many theories of complex cognitive-motor skill learning are built on the notion that basic cognitive processes group actions into easy-to-perform sequences. The present work examines predictions derived from laboratory-based studies of motor chunking and motor preparation using data collected from the real-time strategy video game StarCraft 2. We examined 996,163 action sequences in the telemetry data of 3,317 players across seven levels of skill. As predicted, the latency to the first action is delayed relative to the other actions (...) in the group. Other predictions, inspired by the memory drum theory of Henry and Rogers, received only weak support. (shrink)

Violent video games (VVGs) are a source of serious and continuing controversy. They are not unique in this respect, though. Other entertainment products have been criticized on moral grounds, from pornography to heavy metal, horror films, and Harry Potter books. Some of these controversies have fizzled out over time and have come to be viewed as cases of moral panic. Others, including moral objections to VVGs, have persisted. The aim of this paper is to determine which, if any, of (...) the concerns raised about VVGs are legitimate. We argue that common moral objections to VVGs are unsuccessful, but that a plausible critique can be developed that captures the insights of these objections while avoiding their pitfalls. Our view suggests that the moral badness of a game depends on how well its internal logic expresses or encourages the players’ objectionable attitudes. This allows us to recognize that some games are morally worse than others—and that it can be morally wrong to design and play some VVGs—but that the moral badness of these games is not necessarily dependent on how violent they are. (shrink)

The authors of Connected Gaming effectively update Yasmin B. Kafai’s 1995 discussion of “the first constructionist gaming project”, originally published as Minds in Play: Games to Be Played, Ga...

How can _Wii Sports_ teach us about metaphysics? Can playing _World of Warcraft_ lead to greater self-consciousness? How can we learn about aesthetics, ethics and divine attributes from _Zork_, _Grand Theft Auto_, and _Civilization_? A variety of increasingly sophisticated video games are rapidly overtaking books, films, and television as America's most popular form of media entertainment. It is estimated that by 2011 over 30 percent of US households will own a Wii console - about the same percentage that owned (...) a television in 1953. In _Philosophy Through Video Games, _Jon Cogburn and Mark Silcox - philosophers with game industry experience - investigate the aesthetic appeal of video games, their effect on our morals, the insights they give us into our understanding of perceptual knowledge, personal identity, artificial intelligence, and the very meaning of life itself, arguing that video games are popular precisely because they engage with longstanding philosophical problems. Topics covered include: * The Problem of the External World * Dualism and Personal Identity * Artificial and Human Intelligence in the Philosophy of Mind * The Idea of Interactive Art * The Moral Effects of Video Games * Games and God's Goodness Games discussed include: _Madden Football_, _Wii Sports_, _Guitar Hero_, _World of Warcraft_, _Sims Online_, _Second Life_, _Baldur's Gate_, _Knights of the Old Republic_, _Elder Scrolls_, _Zork_, _EverQuest_ _Doom_, _Halo 2_, _Grand Theft Auto_, _Civilization_, _Mortal Kombat_, _Rome: Total War_, _Black and White_, _Aidyn Chronicles_. (shrink)

Commercial video games are popular entertainment media and part of students’ media reality. While commercial video games’ main purpose is not learning, they nonetheless could and should serve as objects of reflection in formal educational settings. Teachers could guide student learning and reflection as well as motivate students with commercial video games, but more evidence from formal educational settings is required. We conducted two mixed methods case studies to investigate students’ reflection processes using commercial (...) class='Hi'>video games in regular formal high school teaching. In a double lesson, 29 students of a 10th-grade biology course and 17 students of a 12th-grade advanced course on history played and discussed a commercial video game related to the current curricular topic. We examined the reflection processes of students in terms of their reactions to the teachers’ game-related statements and questions. Regarding teachers’ statements, students discussed several topics related to game enjoyment and the games’ representation of topic-related content. Regarding teachers’ questions, students discussed multiple goals in each game, how the games represented topic-related content, and how the games could be appropriate for learning. In Study 2, students additionally discussed emotions, stereotypes, violence, and the narrative related to the digital history game. We found that the discussions provided students opportunities to reflect on their game experiences and the current curricular topic as well as to practice media criticism. We further provide quantitative results on students’ perceived topic knowledge, on several facets of their learning motivation, and on their acceptance of video games. Overall, our findings illustrate the educational value of using commercial video games as objects of reflection. (shrink)

While video games have blossomed into the foremost expression of contemporary popular culture over the past decades, their critical study occupies a fringe position in American Studies. In its engagement with video games, this book contributes to their study but with a thematic focus on a particularly important subject matter in American Studies: spatiality. The volume explores the production, representation, and experience of places in video games from the perspective of American Studies. Contributions critically interrogate the use (...) of spatial myths ("wilderness," "frontier," or "city upon a hill"), explore games as digital borderlands and contact zones, and offer novel approaches to geographical literacy. Eventually, Playing the Field II brings the rich theoretical repertoire of the study of space in American Studies into conversation with questions about the production, representation, and experience of space in video games. (shrink)

Video games and virtual worlds play substantial roles in contemporary transhumanism. Many transhumanists appreciate the freedom and power that accompany these digital landscapes and recognize that they can promote transhumanist ways of thinking beyond the borders of explicitly transhumanist groups. Video games and virtual worlds enable transcendence through their design and contribute to transhumanism through the options they enable and the influence they have. Because of their significant place in transhumanism, video games and virtual worlds are thus (...) important to the study of religion and science in the twenty‐first century. (shrink)

Recent experiments show video games have a range of positive cognitive effects, such as improvement in attention, spatial cognition and mental rotation, and also overcoming of cognitive disabilities such as fear of flying. Further, game environments are now being used to generate scientific discoveries, and bring about novel phenomenological effects, such as out-of-body experiences. These advances provide interesting interaction design possibilities for video games. However, since the cognitive mechanisms underlying these experimental effects are unknown, it is difficult to (...) systematically derive novel systems and interaction designs based on these results. We review the emerging cognitive mechanism known as common coding, and outline how this mechanism could provide an integrated account of the cognitive effects of video games. We then illustrate, using two ongoing projects, how novel video game interaction designs could be derived by extending common coding theory. (shrink)

Video games fictions are interactive: some of the content is set by the game designer and some is set by the player. However, philosophers disagree over how this interaction is reflected within the fictional content of video games. First, I will show that games and playthroughs are two distinct works of fiction with their associated fictional content. Second, I argue that players engage with both fictional works when playing a video game. They imagine the fictional truths associated (...) with the game and those associated with their playthrough. Thus, I defend what I will call a Dual-Work View of our engagement with video game fictions. To do so, I show that games have accessible fictional content, that games are distinctively incomplete fictions, and that players engage with this distinctive incompleteness. My goal is to offer a clear account of the fictional content of video games. (shrink)

Lately in the past couple of years, there are an increasing in the normal rate of playing computer games or video games compared to the E-learning content that are introduced for the safety of our children, and the impact of the video game addictiveness that ranges from (Musculoskeletal issues, Vision problems and Obesity). Furthermore, this paper introduce an intelligent tutoring system for both parent and their children for enhancement the experience of gaming and tell us about the (...) health problems and how we can solve them, with an easy user interface that way can our children be happy and excited about the information and their health. (shrink)

Today’s everyone normal life can include a normal rate of playing computer games or video games; but what about an excessive or compulsive use of video games that impact on our life? Our kids, who usually spend a lot of time in playing video games will likely have a trouble in paying attention to their school lessons. In this paper, we introduce an expert system to help users in getting the correct diagnosis of the health problem of (...) video game addictions that range from (Musculoskeletal issues, Vision problems and Obesity). Moreover, this expert system provides information about the problem and tell us how we can solve it. SL5 Object expert system language was used to design and implement the expert system. (shrink)

Many have offered moral objections to video games, with various critics contending that they depict and promote morally dubious attitudes and behaviour. However, few have offered moral arguments in favour of video games. In this chapter, we develop one such positive moral argument. Specifically, we argue that video games offer one of the only morally acceptable methods for acquiring some ethical knowledge. Consequently, we have (defeasible) moral reasons for creating, distributing, and playing certain morally educating video (...) games. (shrink)

The return of a classic book about games and play that illuminates the relationship between the well-played game and the well-lived life. In The Well-Played Game, games guru Bernard De Koven explores the interaction of play and games, offering players—as well as game designers, educators, and scholars—a guide to how games work. De Koven's classic treatise on how human beings play together, first published in 1978, investigates many issues newly resonant in the era of video and computer games, including (...) social gameplay and player modification. The digital game industry, now moving beyond its emphasis on graphic techniques to focus on player interaction, has much to learn from The Well-Played Game. De Koven explains that when players congratulate each other on a “well-played” game, they are expressing a unique and profound synthesis that combines the concepts of play (with its associations of playfulness and fun) and game (with its associations of rule-following). This, he tells us, yields a larger concept: the experience and expression of excellence. De Koven—affectionately and appreciatively hailed by Eric Zimmerman as “our shaman of play”—explores the experience of a well-played game, how we share it, and how we can experience it again; issues of cheating, fairness, keeping score, changing old games (why not change the rules in pursuit of new ways to play?), and making up new games; playing for keeps; and winning. His book belongs on the bookshelves of players who want to find a game in which they can play well, who are looking for others with whom they can play well, and who have discovered the relationship between the well-played game and the well-lived life. (shrink)

Forty years have passed since video-games were first made widely available to the public and subsequently playing games has become a favorite past-time for many. Players continuously engage with dynamic visual displays with success contingent on the time-pressured deployment, and flexible allocation, of attention as well as precise bimanual movements. Evidence to date suggests that both brief and extensive exposure to video-game play can result in a broad range of enhancements to various cognitive faculties that generalize beyond the (...) original context. Despite promise, video-game research is host to a number of methodological issues that require addressing before progress can be made in this area. Here an effort is made to consolidate the past 30 years of literature examining the effects of video-game play on cognitive faculties and, more recently, neural systems. Future work is required to identify the mechanism that allows the act of video-game play to generate such a broad range of generalized enhancements. (shrink)

Video game spaces have vastly expanded the built environment, offering new worlds to explore and inhabit. Like buildings, cities, and gardens before them, these virtual environments express meaning and communicate ideas and affects through the spatial experiences they afford. Drawing on the emerging field of embodied cognition, this book explores the dynamic interplay between mind, body, and environment that sits at the heart of spatial communication. To capture the wide diversity of forms that spatial expression can take, the book (...) builds a comparative analysis of twelve video games across four types of space, spanning ones designed for exploration and inhabitation, kinetic enjoyment, enacting a situated role, and enhancing perception. Together, these diverse virtual environments suggest the many ways that video games enhance and extend our embodied lives."--Publisher's website. (shrink)

In this paper, I consider a particular amoralist challenge against those who would morally criticize our single-player video play, viz., “come on, it’s only a game!” The amoralist challenge with which I engage gains strength from two facts: the activities to which the amoralist lays claim are only those that do not involve interactions with other rational or sentient creatures, and the amoralist concedes that there may be extrinsic, consequentialist considerations that support legitimate moral criticisms. I argue that the (...) amoralist is mistaken and that there are non-consequentialist resources for morally evaluating our single-player game play. On my view, some video games contain details that anyone who has a proper understanding of and is properly sensitive to features of a shared moral reality will see as having an incorrigible social meaning that targets groups of individuals, e.g., women and minorities. I offer arguments to support the claim that there are such incorrigible social meanings and that they constrain the imaginative world so that challenges like “it’s only a game” lose their credibility. I also argue that our responses to such meanings bear on evaluations of our character, and in light of this fact video game designers have a duty to understand and work against the meanings of such imagery. (shrink)

Depressive symptoms and disorders are major public health concerns, affecting many adolescents and young adults. Despite extensive research, depression prevention programs for youth show limited effectiveness. Moreover, the maximal potential of youth psychotherapy — on which depression prevention programs are based — may have been reached. Commercial video games may offer an engaging alternative vehicle for youth to practice emotional and social skills vital to mental health. The current study investigated the potential for the commercial video game Journey (...) to prevent the exacerbation of depressive symptoms. A pre-registered randomized controlled trial tested the effectiveness of Journey as an indicated depression prevention approach compared to a control game condition and a passive control condition. Additionally, potential action mechanisms for depression prevention using video games were examined. Participants aged 15 to 20 years old with elevated depressive symptoms were given 4 weeks to play Journey or the control game, Flower. Results showed no beneficial effects of playing the commercial video game, Journey, on youth’s change in depressive symptoms above and beyond the active and passive control conditions up to 12-months after the intervention. Additionally, no action mechanisms were found specifically for Journey. Nevertheless, over the whole study, participants decreased in depressive symptoms, became less sensitive to rejection, and experienced more hope and optimism. Moreover, participants who during the study decreased in rejection sensitivity or rumination or who increased in hope and optimism or in distraction and problem solving showed the strongest decrease in depressive symptoms. Although results do not support the use of the studied commercial game as an effective indicated depression prevention strategy, our results do suggest that rejection sensitivity, hope, optimism, rumination, distraction, and problem solving are promising targets for future depression prevention efforts. We conclude with important lessons for future research on games to promote mental health. Particularly, encouraging careful consideration of research designs to explore for whom and how potential action mechanisms and associated game mechanics may be effective. (shrink)

Video game players sometimes give voice to an “intuition” that violently harming nonhuman animals in video games is particularly ethically troubling. However, the moral issue of violence against nonhuman animals in video games has received scant philosophical attention, especially compared to the ethics of violence against humans in video games. This paper argues that the seemingly counterintuitive belief that digital animal violence is in general more ethically problematic than digital human violence is likely to be correct. (...) Much video game violence against animals has at least some potential, even if only a modest one, to contribute to moral indifference toward animals and to their routine mistreatment. These possible effects have ethical implications for animals, society, players, and video game designers. (shrink)

PurposeThe purpose of this paper is to investigate the ethical implications of video game companies employing psychologists and using psychological research in game design.Design/methodology/approachThe author first argues that exploiting psychology in video games may be more ethically problematic than familiar application domains like advertising, gambling and political rhetoric. Then an overview of the effects particular types of game design may have on user behavior is provided, taking into account various findings and phenomena from behavioral psychology and behavioral economics.FindingsFinally, (...) the author concludes that the corresponding ethical problems cannot – and should not – be addressed by means of regulation or rating systems. The author argues instead that a more promising countermeasure lies in using the same psychological research to educate gamers (children in particular) and thereby increase their capacity for meta-cognition.Originality/valueThe importance of this lies in the tremendous effect these behavior-modifying technologies may have upon our self-determination, well-being and social relations, as well as corresponding implications for the society. (shrink)

Can video games teach students about the history and philosophy of science? This paper reports the results of a study investigating the effects of playing an educational video game on students’ knowledge of Galileo’s life and times, the nature of scientific evidence, and Aristotle’s and Galileo’s views of the cosmos. In the game, students were immersed in a computer simulation of 16th century Venice where they interacted with an avatar of Galileo and other characters. Over a period of (...) two weeks, 71 undergraduates were exposed to lectures about Galileo and the Copernican revolution in a traditional classroom setting. However, only half of the students also played the game. The other half were only exposed to lectures. The knowledge of both groups was assessed at the beginning and end of the two-week period. The results demonstrated objective improvements in knowledge for the experimental group while the control group showed virtually no change. Implications of these findings for teaching and learning the history and philosophy of science are discussed. (shrink)

The learning of immediate causation within a dynamic environment was examined. Participants encountered seven decision points in which they needed to choose which of three possible candidates was the cause of explosions in the environment. Each candidate was firing a weapon at random every few seconds, but only one of them produced an immediate effect. Some participants showed little learning, but most demonstrated increases in accuracy across time. On average, men showed higher accuracy and shorter latencies that were (...) not explained by differences in self-reported prior video game experience. This result suggests that prior reports of sex differences in causal choice in the game are not specific to situations involving delayed or probabilistic causal relations. (shrink)

The aim of this study was to test whether an online video game can be used to investigate planning ability and whether fluid intelligence, objective numeracy, and subjective numeracy are predictive of game performance. Our results demonstrate that fluid intelligence is particularly important, which is in line with previous non-game-based studies that show a relationship between classical planning tests and fluid intelligence. Video games have been previously used for research into cognitive processes and taking them online facilitates data (...) collection on a larger scale. Online video games also afford data collection without the expense and stress of a laboratory environment. For these reasons, using online video games to investigate human cognition is a promising alternative to the classic cognitive paradigms used in laboratories. (shrink)

Passive Brain-Computer interfaces (pBCIs) are a human-computer communication tool where the computer can detect from neurophysiological signals the current mental or emotional state of the user. The system can then adjust itself to guide the user towards a desired state. One challenge facing developers of pBCIs is that the system's parameters are generally set at the onset of the interaction and remain stable throughout, not adapting to potential changes over time such as fatigue. The goal of this paper is to (...) investigate the improvement of pBCIs with settings adjusted according to the information provided by a second neurophysiological signal. With the use of a second signal, making the system a hybrid pBCI, those parameters can be continuously adjusted with dynamic thresholding to respond to variations such as fatigue or learning. In this experiment, we hypothesize that the adaptive system with dynamic thresholding will improve perceived game experience and objective game performance compared to two other conditions: an adaptive system with single primary signal biocybernetic loop and a control non-adaptive game. A within-subject experiment was conducted with 16 participants using three versions of the game Tetris. Each participant plays 15 minutes of Tetris under three experimental conditions. The control condition is the traditional game of Tetris with a progressive increase in speed. The second condition is a cognitive load only biocybernetic loop with the parameters presented in Ewing et al. (2016). The third condition is our proposed biocybernetic loop using dynamic threshold selection. Electroencephalography was used as the primary signal and automatic facial expression analysis as the secondary signal. Our results show that, contrary to our expectations, the adaptive systems did not improve the participants' experience as participants had more negative affect from the BCI conditions than in the control condition. We endeavored to develop a system that improved upon the authentic version of the Tetris game, however, our proposed adaptive system neither improved players’ perceived experience, nor their objective performance. Nevertheless, this experience can inform developers of hybrid passive BCIs on a novel way to employ various neurophysiological features simultaneously. (shrink)

The COVID-19 pandemic has shed new light on some significant problems that have been present in the education systems for decades. Тhe lack of various educational methods is becoming more and more evident, leading to a decreasing interest in learning and critical thinking. Оn the other hand, more and more research shows that different types of digital games can enhance creative and critical thinking in students. А closer look at the requirements of the educational programs shows how strict they (...) are in their demands on students. Digital games like role playing games can be a bridge between students’ imaginations and complex educational material. Video games feature a variety of game mechanics that stimulate creative thinking and spark interest in otherwise difficult to understand topics. Motivation and engagement in digital games can be used in a specific way for educational purposes. If we think of teaching as an art in itself, what better method of teaching than through interactive arts. (shrink)

This paper empirically examines how consumers react when a company marks a product with a gay label. The company under scrutiny is one of the largest video game developers in the world, and the labeled product is a popular video game character. We use a regression discontinuity design to exploit the quasi-experimental setting. The main finding was significant drop in demand for this character and a return to previous levels after approximately 3 months. Possible mechanisms and dynamics were (...) explored by analyzing demand for other characters and by surveying consumers. The results are consistent after performing robustness checks based on grid search, subsampling, and placebo tests. (shrink)

Nick Dyer-Witheford and Greig de Peuter. Games of Empire: Global Capitalism and Video Games . Minneapolis: University of Minnesota Press. 2009. 320pp. pbk. $19.95 ISBN-13: 978-0816666119. In Games of Empire , Nick Dyer-Witheford and Greig de Peuter expand an earlier study of “the video game industry as an aspect of an emerging postindustrial, post-Fordist capitalism” (xxix) to argue that videogames are “exemplary media of Empire” (xxix). Their notion of “Empire” is based on Michael Hardt and Antonio Negri’s Empire (...) (2000), which characterizes the contemporary world order as a decentralized system of global economic, political, and economic power that transcends national boundaries. In the view of the authors, Hardt and Negri’s account sets itself apart from other analyses of international politics by offering a “comprehensive account of conditions of work, forms of subjectivity, and types of struggle in contemporary capital” (xx). Dyer-Witheford and de Peuter thus divide Games of Empire into three sections to reflect each of these aspects of Empire ’s argument, seeing their work as the first account to explore “virtual games within a system of global ownership, privatized property, coercive class relations, military operations, and radical struggle” (xxix). Books in the University of Minnesota Press’s Electronic Mediations series “explore the humanistic and social implications” of new technologies that spark “significant changes in society and culture, politics and economics, thinking and being.” That’s an abstract goal, and one that Games of Empire surely meets. Yet at times it can be difficult to understand exactly which specific intervention this book seeks to make. It is unclear whether the authors of Games of Empire see their work as an indictment of game scholars’ lack of attention to political economy, or whether it’s a work of political theory hoping to show that other disciplines should be paying more attention to the production and play of videogames. Because Dyer-Witheford and de Peuter don’t directly criticize previous political critiques of gaming—such as Edward Castronova’s exploration of the “porous membrane” allowing two-way traffic between virtual economies and those of the real world, or Alexander Galloway’s unraveling of control protocols in algorithmic design, or Ian Bogost’s idea of political procedural rhetoric—they sometimes leave the reader wondering how to situate the book in the broader discourse on games and politics, either separately or together. Thus, Games of Empire might best be seen as an introduction to the writings of Hardt and Negri for game players and designers, rather than as a text for communicating the basic concepts of game studies and design. It is neither a truly new theory of games or digital media, nor is it a new theory of Empire—and that’s not a criticism. It is instead an introduction to Empire through popular culture, as Zizek does for Lacan in Looking Awry . If one were teaching an introductory course on contemporary political theory, this book would offer obvious inroads into Negri and Hardt’s thinking for a number of reasons. Despite its radical ideological bent, the book isn’t off-putting to readers who don’t necessarily share the authors’ politics. It synthesizes complex ideas from difficult thinkers like Marx, Foucault, and Guattari while integrating modifications and critiques of Empire theory itself. And although the book is dense, sometimes feeling longer than it actually is (just over 200 pages), Games of Empire maintains a breezy readability by tightly coupling core concepts of Empire theory to well-known games and widely-publicized conflicts within the videogame industry. The first section of the book focuses on immaterial labor, the accumulation of “cognitive capital,” and the global process of manufacturing videogame consoles. It is significant for the authors that videogames began as hacker experiments within research institutes of the military industrial complex, programmed on stolen time, before becoming a commodity (7). This is the first in a string of examples showing how creative dissidence and conflict fuel the continuing evolution of Empire’s control. Dyer-Witheford and de Peuter explain that the videogame industry now constitutes an international production apparatus dominating both creative work in developed nations and manual labor in developing ones. Because game industries in the United States, Western Europe, and Japan are predominately non-unionized, they serve as an exemplary system for analyzing how global capital exploits contemporary intellectual work—including an excellent analysis of the “EA Spouse” scandal of 2004. On the side of the consumer, the authors argue that rabid “console races” that drive the industry forward from a technological perspective serve to structure gamer identity and combat piracy; later in the book, these machines offer a window into the worlds of Congolese coltan mining and electronic waste (222-224). In the second section, Dyer-Witheford and de Peuter move on to deep case studies of individual games to show how the most popular game genres embed imperial assumptions about conflict, exchange, and urban life. First they argue that military training games such as Full Spectrum Warrior —co-developed by university researchers, industry developers, and military contractors—contribute to the “banalization” of war, a subjective state wherein perpetual preparedness for war is accepted as a part of everyday life (100). Chapter five covers Michel Foucalt’s notion of “biopower,” the extension of capital accumulation to life itself. The authors argue that virtual worlds such as World of Warcraft , which take market capitalism as a given and force players into essentialist roles and racial antagonisms, are organized to maximize control and profit (often on the backs of virtual currency “farmers” in China and southeast Asia). Finally, they criticize the naïve assumption that humor and cynicism in the popular sandbox game franchise Grand Theft Auto offer any remedy to its racialized, violent content. Instead, such games indulge and normalize the fantasy of getting rich at any cost by keeping the realities of contemporary urban life and corporate greed at a safe distance (181). Part three of Games of Empire focuses on “games of multitude,” a preliminary attempt to escape from Empire’s order through alternate modes of videogame development and play. Multitude is defined dialectically, as “the engine and the enemy” of Empire (187). This is the most important, yet also most contradictory section of the text. It lays bare the process by which Empire and its media feed our creative and intellectual development to overabundance. At a certain point, the force of the multitude reaches such a level that it threatens the stability of Empire; however, instead of following Hardt and Negri’s utopian assumptions about the radical potential of the multitude, the authors here follow Paolo Virno’s warning that Empire is “very good at adopting apparently iconoclastic practices and utopian ideas as management techniques and revenue sources” (188). At every turn, advances in player configurative power provide new sources of revenue and advertising angles for the game industry. A disappointing shortcoming of these latter pages is the lack of truly new examples for radical resistance within game development. Instead, it turns out that the radical left seems satisfied with the same mild successes that the left-of-center also has celebrated: artist’s mods, virtual world activism, and critical counterplay within strategy- and wargames. Having been frequently cited by many authors before Dyer-Witheford and de Peuter, this idea of subversion or resistance through play feels tired and unpersuasive. It is unclear if the authors believe it is possible to embrace game design itself as a way of pursuing what they call “exodus” from Empire, or if an all-too-fashionable subversion is the only workable strategy. While the book does explore how the earliest independent game studios were eventually subverted and incorporated into the game industry proper, it doesn’t affirm or critique more recent non-commercial, DIY game development projects such as Klik-of-the-Month Club and Ludum Dare. Dyer-Witheford and de Peuter’s analysis of so-called “tactical games,” including the editorial works of La Molleindustria, leads to an even more ambivalent take on the contemporary design ecology. At the conclusion of his essay on “Countergaming,” Galloway asserts that avant-garde videogame artists “should create new grammars of action […] should create alternative algorithms” (Galloway 125). Yet Dyer-Witheford and de Peuter characterize works such as McDonald’s Video Game and Oiligarchy as didactic, suggesting that the role of radical political games might be “limited to that of agitprop” (199). They are concerned that games like those of Molleindustria rigidly structure the activities of their players in order to prove a point. Yet, despite their repeated assertion that the equation of greater interactivity with democratic digital liberation is flawed, the authors see potential in policy simulators that “allow players to edit or tweak” (202) their parameters in response to what Bogost has called simulation fever , the simultaneous drive toward and fear of simulation (Bogost 108). The possibility of practicing radical design is bucked, and early attempts at critical game development like those of Molleindustria’s seem to be relegated to the status of exceptions that prove the rule for player-centered exodus. Overall, there is one glaring question Games of Empire leaves unanswered: how exactly are videogames the “exemplary media” of Empire, and what are the implications of videogames being exemplary in this way? Presumably Dyer-Witheford and de Peuter want to avoid essentialist claims, so they’re not keen on following Wark’s desire to mark “the game’s difference from [legacy media] as something that speaks to changes in the overall structure of social and technical relations” (Wark 225). It is also unclear how the production apparatuses, labor standards, and subjectivizing processes involved in the creation and use of other any other kind of digital media would fail to justify their equally exemplary status. Even the book’s concluding paragraph holds that virtual games “are one molecular component of this undecidable collective mutation” (Dyer-Witheford and de Peuter 229) of intellect, labor, and daily life. In the end, the authors seem to back away from their focus on games as exemplary to bring their work in line with broader theories of the gradual digitization of the everyday, in line with Galloway and Manovich. Despite these flaws, there is an undeniable elegance to Games of Empire ’s contrasting of gaming’s overwhelmingly imperial content with its multitudinous form . And its ambivalence about the potential of independent or political game development might be seen by scholars of Empire as a strength rather than a weakness, an acceptance that every new expression of multitude offers another opportunity for the expansion of Empire. The book also functions as a strong, all-encompassing call to greater responsibility on the part of mainstream game developers to be more conscious of the ideologies they embed in their work, of the way their intellectual property is used and manipulated by those who employ them, and of the material impact their industry has on the world at large. For players it offers a toolbox of concepts for radical examinations of their own play activities, asking them to be more cognizant of the consequences of their consumption of digital media and the ways in which their virtual lives interface with the real. REFERENCES Bogost, Ian. Unit Operations: An Approach to Videogame Criticism . Cambridge, Mass.: MIT Press, 2006. Castranova, Edward. Synthetic Worlds: The Business and Culture of Online Games . Chicago, Illinois: University of Chicago Press, 2006. Dyer-Witheford, Nick and de Peuter, Greig. Games of Empire: Global Capitalism and Video Games . Minneapolis, Minnesota: University of Minnesota Press, 2009. Galloway, Alexander. Gaming: Essays on Algorithmic Culture . Minneapolis, Minnesota: University of Minnesota Press, 2006). Wark, McKenzie. Gamer Theory . Cambridge, Mass.: Harvard University Press, 2007. (shrink)

Over the last 30 years, the computer and videogame has emerged as a popular recreational pastime. While often associated with the artificial and alien, it is my contention that the modern videogame informs on the subject of “nature” and what we consider to be natural. This article delineates some of the “natures” posited in computer game design. It provides a valuable overview of gaming culture and might serve as an introduction to further research on specific game genres. It argues that (...) virtual worlds are currently serving a dual purpose, of reinforcing traditional stereotypes of the natural world, while gradually moving towards radical, new forms of “virtual” nature to contend with. It suggests that the mimicking of biological systems in computer games expresses both our lingering cultural interest in the “great outdoors” and a need to give familiarity and substance to an electronic medium marked by its failure to fit within traditional notions of space and geography. (shrink)

Learner control is an important instructional design in video-based learning. This study assessed two conditions: a full learner control where learners direct their learning path, and a hybrid learner control where learners follow the instructor-set path but still enjoy certain aspects of control. Two groups of university students participated in this study by learning statistics through online video courses. The findings show that the full learner control condition attained higher learning performance than the hybrid (...) learner control condition, but spent more time than the latter. The full learner control condition scored higher than the hybrid condition in the difficult sections of video-based learning; but no significant difference was found in the easy section. There was a significant difference between the two conditions in learning agency, but no differences in cognitive load and affective and cognitive engagement. Hierarchical regression analysis indicated differences between the full and the hybrid learner control conditions in the factors predicting overall scores. The findings carry important contributions and implications for the research and practice of instructional designs in online video-based learning such as MOOCs. (shrink)

Past experience with video games and cognitive abilities have been hypothesized to independently facilitate a greater ability to learn new video games and other complex tasks. The present study was conducted to examine this “learning to learn” hypothesis. We examined the predictive effects of gaming habits and cognitive abilities on learning of two novel video games in 107 participants. One video game was from the action genre, and the other was from the strategy genre. (...) Hours spent gaming per week and working memory were found to specifically predict learning of the novel strategy video game, after controlling for the effects of age, gender, and action game learning. In contrast, self-identification as a “gamer” was the only specific significant predictor of action game learning, after controlling for the effects of age, gender, and strategy game learning. Age of the participant negatively impacted learning of both games; however, the pattern of the predictive relationships on both action and strategy game learning was not moderated by age. Importantly, a preference for the action versus the strategy game genre had no differential effects on learning of the two novel games, nor were there any gender differences in identification as a gamer or genre preference. Findings from this study suggest that while past gaming experience and cognition do appear to influence the learning of novel video games, these effects are selective to the game genre studied and are not as broad as the “learning to learn” model suggests. (shrink)

This article analyzes the business ethics of digital games, using Ayn Rand’s philosophy of Objectivism. It identifies different types of monetization options as virtuous or nonvirtuous, based on Rand’s views on rational self-interest. It divides the options into ethical Mover and unethical Looter designs, presents those logics in relation to an illustrative case example, Zynga, and then discusses a view on the role of players in relation to game monetization designs. Through our analysis of monetization options in the context of (...) Objectivist ethics, the article contributes to discussions on game revenue ethics. It also expands the still understudied area of applying Rand’s ethics to business, in the context of a new sector, game development, and business. This research enables ethicists to apply a wider-than-before perspective on virtue ethics to online business, and helps game developers act in a virtuous manner, which provides them with a long-term business advantage. (shrink)

With the emergence of the COVID-19 pandemic, virtual simulation games have provided an effective teaching method for online entrepreneurship education. By exploring the mechanisms that influence student engagement and learning outcomes from different perspectives, such as game design, team and individual perspectives, numerous scholars have demonstrated that such a teaching method can effectively improve students’ engagement and learning performance. However, the existing studies are relatively scattered, and there is a scarcity of studies in which the effects of said (...) factors are considered. Based on the learning process 3P model proposed by Biggs, students’ perceived experience of game design, teamwork and self-efficacy were taken as variables in the early learning stage in the present study, and the influence mechanism of virtual simulation game learning experience on students’ engagement and entrepreneurial skill development was explored, so as to close the gap in existing research. In the present study, 177 college students from Chinese universities were surveyed and the data were surveyed using AMOS 23.0 software. Although the empirical results show that students’ “goal and feedback” and “alternative” experience of game design did not have a significant positive impact on students’ engagement, there was a direct and significant effect the development of entrepreneurial skills. Students’ experience of teamwork and general self-efficacy could not only directly and significantly affect the development of entrepreneurial skills, but also indirectly affect the development of entrepreneurial skills through learning engagement. The research results are practically significant for teachers in the selection and development of virtual simulation games, can be effectively applied in teaching process management, and can improve students’ engagement and learning performance. (shrink)

Situational Design lays out a new methodology for designing and critiquing videogames. While most game design books focus on games as formal systems, Situational Design concentrates squarely on player experience. It looks at how playfulness is not a property of a game considered in isolation, but rather the result of the intersection of a game with an appropriate player. Starting from simple concepts, the book advances step-by-step to build up a set of practical tools for designing player-centric playful situations. While (...) these tools provide a fresh perspective on familiar design challenges as well as those overlooked by more transactional design paradigms. Key Features Introduces a new methodology of game design that concentrates on moment-to-moment player experience Provides practical design heuristics for designing playful situations in all types of games Offers groundbreaking techniques for designing non-interactive play spaces Teaches designers how to create games that function as performances Provides a roadmap for the evolution of games as an art form. (shrink)

We propose a formal framework for interpretable machine learning. Combining elements from statistical learning, causal interventionism, and decision theory, we design an idealised explanation game in which players collaborate to find the best explanation for a given algorithmic prediction. Through an iterative procedure of questions and answers, the players establish a three-dimensional Pareto frontier that describes the optimal trade-offs between explanatory accuracy, simplicity, and relevance. Multiple rounds are played at different levels of abstraction, allowing the players to explore (...) overlapping causal patterns of variable granularity and scope. We characterise the conditions under which such a game is almost surely guaranteed to converge on a optimal explanation surface in polynomial time, and highlight obstacles that will tend to prevent the players from advancing beyond certain explanatory thresholds. The game serves a descriptive and a normative function, establishing a conceptual space in which to analyse and compare existing proposals, as well as design new and improved solutions. (shrink)

Persons with aphasia suffer from a loss of communication ability as a consequence of a brain injury. A small strand of research indicates effec- tiveness of dialogic interventions for communication development for persons with aphasia, but a vast amount of research studies shows its effectiveness for other target groups. In this paper, we describe the main parts of the hitherto technological development of an application named Dialogica that is (i) aimed at facilitating increased communicative participation in dialogic settings for persons (...) with aphasia and other communication disorders, (ii) based on comput- er game technology as well as on theory in dialogic education and argumenta- tion theory, and (iii) designed for mobile devices with larger screens. (shrink)

One crucial design characteristic of auditory texts embedded in instructional videos is the speaker gender, which has received some attention from empirical researcher in the recent years. Contrary to the theoretical assumption that similarity between the speaker’s and the learner’s gender might positively affect learning outcomes, the findings have often been mixed, showing null to contrary effects. Notwithstanding the effect on the outcomes, a closer look at how the speaker’s gender and speaker–learner similarities further determine cognitive variables, such as (...) different cognitive load types, is overdue. Moreover, on the part of the learner, the role of situational interest in the learning topic that might be gender related has been neglected so far. Therefore, this study explored the role of speaker and learner gender and their interaction regarding learning outcomes. We broaden our perspective by investigating the effects of gender-related differences concerning situational interest in the topic being taught and by determining different types of cognitive load. In a 2 (female/male speaker) × 2 (female/male learner) within- and between-subject design, 95 students learned about female and male human sexual maturity with an instructional video containing auditory explanations. Analysis results indicate that speaker gender and speaker–learner gender similarity had no impact on learning gains, situational interest, and cognitive load types. However, the results demonstrate that learner’s gender, especially for the topic of female sexual maturity, matters the most in line with the assessed variables. Compared with males, females had higher learning gains, reported higher interest in the topic, and invested more germane cognitive resources. Thus, instructional designers may want to consider learner gender-dependent interest and how it can be triggered when creating videos with auditory explanations. (shrink)

Background Over the last decades, the neurosciences, behavioral sciences, and the social sciences have all seen a rapid development of innovative research methods. The field of bioethics, however, has trailed behind in methodological innovation. Despite the so-called “empirical turn” in bioethics, research methodology for project development, data collection and analysis, and dissemination has remained largely restricted to surveys, interviews, and research papers. We have previously argued for a “Design Bioethics” approach to empirical bioethics methodology, which develops purpose-built methods for investigation (...) of bioethical concerns. In this paper we compare a research tool created using a design bioethics approach to a “methods-as-usual” approach in empirical bioethics.Methods Our study compared dimensions of engagement with a digital game we created, called “Tracing Tomorrow,” to a standard vignette survey. The two tools investigated the same subject matter, digital phenotyping for mental health, in a sample of 301 UK adolescents.Results Participants who played the game reported a greater sense of presence, emotional engagement, cognitive absorption, and mental health ethics insight, compared to participants who completed the vignette survey. Perceived authenticity and curiosity/motivation to learn more was equivalent for both methods.Conclusion The results of this study highlights the importance of purpose-built methodology for empirical bioethics research. (shrink)

Interactions between an intelligent software agent and a human user are ubiquitous in everyday situations such as access to information, entertainment, and purchases. In such interactions, the ISA mediates the user’s access to the content, or controls some other aspect of the user experience, and is not designed to be neutral about outcomes of user choices. Like human users, ISAs are driven by goals, make autonomous decisions, and can learn from experience. Using ideas from bounded rationality, we frame these interactions (...) as instances of an ISA whose reward depends on actions performed by the user. Such agents benefit by steering the user’s behaviour towards outcomes that maximise the ISA’s utility, which may or may not be aligned with that of the user. Video games, news recommendation aggregation engines, and fitness trackers can all be instances of this general case. Our analysis facilitates distinguishing various subcases of interaction, as well as second-order effects that might include the possibility for adaptive interfaces to induce behavioural addiction, and/or change in user belief. We present these types of interaction within a conceptual framework, and review current examples of persuasive technologies and the issues that arise from their use. We argue that the nature of the feedback commonly used by learning agents to update their models and subsequent decisions could steer the behaviour of human users away from what benefits them, and in a direction that can undermine autonomy and cause further disparity between actions and goals as exemplified by addictive and compulsive behaviour. We discuss some of the ethical, social and legal implications of this technology and argue that it can sometimes exploit and reinforce weaknesses in human beings. (shrink)

To date, game-based learning programs that include comprehensive creativity skills and disposition training are still very limited. The present researchers developed a comprehensive game-based creativity learning program for fifth and sixth grade pupils. Further analysis presented relationship trends between mindful learning experience, flow experience, self-efficacy, and mastery experience. Eighty-three 5th and 6th grade participants undertook the six-week game-based creativity learning program. Upon the completion of experimental instruction, those who scored higher on the concerned variables improved more (...) in self-evaluation of both creativity ability and confidence, than their counterparts. Additionally, path model analysis revealed that mindful learning experience was a powerful predictor of both mastery experience and flow experience; it also influenced mastery experience through flow experience and self-efficacy during game-based creativity learning. The findings support the effectiveness of the game-based learning program developed in this study. Moreover, this study contributes to the theoretical construction of how game-based learning can be designed to facilitate mindful learning experience, flow experience, self-efficacy, and mastery experience during creativity training among pupils. Effective mechanisms include providing rewards for high-quality performance, challenging tasks, free choices of design components, immediate feedback, and idea sharing. The profound theoretical framework proposed in this study provides a valuable approach for creativity instruction through game-based learning or classroom instruction. (shrink)

Videogames and Agency explores the trend in videogames and their marketing to offer a player higher volumes, or even more distinct kinds, of player freedom. The book offers a new conceptual framework that helps us understand how this freedom to act is discussed by designers, and how that in turn reflects in their design principles. What can we learn from existing theories around agency? How do paratextual materials reflect design intention with regards to what the player can and cannot do (...) in a videogame? How does game design shape the possibility space for player action? Through these questions and selected case studies that include AAA and independent games alike, the book presents a unique approach to studying agency that combines game design, game studies, and game developer discourse. By doing so, the book examines what discourses around player action, as well as a game's design can reveal about the nature of agency and videogame aesthetics. This book will appeal to readers specifically interested in videogames, such as game studies scholars or game designers, but also to media studies students and media and screen studies scholars less familiar with digital games. (shrink)