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Keynote presentation:
Why am I in Vietnam? A computer game case study [Powerpoint/video] |
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| Animated game pieces. Avatars
as roles, tools and props |
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| Jonas Linderoth - LearnIT/Göteborg
University |
Since Turkle’s seminal work Life on the screen (1995), avatars have
been described as a form of alter egos, being means for exploring and playing
with identity. Following this line of reasoning, computer gaming is seen
as an activity where we become immersed in a fictitious world, pretending
to be the character we play. Drawing upon empirical observations of children’s
game-play I argue that the relation between the avatar and the player is
a more multifaceted affair...READ MORE
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| King of
the Hill : Investigation and Re-appropriation of Space in the Video Game
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The defining element in video games is spatiality. That short sentence
that feels like a quote (and in fact is: Aarseth, 2001, p.154) is all this
paper is about. Grounding our proposition on a few different approaches
that place space and space regulation as prerequisites for the possibility
of play, we will examine how the video game player can get (the feeling
of having) control over the gameworld’s space...READ
MORE
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| The
Aesthetic Experience of Sound - staging of Auditory Spaces in 3D computer
games |
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The use of sound in (3D) computer games basically falls in two. Sound
is used as an element in the design of the set and as a narrative. As set
design sound stages the nature of the environment, it brings it to life.
As a narrative it brings us information that we can choose to or perhaps
need to react on...READ MORE
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| Elune
be Praised": The functions and meanings of myth in the World of Warcraft
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It is part of the generic features of most role-playing games that they
provide a coherent fantasy-based ‘world’ in which to play and
interact with others in the guise of heroic adventurers. It can be said
that any popular cultural artefact has intertextual features as part of
the system of genre as well as intrinsic, more generally, to the generation
of a ‘thick text’ (Kaveney, 2005:5)...READ
MORE
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| The use
of architectural patterns in MMORPGs |
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The latest of the online games is World of Warcraft. It has been an immense
success with more than 1.5 million subscribers world wide. When examining
the game, it is evident that its virtual world is exceptionally designed...READ
MORE
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| Story-Line,
Dance/Music or PVP? Game Movies and Performance in World of Warcraft |
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Player-created game movies have been an outlet for creative expression
by World of Warcraft (WoW) players since the beta version of the game. Considering
this game’s relatively short life and the aesthetic and technical
constraints posed by movie-making in massively-multiplayer online (MMO)
games, the proliferation of players, clans, websites, and community forums
for creating, consuming and commenting on WoW movies is remarkable...READ
MORE
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| Coming to
Play at Frightening Yourself :Welcome to the World of Horror Video Games
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In response to critics of supernatural horror tales, H.P. Lovecraft commenced
his now famous work of literature with this incisive reply:
The appeal of the spectrally macabre is generally narrow because it demands
from the reader a certain degree of imagination and a capacity for detachment
from everyday life...READ MORE
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| San Andreas:
Agency, Movement, and Containment; or, How the West is (Frequently) Won |
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Following on from my participation in a panel at Playful Subjects, in
May 2005, I have decided to begin by communicating, in this paper, the recent
review I undertook in my research regarding my approach to ‘freedom’
discourse...READ MORE
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| Figuring
the Riddles of Adventure Games |
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Characteristic of the adventure game genre is that puzzles represent
the main type of challenge presented to the player. To analyse adventure
games will therefore often be a matter of investigating puzzles, for instance
asking how the individual puzzles occurring in a game relate to a more
general understanding of what distinguishes “puzzles” as a
game genre or form...READ MORE
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| The aesthetics of antagonism |
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| Jonas Heide Smith - Center
for Computer Game Research, The IT University of Copenhagen |
This paper attempts to give a systematic account of the ways in which
games stage conflict and the strategic implications of these conflicts.
This is done by presenting an incentive perspective which builds
on the basic assumption that players prefer to win (in the broadest sense).
This assumption is shown to be common in the game design literature and
its explanatory strength, as well as its problems and limitations, will
be discussed...READ MORE
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Character Data Sets and
Parameterized Morality
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| Robert Fitzpatrick, Martin Walsh, Michael Nitsche - Georgia
Institute of Technology |
Creating dramatic and engaging characters is one of the ‘holy grail’
issues in video games. Another – related – focus is the implementation
of morality in game characters. We look into a combination of these two
issues inside the game character’s definition. This character data
set forms the backbone of the game entity and a basis from which behavioral
engines can operate. Some of these data features refer to established character
definitions from traditional media, including physiology, sociology and
psychology as three defining elements of dramatic characters...READ
MORE
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Play, Modality and Claims of Realism in
Full Spectrum Warrior
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Geoff King - Brunel
University |
The aim of this paper is to examine the balance between notions of play
and claims to the status of realism, of various kinds, in the tactical squad-based
shooter Full Spectrum Warrior. I am starting here from a definition
of ‘play’, generally, as a distinct mode of activity
according to which games are marked off from other aspects of the external
world, something I have said more about elsewhere. Some games are designed
to blur markers of modality, however, in making claims to the status of
‘realism’ or ‘authenticity’...READ
MORE
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The aesthetics of the anti-aesthetics
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| David Myers - Loyola
University New Orleans |
| An aesthetics of anti-aesthetics does not imply a negation of
aesthetics. Rather, it is intended to refer to negation itself and an accompanying
aesthetics of negation, or, alternatively, an aesthetics of opposition,
or, alternatively, an aesthetics of the anti. Bolter and Grusin
(2000) have popularized the notion of remediation as fundamental
to the function of digital media, and here the emphasis is similar. I wish
to consider the origin, nature, and pleasures of digital game representations
and the resulting anti-ness of digital game forms...READ
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AESTHETICS OF PLAY
The computer game conference Aesthetics of Play
took place 14 - 15 October 2005, arranged by the Department
of Information Science and Media Studies at the University
of Bergen, Norway. The AoP Online Proceedings include 14 contributions
from the conference, including slides and video from Jon Dovey's
keynote presentation. We have also put up some pictures
from the conference. For more information, please contact
Rune Klevjer [rune dot klevjer at infomedia dot uib dot no].
[Old site/programme]
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