With the development of technology, video games have become more and more realistic and indistinguishable from the real world. In this regard, this article takes a semiotic approach to create a better understanding of how possible worlds are created in video games, placing them on a continuum, which shows that the development of possible worlds is based on the reality we face in the real world. A video game called Player Unknown’s Battle Grounds is used to (...) demonstrate a new approach to analysis, which shows that each video game is created within its own possible world that is created through the selection and combination of entities from the real world. (shrink)

Accounts of video game play developed from an ethnomethodological and conversation analytic perspective remain relatively scarce. This study collects together an emerging, if scattered, body of research which focuses on the material, practical “work” of video game players. The study offers an example-driven explication of an EMCA perspective on video game play phenomena. The materials are arranged as a “tactical zoom.” We start very much “outside” the game, beginning with a wide view of (...) how massive-multiplayer online games are played within dedicated gaming spaces; here, we find multiple players, machines, and many different sorts of activities going on. Still remaining somewhat distanced from the play of the game itself, we then take a closer look at the players themselves by examining a notionally simpler setting involving pairs taking part in a football game at a games console. As we draw closer to the technical details of play, we narrow our focus further still to examine a player and spectator situated “at the screen” but jointly analyzing play as the player competes in an online first-person shooter. Finally, we go “inside” the game entirely and look at the conduct of avatars on-screen via screen recordings of a massively multiplayer online game. Having worked through specific examples, we provide an elaboration of a selection of core topics of ethnomethodology and conversation analysis that is used to situate some of the unstated orientations in the presentation of data fragments. In this way, recurrent issues raised in the fragments are shown as coherent, interconnected phenomena. In closing, we suggest caution regarding the way game play phenomena have been analyzed in this study, while remarking on challenges present for the development of further EMCA-oriented research on video game play. (shrink)

Accounts of video game play developed from an ethnomethodological and conversation analytic perspective remain relatively scarce. This study collects together an emerging, if scattered, body of research which focuses on the material, practical “work” of video game players. The study offers an example-driven explication of an EMCA perspective on video game play phenomena. The materials are arranged as a “tactical zoom.” We start very much “outside” the game, beginning with a wide view of (...) how massive-multiplayer online games are played within dedicated gaming spaces; here, we find multiple players, machines, and many different sorts of activities going on. Still remaining somewhat distanced from the play of the game itself, we then take a closer look at the players themselves by examining a notionally simpler setting involving pairs taking part in a football game at a games console. As we draw closer to the technical details of play, we narrow our focus further still to examine a player and spectator situated “at the screen” but jointly analyzing play as the player competes in an online first-person shooter. Finally, we go “inside” the game entirely and look at the conduct of avatars on-screen via screen recordings of a massively multiplayer online game. Having worked through specific examples, we provide an elaboration of a selection of core topics of ethnomethodology and conversation analysis that is used to situate some of the unstated orientations in the presentation of data fragments. In this way, recurrent issues raised in the fragments are shown as coherent, interconnected phenomena. In closing, we suggest caution regarding the way game play phenomena have been analyzed in this study, while remarking on challenges present for the development of further EMCA-oriented research on video game play. (shrink)

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)

Ethics in video gaming is broad topic that extends beyond the familiar instances of “moral panics”. This chapter will first divide ethical issues into internal and external moral questions. Roughly, this equates to a distinction between the ethics in games and the ethics of games. The ethical issues internal to video games arise due to both their status as fictions and their status as games. Many games afford players the opportunity to perform violent and vicious acts; however, these (...) are of course fictional actions and are often contextualized as part of the game’s competitive play. This raises the general question whether it can ever be morally wrong to perform some fictional action in a video game. To approach this question, this section will first consider how moral values are inherent within games. Players engage with the embedded moral values of games both at the level of their narratives and their rules. Games become objects for moral reflection, not only through the stories that they tell, but also through the ways in which players are invited to engage actively with those stories. Next, external ethical issues are those that focus on the nature of the gaming industry and gaming cultures. The gaming industry has notoriously struggled with representations of gender and race, both in their workforce and in the games that they produce. Turning to the ecological impacts, the gaming industry is a major source of e-waste through the production of gaming technologies. The hardware used in gaming has a lifecycle that begins with the exploitation of resource-rich developing countries that produce the precious materials used in computer screens and processing chips and ends with those same products being dumped in toxic landfills in other developing countries. Additionally, gaming is a major source of energy consumption, particularly as cloud gaming servers are required to run continuously. When considering the ethics of games, such social and ecological concerns must surely figure in one’s moral calculation. Finally, some moral issues straddle the line between the above distinction between internal and external due to the porous nature of virtual interactivity, particularly regarding multiplayer games. Various gaming cultures struggle with their own ethical issues—from the failure to promote sportsmanship in e-sports to the widespread harassment of players in online platforms. This final section will briefly consider problems with multiplayer games, harassment, and trolling. (shrink)

This article explores the identity of youth in relation to the information sources they choose in the constellation of information of video games, using the massively multiplayer online game World of Warcraft as an example. From this study, several identities are recognized that are combinations of the participants skill and level in the game, as well as their play style and the information practices they use in relation to school success.

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)

Previous research with video game play and moral development with adolescents, found both positive and negative relationships. This study aimed to extend this research to explore moral development and video game play with University students. One hundred and thirty-five undergraduate students (M = 20.29 SD = 2.70) took part in an online survey. The results suggested higher moral reasoning for participants who described themselves as gamers and those which do not players, compared to the those (...) who play but do not identify as gamers. It was suggested that males had higher moral scores and more mature reasoning than females. The results of a regression analysis suggested that there were no significant predictors for moral development from either game play or the demographic variables. The findings suggest that moral development could be less influenced by sex, age, and video game play factors such as video game content and amount of game play, than was previously thought. (shrink)

Due to the concerns over the effects of video game play, this study investigated adolescents’ moral development and their video game play. 166 adolescents aged 11-18 years (M = 13.08 SD = 1.91) attending an English school completed an online survey, which included a measure of moral development and questions regarding video game play. In contrast to previous research, male participants were found to have significantly (p = 0.02) higher moral reasoning scores than (...) females. The results also suggested a transition in moral development, which takes place between the ages of 12–14. The results of moral development and video game played suggested both positive and negative relationships. Regression analysis suggested that there was a significant positive relationship between the more types of game genres played and higher moral scores. Although not significant, the results suggested trend for the following variables; years playing video games, mature content, engagement, moral narrative, Grand Theft Auto, Call of Duty, and length of time playing video games had a negative relationship with moral scores. The implications of these results are discussed with regards to moral education and the variables involved in video game play including the role content of video games. (shrink)

Despite the challenges associated with virtually mediated communication, remote collaboration is a defining characteristic of online multiplayer gaming communities. Inspired by the teamwork exhibited by players in first-person shooter games, this study investigated the verbal and behavioral coordination of four-player teams playing a cooperative online video game. The game, Desert Herding, involved teams consisting of three ground players and one drone operator tasked to locate, corral, and contain evasive robot agents scattered across a large desert (...) environment. Ground players could move throughout the environment, while the drone operator’s role was akin to that of a “spectator” with a bird’s-eye view, with access to veridical information of the locations of teammates and the to-be-corralled agents. Categorical recurrence quantification analysis was used to measure the communication dynamics of teams as they completed the task. Demands on coordination were manipulated by varying the ground players’ ability to observe the environment with the use of game “fog.” Results show that catRQA was sensitive to changes to task visibility, with reductions in task visibility reorganizing how participants conversed during the game to maintain team situation awareness. The results are discussed in the context of future work that can address how team coordination can be augmented with the inclusion of artificial agents, as synthetic teammates. (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)

Many parents worry over their children’s gaming habits, but to what extent do such worries match any detrimental effects of excessive gaming? We attempted to answer this question by comparing children of highly concerned parents with other adolescents of the same age. A cohort of parents who identified as highly concerned over their children’s video game habits were recruited for a public study in collaboration with a national television network. Using an online experimental platform in conjunction with (...) surveys of parents’ beliefs and attitudes, we compared their children to age-matched peers in an exploratory case-control study. The scores of children with highly concerned parents on tests of cognitive control and psychological wellbeing were statistically similar to controls, suggesting no selective cognitive or psychological detriments from gaming or otherwise in the cases with concerned parents. The case group, however, did spend more time gaming, and scored higher than controls on problem gaming indicators, which also correlated negatively with wellbeing. Within the case group, wellbeing effects seemed mainly to consist in issues of relaxation and sleep, and related to gaming addiction indicators of playing to forget real-world problems, and the feeling of neglecting non-gaming activities. Where most results of research staged for TV never get published, making it difficult to interpret both methods and results, this paper describes findings and participant recruitment in detail. The relationship between parental concern and children’s gaming is discussed, as is the merits and challenges of research conducted with media, such as TV programs and their recruited on-screen participants. (shrink)

During the COVID-19 pandemic, several countries implemented social distancing measures to contain virus transmission. However, these vital safety measures have the potential to impair mental health or wellbeing, for instance, from increased perceived loneliness. Playing social video games may offer a way to continue to socialize while adhering to social distancing measures. To examine this issue further, the present online survey investigated social gaming during the pandemic and its association to perceived loneliness within a German-speaking sample. Results indicated (...) a small positive correlation between general gaming frequency and perceived loneliness. Detailed analysis revealed a negative association between perceived loneliness and increased social forms of video gaming. Specifically, gamers with a higher social motive for gaming perceived less loneliness, but gamers with a dominant escape motive demonstrated a positive link to perceived loneliness. The use of social gaming in times of social distancing seems to play a small but significant factor in perceived loneliness compared to other demographical data. The findings are discussed with respect to methodological limitations, effect sizes, and sample characteristics. The results enrich the current knowledge on video gaming and its link to social wellbeing and provide a more nuanced picture than simplistic investigations of screen time. (shrink)

Abstract:Whereas utopia is the vision of an ideal community, dystopias create the image of a cataclysmic decline of society and environment. This article deals with the construction of personal agency and the analysis of digital simulation that is reflected in an online commercial for a first-person survival horror video game. Agency is understood here as the capacity to act in the virtual environment that is ascribed to the actor by the marketing strategy. Applying approaches from phenomenology, simulation (...) theory, and sound studies, the analysis proceeds in reference to a corresponding educational political agenda. The findings show a certain discrepancy between the more utopian education political rhetoric and the more dystopian construction of personal agency in the video game context, a discrepancy from which specific educational challenges emerge. Finally, even if a case study generally cannot be seen as representative, its results present a direction for the further investigation of virtual reality from the education perspective as suggested by international policies. (shrink)

The Erasmus + Play4Guidance project introduces an online business game, designed to help teach entrepreneurial, transversal and mathematical skills using a real-world business environment. This paper explains how the Business Model Canvas strategy tool facilitated student understanding of real life business development prior to playing the game. An initial mapping exercise was conducted to find out if the Business Model Canvas could transform the experience of playing the game by providing an overview of real life business (...) strategy, and explain the crucial role that markets and customers play in business growth. As a result of the mapping exercise a workshop session was developed to ensure that students could enact the real life business scenarios presented in the game. Three different types of videos were produced and integrated into the workshop to demonstrate key entrepreneurial competencies and graphically illustrate the nine key building blocks of the BMC. Survey responses from a student cohort evidenced that the workshop was central in helping them to understand real life business strategy prior to playing the game. (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)

This study examined the link between employees’ adult attachment orientations and perceptions of line managers’ interpersonal justice behaviors, and the moderating effect of national culture. Participants from countries categorized as low collectivistic and high collectivistic completed an online survey. Attachment anxiety and avoidance were negatively related to interpersonal justice perceptions. Cultural differences did not moderate the effects of avoidance. However, the relationship between attachment anxiety and interpersonal justice was non-significant in the Southern Asia cultural cluster. Our findings indicate the (...) importance of ‘fit’ between cultural relational values and individual attachment orientations in shaping interpersonal justice perceptions, and highlight the need for more non-western organizational justice research. (shrink)

Traditional mental health services are often not enough to meet the needs of people at risk for suicide, especially in populations where help-seeking is stigmatized. Stack Up, a non-profit veteran organization whose goal is to use video games to bring veterans together, recognized a need in its gaming-focused online community and created the Overwatch Program. This suicide prevention and crisis intervention program is delivered entirely through the Internet by trained community members through Discord text and voice chat. By (...) combining aspects of virtual gaming communities, veteran mental health, and community-based peer support, this program provides an innovative format for implementing crisis intervention and mental health support programs. We describe here the context and features of the program, an ongoing evaluation project, and lessons learned. (shrink)

Computer and video games have become nearly ubiquitous among individuals in industrialized nations, and they have received increasing attention from researchers across many areas of scientific study. However, relatively little attention has been given to Massively-Multiplayer Online Games . The unique social context of MMOGs raises ethical questions about how communication occurs and how conflict is managed in the game world. In order to explore these questions, we compare the social context in Blizzard’s World of Warcraft and (...) Disney’s Toontown, focusing on griefing opportunities in each game. We consider ethical questions from the perspectives of players, game companies, and policymakers. (shrink)

This dissertation is an effort to describe the effects of Postmodern thought in a variety of narrative forms, including novels, film, and computer games. Using Brian McHale's description of the focal point of Modernist narratives as being epistemological and Postmodernist narratives as being concerned primarily with ontological issues, I trace the possible meaning of the changing understanding of these concepts in the twentieth century. In addition, I interrogate the ramifications of the Postmodern resolution to the crisis of epistemology presented through (...) the work of Modernist writers to test whether or not the Postmodern idea of "claiming worlds" is, indeed, a reasonable or viable resolution to this crisis. ;It is my contention that a changing sense of the relationship between the definitions of epistemology and ontology in traditional literary narrative has been affected by and has affected the narratives of less traditionally "literary" media. In order to show that this change has occurred, I use a number of texts to serve as examples, first, of the conception of epistemology as presented in Modernist works like James Joyce's "The Dead" and Edith Wharton's A Son At the Front and then of the conception of ontology as presented in Postmodernist work like Salman Rushdie's Midnight's Children. I then examine more popular narrative forms to examine how Postmodernism's focus on what I term an "epistemologically derived ontology" has crept into the general culture. My specific examples in these cases are Norman Spinrad's cyberpunk novel Little Heroes , the film The Matrix, and a number of video games, particularly online games. ;My final conclusions are exemplified by the film Memento, which contains many of the Postmodern tenets I propose are typical of mainstream Postmodern works and which also serves as a basis for revealing some of my ethical concerns about the ramifications of this shift in understanding of the aforementioned philosophical categories. (shrink)

Increase in popularity of games like "Second Life" has contributed not only to significant changes in the development of the electronic entertainment industry. Promoting Games 2.0, the new trend of video game production that are assumed to be the virtual worlds that contain user-generated content makes both measured with a specific technological innovation, as well as a serious change in the organization of socio-cultural heritage. The article presents problems of the existing difficulties of terminology, the implications of the (...) availability of Games 2.0 for social life, the concept of leisure as work in the new economy and creative non-material and the characteristics of "Generation C". Work stresses the need for discussion on trends in the development of video games - defined as a choice between the projects’ of "socio-cultural ideology of perpetual motion" and "utopia of universal creativity". These approaches allow to identify the methodological basis for analysis of relations between the operators and users of Games 2.0, taking into account the wider social environment. ** Wzrost popularności gier typu „Second Life” przyczynił siȩ nie tylko do znacznych przemian w rozwoju branży rozrywki elektronicznej. Upowszechnianie Games 2.0, nowego nurtu produkcji gier wideo które z założenia maj¸a} stanowić wirtualne światy zawieraj¸a}ce treści tworzone przez użytkowników sprawia, że mierzymy siȩ zarówno z określon¸a} innowacj¸a} technologiczn¸a}, jak też z poważn¸a} zmian¸a} organizacji życia społeczno-kulturowego. Artykuł przedstawia problematykȩ istniej¸acych trudności terminologicznych, konsekwencje dostȩpności Games 2.0 dla życia społecznego, pojȩcie rozrywki jako pracy w nowej gospodarce niematerialnej i twórczej oraz charakterystykȩ „generacji C”. Praca podkreśla potrzebȩ dyskusji nad kierunkami rozwoju gier wideo - określanymi jako wybór miȩdzy projektami „ideologii społeczno-kulturowego perpetuum mobile” i „utopii powszechnej twórczości”. Podejścia te pozwalaj¸a na wskazanie podstaw metodologicznych do prowadzenia analiz relacji miȩdzy operatorami, a użytkownikami Games 2.0 przy uwzglȩdnieniu szerszego otoczenia społecznego. (shrink)

The study of the effects of interactive media has mainly focused on dysregulated behaviors, the conceptualization of which is supported by the paradigms of addiction. Research into Game Transfer Phenomena examines the interplay between video game features, events while playing, and the manipulation of hardware, which can lead to sensory-perceptual and cognitive intrusions and self-agency transient changes related to video games. GTP can influence the interpretation of stimuli and everyday interactions and, in contrast to gaming disorder, (...) are relatively common and not necessarily negative. However, some players have reported feeling distress due to their GTP. This study focuses on how dispositional and interactive media habit factors are related to GTP and two forms of problematic interactive media [problematic video game playing and problematic social media use ]. A sample of 343 university students who played video games completed an online survey. Not all who had experienced GTP were identified as exhibiting PVG or PSMU, but all of those in the PVG group had experienced GTP. Overall, the profiles of the groups, including GTP, PVG, and PSMU, were in accordance with previous findings. Those in the GTP and the PVG groups were characterized by being male, being highly engaged in the game, and showed preferences for game-related activities. However, while those in the GTP group were significantly more likely to be fantasy-prone, those with PVG were the ones who played most per day. Those in the PSMU group were characterized by being female and/or extroverted, frequently using social/sharing platforms, and seldom playing video games. A hierarchical binary logistic regression revealed that males were more likely to experience GTP. Increases in PVG, fantasy proneness, and neuroticism increased the odds of GTP. Future work can benefit from considering the role of GTP in gaming disorder, since intrusive thoughts, cognitive biases, and poor impulse control are pivotal in the initiation and maintenance of dysfunctional playing behaviors. (shrink)

Abstract In this article we develop a relational understanding of sociality, that is, an account of social life that takes relation as primary. This stands in contrast to the common assumption that relations arise when subjects interact, an account that gives logical priority to separation. We will develop this relational understanding through a reading of the work of Martin Buber, a social philosopher primarily interested in dialogue, meeting, relationship, and the irreducibility and incomparability of reality. In particular, the article contrasts (...) Buber’s work with that of poststructuralist theorists who take as their starting point the deconstruction of the Hegelian logic of binary oppositions. Deconstruction understands difference as the excess that undoes the binary, but Buber, we argue, shows how difference derives from the primacy and ontological undefinability of relation. Relational logic does not exclude the logic of separations and oppositions: relation is the primal ground that makes separations possible. Content Type Journal Article Pages 1-13 DOI 10.1007/s11841-011-0278-9 Authors Andrew Metcalfe, School of Social Sciences and International Studies, University of New South Wales, Sydney, NSW 2052, Australia Ann Game, School of Social Sciences and International Studies, University of New South Wales, Sydney, NSW 2052, Australia Journal Sophia Online ISSN 1873-930X Print ISSN 0038-1527. (shrink)

The debate over the contribution of the Internet to democracy is farfrom settled. Some point to the empowering effects of online discussionand fund raising on recent electoral campaigns in the US to argue thatthe Internet will restore the public sphere. Others claim that the Internetis just a virtual mall, a final extension of global capitalism into everycorner of our lives. This paper argues for the democratic thesis withsome qualifications. The most important contribution of the Internetto democracy is not necessarily (...) its effects on the electoral process butrather its ability to assemble a public around technical networks thatenroll individuals scattered over wide geographical areas. Medicalpatients, video game players, musical performers, and many otherpublics have emerged on the Internet with surprising consequences. (shrink)

In this explorative study, we investigated motives of autonomous learners to participate in an online course, and how these motives are related to gameplay motivations, engagement in the course experience, and learning outcomes. The guiding premise for the study has been the idea that learning and game playing carry phenomenal similarities that could be revealed by scrutinizing motives for participating in a massive open online course that does not involve any intentionally game-like features. The research was (...) conducted by analyzing survey data collected from individuals who had voluntarily participated in an open online course about artificial intelligence and its societal impact. The survey included an explorative Motives for Autonomous Learning inventory. Exploratory factor analysis suggested that the MAL inventory consisted of six dimensions out of which four were consistent with factors that earlier research has associated with motives to engage with video games. Of the identified factors, the dimension that most clearly described autonomous and playful predispositions was found to be a main precedent for both experienced gamefulness of the learning experience and positive learning outcomes. In all, the results of this study demonstrated that playfulness and autonomy were both prominent and significant factors across the whole learning process. (shrink)

This study concentrates on two kinds of video games, Massive Online Battle Arena and Massive Multiplayer Online Role Play Game, and examines the scores obtained by the subjects in the sample. Score...

Games are more varied and occupy more of daily life than ever before. At the same time, the tools available to study game play and players are more powerful than ever, especially massive data sets from online platforms and computational engines that can accurately evaluate human decisions. This essay offers six suggestions for future cognitive science research on games: Don't forget about chess, Look beyond action games and chess, Use -optimal play to understand human play and players, Investigate (...) social phenomena, Raise the standards for studies of games as treatments, Talk to real experts. (shrink)

Sociological theories of space have so far not provided an in-depth analysis of online spaces. The paper addresses this issue by means of Löw’s relational theory of space. As this theory mainly focuses on material spaces, it is necessary to embrace the phenomenological perspective in order to apply it to the virtual realm. More recent phenomenological research has highlighted the ongoing mediatization or virtualization of the life-world. These theories, and presence research more generally, are useful for examining the layers (...) of virtual presence. This paper focuses on two emblematic types of spaces: multiplayer online role-playing games and Skype video chats. The first represents an online version of a Schutzian finite province of meaning, while Skyping is an example of how the paramount reality of everyday life expands into the virtual realm. Albeit differently, actors in both cases constitute hybrid, virtual-material spaces with various forms and degrees of virtual presence. User experiences in these spaces are in line with contemporary sociological diagnoses indicating the vanishing experience of living in space and the general tendency of late modernity to question previous social forms of modernity. (shrink)

Is it ever morally wrong to enjoy fantasizing about immoral things? Many video games allow players to commit numerous violent and immoral acts. But, should players worry about the morality of their virtual actions? A common argument is that games offer merely the virtual representation of violence. No one is actually harmed by committing a violent act in a game. So, it cannot be morally wrong to perform such acts. While this is an intuitive argument, it does not (...) resolve the issue. -/- Focusing on why individual players are motivated to entertain immoral and violent fantasies, Video Games, Violence, and the Ethics of Fantasy advances debates about the ethical criticism of art, not only by shining light on the interesting and under-examined case of virtual fantasies, but also by its novel application of a virtue ethical account. Video games are works of fiction that enable players to entertain a fantasy. So, a full understanding of the ethical criticism of video games must focus attention on why individual players are motivated to entertain immoral and violent fantasies. -/- Video Games, Violence, and the Ethics of Fantasy engages with debates and critical discussions of games in both the popular media and recent work in philosophy, psychology, media studies, and game studies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 39.4 (2005) 119-131 [Access article in PDF] New Stages: Challenges for Teaching the Aesthetics of Drama Online Michael Anderson Introduction The history of drama education can be read as a series of arguments over dichotomies: process and product, theatre and classroom, artist and teacher, and so forth.1 One of the more recent discussions has focused on technology versus live classroom drama.2 At the (...) heart of these discussions is an attempt to define the aesthetic dimensions of the subject. In one sense, these are fruitful discussions to have as they reflect the dynamism of a live art form in schools. There seems, however, to be a tendency for these debates to entrench themselves into ideological positions. In this paper, I would like to promote the idea that we do not have to develop oppositions or dichotomies before finding that the middle ground provides the richest experiences for drama students. I would like to propose that we see these emerging technologies as providing yet other (albeit different) stages upon which the drama aesthetic can be played.3 Aesthetics and Drama Education Drama education has had an uneasy and often contentious relationship with discussions around aesthetics. Often the drama education community has split along two lines—those who value process and those who value product.4 Work by drama educators such as Judith McLean has demonstrated the centrality of the understanding of the aesthetic and the importance of putting an aesthetic understanding at the center of teaching and learning in drama.5 Her development of an Aesthetic Framework provides teachers with an approach for understanding the position of aesthetics within drama teaching and learning that bypasses the fruitless dichotomies [End Page 119] of process versus product. As most now agree, the drama classroom has a place for both process and product.6 In both, we can find important aesthetic features of drama education. The Challenge of Emerging Technologies and Drama Education Having weathered the dichotomies of the past, there are now fresh challenges to the understanding of drama and aesthetics. The prevalence of and pressure for integration of new technologies in the drama classroom are also challenging drama educators to incorporate technology within the drama aesthetic. The ubiquity of technology that relates to drama education is facing teachers with serious challenges to engage with a dramatic aesthetic in classrooms. Perhaps the most stunning challenge is the exposure and experience twenty-first-century children have to rapidly changing technologies. As Morris explains, students are exposed to more drama in settings other than classrooms and theatres: For most Australian children, experience of drama is less likely to be through live performance than through screen-based media such as television, film, videos, video games, CD-ROM, DVD-ROM and interactive web-based games. And their experience of live performance is most likely to be shaped by the use of technology for design elements such as set, lighting and sound.7This is a compelling and imminent challenge. If drama educators cannot or will not find ways to work with technology, students will find other places to express their creativity outside the drama classroom. Added to the pressure from students who have grown up with these technologies, there is increasing pressure from curriculum developers and school systems to integrate technology into teaching. Aesthetics, Technology, and Curriculum: An Evolving Relationship All authorities and educational policy bodies in Australia are mandating integration of Information and Communications Technology (ICT) into drama curriculum. Recently, the New South Wales (NSW) Board of Studies mandated ICT as an area of "cross curriculum content," necessitating its inclusion in all Years 7-10 syllabi (which include all of the arts).8 For instance, the Year 7-10 drama syllabus states "... teachers should allow students the opportunity to explore different information communication technologies in their class work."9Recent studies have demonstrated mixed rates of participation and enthusiasm for the introduction of ICT in Australia and internationally. In the Australian study, half the respondents surveyed were not using ICT of any kind in their drama education.10 A... (shrink)

Some video games are said to be philosophical. Despite video games having received some attention in academic philosophy, that contention has not been sufficiently addressed. This paper investigates in what sense video games might be properly called “philosophical”. To this end, I utilize Wittgenstein’s distinction between saying and showing to get into view how some video games might be properly called philosophical. This leads to two senses of being philosophical: a conventional sense of expressing philosophy through (...) propositions, i.e., through saying, and a sense of being genuinely philosophical by expressing philosophical thought through showing. I argue that the conventional sense is not sufficient to call video games philosophical, leaving the question whether there are video games which satisfy the conditions of being genuinely philosophical. I furthermore contend that there are at least some examples of video games which qualify as being philosophical, e.g., Papers, Please and The Stanley Parable. (shrink)

In this paper I aim to show with the aid of philosophers Edith Stein and Peter Goldie, how empathy and other social feelings are instantiated and developed in real life versus on the Internet. The examples of on-line communication show both how important the embodied aspects of empathy are and how empathy may be possible also in the cases of encountering personal stories rather than personal bodies. Since video meetings, social media, online gaming and other forms of interaction (...) via digital technologies are taking up an increasing part of our time, it is important to understand how such forms of social intercourse are different from in real life meetings and why they can accordingly foster not only new communal bonds but also hatred and misunderstanding. (shrink)

I, player : the puzzle of personal identity (MMORPGS and Virtual Communities) -- The game inside the mind, the mind inside the game (The Nintendo Wii Gaming Console) -- Realistic blood and gore : do violent games make violent gamers? (First-person Shooters) -- Games and God's goodness (World-builder and Tycoon Games) -- The metaphysics of interactive art (Puzzle and Adventure Games) -- Artificial and human intelligence (Single-player RPGS) -- Epilogue: Video games and the meaning of life.

This article explores the nature and theoretical import of a hitherto neglected class of fictions which we term ‘self-involving interactive fictions’. SIIFs are interactive fictions, but they differ from standard examples of interactive fictions by being, in some important sense, about those who consume them. In order to better understand the nature of SIIFs, and the ways in which they differ from other fictions, we focus primarily on the most prominent example of the category: video-game fictions. We argue (...) that appreciating the self-involving nature of video-game fictions is key to understanding various otherwise puzzling phenomena concerning the ways in which consumers respond to them. Video-game fictions are, however, far from being the only extant example of this class; and we suggest that the recent philosophical interest in video games would be better focused on the wider class of self-involving interactive fictions. (shrink)

Video streaming has become very popular among game enthusiasts. Live streams of computer games, where there is the possibility of communi­cation, are developing as community meeting places; a number of social scientists are calling this a trend towards new online “third places”. To­day’s debate draws attention to the reproduction of a participation culture trough streaming, in the space of which everyone can express themselves creatively, share their opinion, experiences, and information. At the same time, there is a (...) tendency towards the capitalist appropriation of streaming by media businesspersons who stimulate the monetization of participation. Investigating the “sociality of streaming”, the authors highlight the supplementation of the “Let’s Play” discourse with topics from the current agenda, understanding live streams as public media arenas. In the public arenas of computer game live streams, the dramatization and selection of global or local news information in a specific media format takes place. The article demonstrates this phenomenon using the example of the corona­virus, the most prominent topic of spring 2020. The pandemic vocabulary appears in different sections of Twitch game streams, such as titles, audio/ video content, and the chat. Banter and obscene vocabulary are charac­teristic of the game stream space, however, this is combined with charity fund-raising broadcasts in support of doctors. ­. (shrink)

Many prepared actions have to be withheld for a certain amount of time in order to have the most beneficial outcome. Therefore, keeping track of time accurately is vital to using temporal regularities in our environment. Traditional theories assume that time is tracked by means of a clock and an “attentional gate” (AG) that modulates subjective time if not enough attentional resources are directed toward the temporal process. According to the AG theory, the moment of distraction does not have an (...) influence on the subjective modulation. Here, we show, based on an analysis of 28,354 datasets, that highly motivated players of the online multiplayer real‐time strategy game StarCraft2 indeed respond later to timed events when they are distracted by other tasks during the interval. However, transient periods of distraction during the interval influence the response time to a lesser degree than distraction just before the required response. We extend the work of Taatgen, van Rijn, and Anderson (2007) and propose an alternative active check theory that postulates that distracted attention prevents people from checking their internal clock; we demonstrate that this account better predicts variance observed in response time. By analyzing StarCraft2 data, we assessed the role of attention in a naturalistic setting that more directly generalizes to real‐world settings than typical laboratory studies. (shrink)

Historically, video games featuring content perceived as excessively violent have drawn moral criticism from an indignant (and sometimes, morally outraged) public. Defenders of violent video games have insisted that such criticisms are unwarranted, as committing acts of virtual violence against computer-controlled characters – no matter how heinous or cruel those actions would be if performed in real life – harm no actual people. In this paper, I present and critically analyze key aspects of this debate. I argue that (...) while many ethical objections to playing violent video games seem to miss their marks, there is sufficient reason to take modest steps in order to address the concerns that theorists have raised. (shrink)

Many prepared actions have to be withheld for a certain amount of time in order to have the most beneficial outcome. Therefore, keeping track of time accurately is vital to using temporal regularities in our environment. Traditional theories assume that time is tracked by means of a clock and an “attentional gate” (AG) that modulates subjective time if not enough attentional resources are directed toward the temporal process. According to the AG theory, the moment of distraction does not have an (...) influence on the subjective modulation. Here, we show, based on an analysis of 28,354 datasets, that highly motivated players of the online multiplayer real‐time strategy game StarCraft2 indeed respond later to timed events when they are distracted by other tasks during the interval. However, transient periods of distraction during the interval influence the response time to a lesser degree than distraction just before the required response. We extend the work of Taatgen, van Rijn, and Anderson (2007) and propose an alternative active check theory that postulates that distracted attention prevents people from checking their internal clock; we demonstrate that this account better predicts variance observed in response time. By analyzing StarCraft2 data, we assessed the role of attention in a naturalistic setting that more directly generalizes to real‐world settings than typical laboratory studies. (shrink)

I argue that by any major definition of art many modern video games should be considered art. Rather than defining art and defending video games based on a single contentious definition, I offer reasons for thinking that video games can be art according to historical, aesthetic, institutional, representational and expressive theories of art. Overall, I argue that while many video games probably should not be considered art, there are good reasons to think that some video (...) games should be classified as art. I also show that the debates over the artistic status of chess and sports offer some insights into the status of video games. (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)

This article explores the nature and theoretical import of a hitherto neglected class of fictions which we term ‘self-involving interactive fictions’. SIIFs are interactive fictions, but they differ from standard examples of interactive fictions by being, in some important sense, about those who consume them. In order to better understand the nature of SIIFs, and the ways in which they differ from other fictions, we focus primarily on the most prominent example of the category: video-game fictions. We argue (...) that appreciating the self-involving nature of video-game fictions is key to understanding various otherwise puzzling phenomena concerning the ways in which consumers respond to them. Video-game fictions are, however, far from being the only extant example of this class; and we suggest that the recent philosophical interest in video games would be better focused on the wider class of self-involving interactive fictions. (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)

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 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)

This paper considers what it is about violent video games that leads one reasonably minded person to declare “That is immoral” while another denies it. Three interpretations of video game content are discussed: reductionist, narrow, and broad. It is argued that a broad interpretation is required for a moral objection to be justified. It is further argued that understanding the meaning of moral utterances—like “x is immoral”—is important to an understanding of why there is a lack of (...) moral consensus when it comes to the content of violent video games. Constructive ecumenical expressivism is presented as a means of explaining what it is that we are doing when we make moral pronouncements and why, when it comes to video game content, differing moral attitudes abound. Constructive ecumenical expressivism is also presented as a means of illuminating what would be required for moral consensus to be achieved. (shrink)

‘Philosophical dialogue’ indicates both a form of philosophical inquiry and its corresponding literary genre. In its written form, it typically features two or more characters who engage in a discussion concerning morals, knowledge, as well as a variety of topics that can be widely labelled as ‘philosophical’. Our philosophical dialogue takes place in Krakow, Poland. It is a rainy morning and two strangers are waiting at a tram stop. One of them is dressed neatly, and cannot stop fidgeting with his (...) closed umbrella. The other was caught unprepared by the morning downpour and water is dripping from his worn, soaked jacket. (shrink)

Although previous studies have found that video games induce stress, studies have not typically measured all salient indicators of stress responses including stress appraisals, cardiovascular indicators, and emotion outcomes. The current study used the Biopsychosocial Model of Challenge and Threat (Blascovich & Tomaka, 1996) to determine if video games induce a cardiovascular stress response by comparing the effects of threat and challenge appraisals across two types of video games that have shown different cardiovascular outcomes. Participants received challenge (...) or threat appraisal instructions, and played a fighting game (Mortal Kombat) or a puzzle game (Tetris). Study outcomes were heart rate variability, systolic and diastolic blood pressure, and positive and negative emotion ratings measured before, during and after gameplay. Results indicated that threat appraisal instructions increased negative emotion ratings and decreased heart rate variability, but not blood pressure, which is an essential marker for cardiovascular stress responses. Increased blood pressure and decreased heart rate variability was associated with fighting game players when compared with the puzzle game players, indicating a cardiovascular stress response; however, fighting game players also reported higher positive emotion ratings. Based on the study findings, video games do not induce stress responses like mental stressors used in previous research, demonstrating that the interactive player experience in video gaming may have more complex effects on stress outcomes. Future research should comprehensively measure biopsychosocial stress indicators and multiple emotional states over time to fully examine the relationship between video games and stress. (shrink)

The most cursory look at video games raises several interesting issues that have yet to receive any consideration in the philosophy of art, such as: Are videogames art and, if so, what kind of art are they? Are they more closely related to film, or are they similar to performance arts, such as dance? Perhaps they are more akin to competitive sports and games like diving and chess? Can we even define “video game” or “game”? We (...) often say that video games are interactive, but what is interactivity and what are the effects of interactivity on eliciting emotional responses from players? (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)