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- Agnoletto, Ambra – Tom Bissel, Voglia di vincere/Extra LivesLeggere il libro di Tom Bissell Extra lives: Why Video Games Matter, tradotto in Italia con il titolo Voglia di vincere, [1] è stata un’impresa. L’impresa di qualcuno abituato a muoversi in ambito cinematografico e musicale, ma che affronta con l’entusiasmo e le incertezze del neofita i videogames e tutto ciò che riguarda la sfera videoludica, nei suoi aspetti creativi, estetici, di design e meccanica di gioco.
- Alonge, Giaime – P. Harrigan, M.G. Kirschenbaum (eds.), Zones of Control. Perspectives on Wargaming [The MIT Press, 2016]
- Anderson, Steve – Bad object 2.0: Games and gamers
- Anyó, Lluís – Narrative time in video games and films: from loop to travel in time
- Arsenault, Dominic, Côté, Pierre-Marc – Reverse-engineering graphical innovation: an introduction to graphical regimesTechnological innovation in the video games industry is a rich area of research that has barely been explored as of yet. Gamers are always clamoring for novelty and a remedy to the oft-decried “sequelitis” that “plagues” the industry, while game publishers and platform holders secretly plan a next-gen platform to capture the ever-shifting market. In this light, the importance of graphics cannot be understated, as it is usually taken for granted in game historiography that “[g]ame graphics were, and to a large extent still are, the main criteria by which advancing video game technology is benchmarked” (Wolf, 2003, p.53).
- Arsenault, Dominic, Côté, Pierre-Marc, Larochelle, Audrey, Lebel, Sacha – Graphical technologies, innovation and aesthetics in the video game industry: a case study of the shift from 2d to 3d graphics in the 1990sThis paper provides an overview of a research project currently in progress at the Université de Montréal (Québec, Canada). Funded by the FQRSC (Fonds de recherche Québec – Société et Culture / Quebec Fund for Research – Society and Culture) for a three-year period (from May 2012 to May 2015), the project studies the transition from 2D to 3D graphics in gaming during the 1990s
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- Barr, Pippin – Critical Jostling
- Biancalana, Simona – Getglue e Miso. La gamification contagia il consumo televisivoLo spettatore da tempo non dorme più sonni tranquilli sul divano. La figura del couch potato è oramai un lontano ricordo, e negli anni al pubblico televisivo è stato chiesto di partecipare attivamente alle trasmissioni in modi diversi: attraverso il televoto, le telefonate e i giochi in studio, i sondaggi via sms, i forum dei fan, l’invio di contenuti autoprodotti. E gli utenti hanno sempre risposto, a dimostrare l’affezione che li lega indissolubilmente a questo medium.
- Boechat, Andre, Ferreira, Emmanoel , Carvalho, Louise , Oliveira, Thaiane – Tribute and Resistance: Participation and affective engagement in Brazilian fangame makers and modders’ subscultures
- Bonaiuto, Ambra, Mingrino, Marta, Sampugnaro, Rossana, Fallica, Salvatore, Mica, Salvatore – Participation at the Global Game Jam: a bridge between consumer and producer worlds in digital entertainment
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- Carastro, Manuela – Gioco e Tecnologia. Elementi chiave per una nuova pedagogia musealeGli spazi museali, da luoghi visitati esclusivamente durante le gite scolastiche, in orario scolastico, a supporto di una didattica tradizionale, sono oggi visitati in una buona percentuale nei week-end da diverse tipologie di pubblico, tra cui spicca la fascia di pubblico giovane (8 – 14 anni) che viene liberamente al museo, non più solo in orario strettamente scolastico, ma anche nel proprio tempo libero, trascinando al proprio seguito anche la famiglia intera. In questi nuovi spazi di didattica, la cognizione diventa un elemento distribuito e interattivo e si caratterizza per essere molto più partecipativa e coinvolgente rispetto ai musei classici.
- Carbone, Marco Benoit, Ruffino, Paolo – Introduction: games and subcultural theory
- Carbone, Marco Benoit, Ruffino, Paolo – Apocalypse postponed. Discourses on video games from noxious objects to redemptive devicesOver the last decade, a new narrative has emerged in favour of the medium of the video game. Games are now being described as a series of practices which improve our mental and physical skills (see Johnson, 2005, or the marketing and reception of Nintendo’s 2007 game Wii Fit); they are targeted to a mature audience, and are no more associated with antisocial teenagers (see Prensky, 2006); they are capable of unprecedented aesthetic achievements (see the reception of games like Rockstar Games’ 2011 L.A. Noire); and their consumption allegedly reveals a seemingly never-ending user growth, making them a globalized, pivotal media for the solution of social and political issues on the scale of the whole planet (McGonigal, 2011).
- Carbone, Marco Benoit, Ruffino, Paolo – Gamification is broken. An interview with Steven PooleSteven Poole is the author of Trigger Happy (2000. New York, NY: Arcade Publish), Unspeak (2006. New York, NY: Grove Press), and You Aren’t What You Eat (2012. In press). He has written extensively on books, culture, and videogames for The Guardian and other publications.
- Caruso, Giovanni, Fassone, Riccardo – Gordon Calleja, In-Game. From Immersion to Incorporation, MIT Press, 2011Immersione, immersività, presenza, embodiment. La teoria dei media audiovisivi ha generato un intero vocabolario per descrivere il fenomeno del sentirsi altrove, incorporati in un mondo di secondo livello. Una varietà terminologica certamente necessaria, ma che in sostanza fa riferimento alla tendenza di alcuni media a costruire luoghi abitabili, esplorabili, contingenti ma separati dallo spazio occupato dal nostro corpo.
- Caruso, Giovanni; Fassone, Riccardo; Ferri, Gabriele; Gualeni, Stefano; Salvador, Mauro – Games on Games. Game Design as Critical Reflexive Practice.
- Catolfi, Antonio, Menduni, Enrico – Digital aesthetic forms between cinema and television: the need for new research directionsTwentieth century visual conventions — organized by a competitive collusion between cinema and television — did not survive the multiple forms and applications of digital media that put into play the multiplication of screens, the differentiation of production practices and processes of diffusion, and the rise of audience participative experiences.
- Cline, Alex Casper – Documentary film and the (re)production of the 1980s UK game industry
- Cox, Daniel; Beale, Matthew – NorthPoint Courtesy Services Development and Design Summary
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- Editorial Board – All of us, players. Pathways in the diffusion of digital gaming: relocations, pervasiveness, gamificationIn our first issue, we have invited scholars and researchers from various fields to reflect on the diffusion of the video game medium outside of its established contexts. This phenomenon should lead us to reconsider the object of our research as part of a wider media ecology. From the ideology of gamification to geo-localization, and from mobile applications to the ludic sociability of Farmville, we are witnessing video games’ invasion of the spaces and temporalities of everyday life.
- Editorial Board – Technology evolution and perspective innovation. 3D and spatial depth today and yesterdayThe second issue of G|A|M|E investigates 3D technologies and their implications for the video game world. The concept of 3D, in this context, refers to both stereoscopy and, more generally, tridimensional systems of representation that have been dominant in video games since the early 1990s.
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- Fasce, Federico – Global Game Jam 2013: reportLa Global Game Jam è un evento che è passato, nei suoi cinque anni di vita, da una piccola nicchia a essere un appuntamento di importanza sempre maggiore per il mondo videoludico. La Jam dura esattamente 48 ore, durante le quali gruppi di programmatori, designer e grafici – distribuiti tra le moltissime sedi della manifestazione in tutto il mondo – affrontano un tema comune producendo dei videogiochi sperimentali.
- Ferri, Gabriele – Phone Story. Un mobile game discute la mobile phone industryIl 13 settembre 2011, Apple ha rimosso il videogioco Phone Story dal suo App Store dopo solo quattro giorni dalla pubblicazione perché, spiega il comunicato ufficiale, mostrava violenza su bambini e contenuti discutibili. Poco dopo, il gioco è stato convertito per Android e ospitato nel Market 3 di Google. Nei giorni seguenti, questa notizia ha attratto l’attenzione di blog e giornali – la maggior parte dei quali, però, si è concentrata sulla decisione di Apple (è stata censura?) mentre pochi hanno analizzato Phone Story e i suoi meccanismi videoludici e satirici.
- Ferri, Gabriele – Tra advergame e mappe online: contaminazioni tra Street View e discorso pubblicitarioMolti servizi di cartografia online – Google Maps, Bing Maps, Nokia Maps, Yandex Maps e altri ancora – permettono di esplorare alcuni luoghi da un punto di vista quasi in soggettiva, come se l’utente si trovasse effettivamente sul posto.
- Frazzetto, Giuseppe – Prosumer e star dei videogiochiSu molti server di World of Warcraft ci sono toon (“personaggi” pilotati dal giocatore) “famosi”. Il caso più significativo è quello di Kungen (cioè “re”, toon del giocatore svedese Thomas Bengtsson, leader prima dei Nihilum poi di un’altra celebre gilda, Ensidia. Questa peculiare fama settoriale è certamente legata alla struttura degli MMORPG, al loro essere basati su una specifica forma di socializzazione. Tuttavia ci si potrebbe chiedere: il giocatore capace di guidare un suo toon fino alla “celebrità” è un “produttore”? Un prosumer? Certo, non è “produttore” del software. Qui è in questione qualcosa di molto diverso.
- Fuchs, Mathias – Ludic interfaces. Driver and product of gamificationThe recent success of non-standard and playful interface devices like Wii Remote, Move, and Kinect is an indicator of a process that demonstrates that ludic interfaces might be the core driver for a transformation in the sector of video games cultures and beyond. Yet, ludic interfaces are drivers—as well as driven by social developments known as the ludification (Raessens, 2006; Fuchs & Strouhal, 2008), or the gamification of society (Schell, 2010; Bogost, 2010; Ionifides, 2011; Deterding, Khaled, Nacke, & Dixon, 2011).
- Fuchs, Mathias – Nordic game subcultures: between LARPers and avant-garde
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- Gallagher, Rob – From camp to kitsch: A queer eye on console fandom
- Gandolfi, Enrico – The two dimensions as a metaphor of control in gaming landscapesNowadays, the 3D is the main setting of the core game language. The engines that structure it are in the heart of economic discourses that cross the entire game industry. Compared to this, 2D (including the perspective visual) becomes a sort of nostalgic totem, able to account itself only in indie productions, on portable and/or low hardware and in famous sagas that use it as distinctive mark. But 2D is not only a residual, resistant memory characterized by an opposition to mainstream patterns in digital entertainment; again, it’s not a mere simplification in gameplay in order to meet casual gamers’ preferences.
- Gandolfi, Enrico; Semprebene, Roberto – Play the game in the opening scene A multidisciplinary lens for understanding (video)ludic movies, including Super Mario Bros., Resident Evil and Scott Pilgrim vs. the World
- Gelis, Hugo – It wasn’t even acceptable in the Eighties: Hotline Miami and snuff films
- Giordano, Federico – Come diventare una Rockstar. Gli Houser e l’evoluzione del franchise Grand Theft Auto.Wanted. La storia criminale di Grand Theft Auto, Multiplayer, 2012, il libro scritto da David Kushner, giornalista e docente universitario già autore del precedente, molto apprezzato, Master of Doom, è un testo importante per gli studi sui videogiochi, nonostante non si presenti in apparenza – a partire dal titolo evocativo – come testo accademico.
- Giordano, Federico – Fabio Viola, Gamification, Arduino Viola Editore, 2011Il testo di Fabio Viola ha un’impostazione decisamente divulgativa, con intenti definitori e riassuntivi, uno stile molto più prossimo al giornalistico che all’accademico e frequenti incursioni nella dimensione quantitativa.
- Giordano, Federico – L. Argenton, S. Tiberti, Psicologia del videogioco. Come i mondi virtuali influenzano mente e comportamento
- Giordano, Federico – La forza in comune dei videogiochi. Giuseppe Frazzetto, Molte vite in multiversi. Nuovi media e arte quotidiana, Mimesis Edizioni, 2011Giuseppe Frazzetto insegna storia dell’arte contemporanea e discipline afferenti le nuove forme mediali presso l’Accademia di Belle Arti di Catania ed è fra i pochi in Italia ad accostare organicamente all’approccio umanistico nei confronti delle arti contemporanee, quello al videogioco. Questi interessi si esercitano chiaramente nel suo testo Molte vite in multiversi.
- Giordano, Federico – Neoludica: (libro) arte e (libro) giocoIl volume Arte e Videogames. Neoludica 2011-1966, Skira, 2011, a cura di Debora Ferrari, e di un gruppo di collaboratori raccolti attorno alla stessa, nasce come catalogo di un’importante mostra dedicata ad arte e videogioco quale evento collaterale della 54ª Biennale di Venezia.
- Giordano, Federico; Girina, Ivan; Fassone, Riccardo – Re-framing video games in the light of cinema
- Girina, Ivan – Elisa Mandelli e Valentina Re (a cura di), Fate il Vostro Gioco, Terra Ferma, 2011“Fate il vostro gioco”: un’esortazione – ma, soprattutto, una possibilità – che ci pare possa descrivere molto bene lo scenario mediale in cui questo volume cerca di collocare il rapporto tra cinema e videogame. Realizzato in occasione della giornata di studi I Play Videogame organizzata dall’Università Ca’ Foscari di Venezia nel novembre del 2010, questo libro si propone di investigare le relazioni tra cinema e videogiochi all’interno del panorama mediatico contemporaneo.
- Gualeni, Stefano – La voce del sonnambulismo contemporaneoNel tentativo di seguire le orme dello storico successo di Street Fighter II, gli sviluppatori della Midway Games Inc. finirono, loro malgrado, per costringere l’opinione pubblica ad affrontare il problema dell’impatto sociale dei contenuti dei prodotti per l’intrattenimento digitale.
- Gualeni, Stefano – Self-reflexive videogames: observations and corollaries on virtual worlds as philosophical artifactsSelf-reflexive videogames are videogames designed to materialize critical and/or satirical perspectives on the ways in which videogames themselves are designed, played, sold, manipulated, experienced, and understood as social objects. This essay focuses on the use of virtual worlds as mediators, and in particular on the use of videogames to guide and encourage reflections on technical, interactive, and thematic conventions in videogame design and development.
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- Harvey, Alison – Twine’s revolution: Democratization, depoliticization, and the queering of game design
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- Idone Cassone, Vincenzo – Jenna Ng (ed.), Understanding Machinima. Essays on Filmmaking in Virtual Worlds
- Işığan, Altuğ – The production of subject and space in video gamesDespite the dominant view that distinguishes video game space from other spatial representations as navigable space, someone who engages with the screen space of a video game must first and foremost rest at an ideal viewing spot in physical space, which is in accord with the requirements of a proper screening. In other words, one’s illusory experience of navigable space becomes possible only if one’s body in physical space occupies the visual center on which the scenographic arrangement relies in order to function.
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- Jacobs, Melinda – Click, click, click, click. Zynga and the gamification of clickingAlthough the era of the social network game officially began with the launch of the Facebook Platform in 2007, it wasn’t until 2009 that social network games began to attract the spotlight of mainstream media with the runaway successes of several games. Not surprisingly, since that moment the online gaming industry has been fully occupied with discerning and attempting to replicate the elements that have made those Facebook games fruitful. Both academics and industry members have engaged in a hearty amount of discussion and speculation as to the reasons for the success seen by social network gaming, watching the evolution of the genre as companies have both emerged and retreated from the industry.
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- Karhulahti, Veli-Matti – Pissing in the Fountain: Videogames and Expressive PerformanceThe drawn-out discussion of videogames as art took a significant step in May last year when the National Endowment for the Arts in the United States added digital games to their list of financially supported art forms. It placed games in the category of Arts in Media among “documentaries and dramatic narratives; media created for theatrical release; performance programs; artistic segments for use within existing series; multi-part webisodes; installations; and short films”. This context defines the nature of videogame art – generally thought of in terms of expression through narration and performance – relatively well.
- Kennedy, Helen; Atkinson, Sarah – ‘Tell no one’: Cinema auditorium as game-space – Audience participation, performance and play
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- Larochelle, Audrey – A new angle on parallel languages: the contribution of visual arts to a vocabulary of graphical projection in video gamesIt is fair to argue that in the short history of game studies, the concept of graphical projection has not been used in all its dimensions. In a way, we might even say that the idea has been systematically overlooked. Therefore, in order to fully express the potential of graphical projection in game studies, we have to properly define the vocabulary used to describe its various forms.
- Lombardi, Ivan – Computer games as a tool for language educationWhen it comes to examining the diffusion of videogames, and of computer games in particular, outside of a recreational context, the use of this peculiar tool for schooling is certainly one of the most interesting subjects an educator could hope for. In fact, owing to data collected by myself and a growing number of researchers in the field of education (Egenfeldt-Nielsen, 2006; Felicia, 2009; Wastiau, Kearney & VandenBerghe, 2009; Minoli, 2009; Lombardi, 2012), teachers are actually intrigued by the educational potential of digital games, but have no idea how to harness this latent power and/or can’t work out how to accommodate the medium specificities in the school curriculum.
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- Maiolini, Carlo, De Paoli, Stefano, Teli, Maurizio – Digital games and the communication of health problems. A review of games against the concept of procedural rhetoricWith the spread of the internet and the availability of computing resources, the use of digital games technologies has grown considerably in areas other than pure pastime (Hainey et al., 2011). Serious games in particular are games designed for primary purposes other than pure entertainment (Susi et al., 2007). In this paper, we focus on the potential as well as the limitations of serious digital games as a medium for communication in the area of public health.
- Meneghelli, Agata – Se i Sims vanno su Facebook…Subito dopo il lancio, la versione facebookiana di The Sims ha riscosso un enorme successo, ma a distanza di qualche mese si è registrato un significativo calo di interesse. L’articolo propone una possibile lettura di questo fenomeno, partendo da alcune caratteristiche della serie The Sims e mostrando come il gioco si sia modificato, sposandosi con le logiche 2.0 di Facebook, per diventare più social e in real time.
- Menotti, Gabriel – Videorec as gameplay: Recording playthroughs and video game engagement
- Micallef, Josef Florian – Illusion Master: Extending Self-Presence and Challenging Immersion in and through Digital Games
- Mosca, Ivan – +10! Gamification and deGamificationThis article investigates the cultural meaning of gamification and of its degamificator power. In particular we will see what gamification is (+1), which are the levels of analysis (+2), how gamification makes explicit how culture derives from the game (+3) even if they are different things (+4), how the formation of culture in game and vice versa could delete them and how gamification cannot do that (+5), why every gamification is a degamification (+6), why pointsification cancels fiction and gameness from games (+7), why gamification of devices does not involve a playification of experiences (+8) and how the gamed player stops to play (+9).
- Márquez, Israel – Playing new music with old games: The chiptune subculture
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- Nencioni, Giacomo – F. Giordano, B. Perron (eds.), The Archives. Post-Cinema and Video Game between Memory and the Image of the Present [Mimesis International]
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- Ortoleva, Peppino – Homo ludicus. The ubiquity of play and its roles in present societyIn the last decades new technologies, the rearrangement of living and labour time and other less visible cultural factors have brought some significant historical modifications to the traditionally separated area of the ludic. New types of games have emerged and the threshold between play and reality has been redefined to include aspects of social life that seemed to be unrelated to playing activities.
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- Paggiarin, Valentina – T. Mott (a cura di), A. Dresseno (ed. it.), 1001 videogiochi da non perdere1001 videogiochi da non perdere è un ambizioso volume che mira a raccogliere e catalogare alcuni tra i videogiochi più significativi pubblicati dal 1979 al 2010: 1001 giochi selezionati, 1001 schede dettagliate in cui vengono riportati titolo, data di pubblicazione, piattaforma, sviluppatore e genere
- Papale, Luca – Sognando Shadow Moses. Grafica, gameplay e reiterazione come strumenti narrativi metareferenzialiUn campo innevato, un eliporto, container metallici, telecamere di sorveglianza. Basta una rapida occhiata alla schermata e il giocatore di Metal Gear Solid 4: Guns of the Patriots fa un salto indietro nel tempo di dieci anni, tornando ancora una volta ad infiltrarsi nella base militare di Shadow Moses. La grafica è quella della prima PlayStation, una grafica che all’epoca era lo stato dell’arte, e che ora mostra tutte le sue grossolane imperfezioni. I dieci anni trascorsi hanno visto susseguirsi due generazioni di console e innumerevoli cambiamenti dell’estetica e dei linguaggi videoludici. Il mondo è cambiato nella vita reale così come nel gioco.
- Perani, Letícia, Regis, Fátima – Games and science fiction. Contributing to define hybrid spaces in location-aware gamesIn What Is Philosophy? (1992, p. 137) Gilles Deleuze and Félix Guattari argue that a concept is acquired by “inhabiting, by pitching one’s tent, by contracting a habit”. That is to say, creating a concept is like creating an “intersection”, giving meaning to an undetermined land, hence making a territory. Each culture has its ways of setting up places, therefore creating spatial logics for living grounds. These cultural territorializations articulate knowledge, technologies, narratives, experiences of time and meaning, subjectivity and socialization.
- Perron, Bernard; Arsenault, Dominic – De-framing video games from the light of cinema
- Petrovits, Athanasios, Canossa, Alessandro – From M.C. Escher to Mass Effect: impossible spaces and hyper-real worlds in video games. How can hyper-real worlds be designed and interpreted in a 2D, 2.5D and 3D virtual environment and how will this implementation affect the stereoscopic 3D video games of the future?Game developers, even during the early years of game design, have always searched for new and interesting ways of creating more elaborate, immersive and realistic environments for their video games.
- Pietschmann, Daniel, Liebold, Benny, Valtin, Georg, Ohler, Peter – Taking space literally: reconceptualizing the effects of stereoscopic representation on user experienceRecently, cinemas, home theater systems and game consoles have undergone a rapid evolution towards stereoscopic representation with recipients gradually becoming accustomed to these changes. Stereoscopy techniques in most media present two offset images separately to the left and right eye of the viewer (usually with the help of glasses separating both images) resulting in the perception of three-dimensional depth. In contrast to these mass market techniques, true 3D volumetric displays or holograms that display an image in three full dimensions are relatively uncommon. The visual quality and visual comfort of stereoscopic representation is constantly being improved by the industry.
- Plothe, Theo – “I am a rogue night elf”: Avatars, gaming and The Big Bang Theory
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- Righi Riva. Pietro – Scienze cognitive e game design. Progettare dinamiche di gioco non finalizzate a un obiettivoStiamo vivendo gli anni della gamification: game designers e teorici del game design dibattono sui modi di trasporre meccaniche di gioco in servizi, applicazioni e marketing tools non strettamente legati al gioco. La gamification è finalizzata a determinare nel giocatore/utente un comportamento. Nella retorica che supporta la gamification traspare una visione del gioco fortemente orientata al reward, cioè alla gratificazione in termini di premi e obiettivi.
- Ruggill, Judd Ethan and McAllister, Ken S. – Union yes? Computer game design, management, and labor relationsThis interview is excerpted from a series of meetings we conducted with Joshua Peery in 2011 and 2012. Mr. Peery is a game developer and project manager who has worked for Icarus Studios, Aten, Electrotank, and Carbine Studios on titles such as Fallen Earth, Imagine Town, and Wildstar.
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- Salvador, Mauro – A. Bossom, B. Dunning, Video Games. An Introduction to the Industry [Bloomsbury]
- Salvador, Mauro – D. Compagno. Dezmond. Una lettura di Assassin’s Creed 2In questo diciottesimo volume della floridissima collana “Ludologica. Videogames d’autore”, curata da Matteo Bittanti e Gianni Canova per l’editore Unicopli, Compagno propone un’analisi semiotica di Assassin’s Creed 2 gestendo con grande maestria la complessità del metodo scelto
- Salvador, Mauro – P. Ortoleva, Dal sesso al gioco. Un’ossessione per il XXI° secolo?In questo pamphlet edito da Espress per la collana “Tazzine di caffé con panna” Ortoleva riprende le fila del discorso avviato ne Il secolo dei media (2008). L’autore riparte dalla liberazione sessuale e dalla diffusione della pornografia della seconda metà del Novecento per giungere a parlare del contemporaneo processo di “ludicizzazione del reale”
- Schrank, Brian – Bust A Cup: Reclaiming Risk in PlayOur overly fearful risk society has eliminated much of the beneficial risk that should exist in contemporary games. Games that incorporate actual risk by design can help us overcome delimiting and harmful fears, habits, and laws. Riskier games expose our self-imposed limitations, creating opportunities for us to grow past them. Bust A Cup is a risky game that serves as exemplar in this paper but other games such as Brutally Unfair Tactics Totally Okay Now, Pac-Manhattan, and BorderXing Guide will also provide perspective. These games are risky by design, empowering players to engage in varying degrees of danger that may be legal, physical, and in some cases merely perceived. They reward recklessness with gameplay advantages and are as safe as players collectively decide to make them.
- Scussolin, Alida – CriticalCity Upload. Intervista a Augusto Pirovano e Matteo UguzzoniCriticalCity Upload è prima di tutto un progetto di trasformazione urbana concepito in chiave creativa. Se si volesse cucirgli addosso un’etichetta sarebbe quella di urban transformation game, ramificazione della numerosa famiglia dei pervasive games. Il progetto nasce da un’idea di Augusto Pirovano e Matteo Battaglia e già al suo stadio germinale godeva di un carattere fondamentale ovvero stimolare la creatività dei più giovani coinvolgendoli in un gioco che avesse luogo nelle loro città.
- Sloan, Robin J.S. – Nostalgia Videogames as Playable Game Criticism
- Street, Zoya – Polygons and practice in Skies of ArcadiaThis paper features research carried out at the Victoria and Albert Museum into the design history of Sega’s 2000 Dreamcast title, Skies of Arcadia (released in Japan as Eternal Arcadia). It was released by Overworks, a subsidiary of Sega, at an interesting point in Japanese computer game history. A new generation of video game consoles was in its infancy, and much speculation in the industry surrounded how networked gaming and large, open, tridimensional game worlds would change game design in the years ahead.
- Svelch, Jan – Towards a typology of video game trailers: Between the ludic and the cinematic
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- Teti, Marco – Ralph Spaccatutto, ovvero il videogioco come repertorio culturale del cinemaL’uscita di Ralph Spaccatutto, lungometraggio d’animazione prodotto dalla Disney, induce senza dubbio a ragionare sul delicato e controverso rapporto riscontrabile tra la forma espressiva del cinema e quella del videogioco. A grandi linee nella presente sede esamineremo in particolare la configurazione assunta da tale rapporto a partire dalla seconda metà degli anni Ottanta. Allo scopo di approfondire l’analisi, fondandola su basi scientifiche, utilizzeremo la complessa nozione di repertorio culturale, la quale riprende con chiarezza i seminali concetti di convergenza culturale e di ri-mediazione elaborati da Henry Jenkins, Jay David Bolter e Richard Grusin.
- Thibault, Mattia – Lego: When video games bridge between play and cinema
- Torner, Evan – The Self-Reflexive Tabletop Role-Playing GameTabletop role-playing games combine performance, procedures, and improvisation to both tell stories and reflect on the nature of storytelling. This article discusses the three games 1,001 Nights by Meguey Baker, What Is a Role-Playing Game? by Epidiah Ravachol, and World Wide Wrestling by Nathan D. Paoletta in terms of how their procedures of play and framing devices comment on the tabletop role-playing game medium. Taken together, these three “games on games” demonstrate the inherent tensions of player motivation, collective fiction creation, and selling a “performance” to one’s fellow players, and how RPG theory helps us to understand them.
- Tribelli, Alex – D. Felini (a cura di), Video game education. Studi e percorsi di formazioneNei confronti di una trattazione scientifica dei videogame c’è tuttora qualche scetticismo. I pregiudizi, più volte denunciati, ancora hanno qualche sussistenza: persiste qualche analisi sociale che considera i videogame oggetti diabolici che provocano isolamento e comportamenti violenti nei teenager. Pur constatando una progressiva inversione di tendenza, Video game education. Studi e percorsi di formazione, curato da Damiano Felini, si propone di sgretolare la concezione che la società contemporanea ha dei videogame, dimostrando come questi oggetti mediali possono addirittura divenire uno strumento di formazione e crescita delle persone.
- Tyni, Heikki, Sotamaa, Olli – Assembling a game development scene? Uncovering Finland’s largest demo party
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- Wolf, Mark – Video games, cinema, Bazin, and the myth of simulated lived experience
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- Zhang, Ge – The stroller in the virtual city: Spatial practice of Hong Kong players in Sleeping Dogs
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