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A Brief History of Video Games
... Gaming can be traced back to the 1950s when Physicist William Higinbotham developed Tennis for Two [4]. In the following decade, Steve Russel, Martin Graetz, and Wayne Witanen, all students of Massachusetts Institute of Technology, developed Spacewar, making their work and that of Higinbotham the first interactive computer games [5], and not necessarily the first games ever created. ...
... Home computers like the Apple II and Commodore PET became popular. The video game crash of 1983 led to the rise of Japanese gaming companies like Nintendo and Sega [4]. ...
... The 1990s ushered in innovations like 3D graphics, FPS games, and real-time strategy games. Violent video games like Mortal Kombat and Doom sparked concerns [4]. ...
This paper explores the evolution of the gaming industry, tracing its growth from its inception to modern times. It highlights key milestones, technological advancements, and trends that have shaped the industry. The paper also delves into the concept of Web3 and its potential impact on gaming, with a focus on Non-Fungible Tokens (NFTs) and their significance in the context of digital ownership. It discusses how NFTs empower players, promote interoperability, and introduce new economic incentives in gaming. The challenges and opportunities of this transformative shift are outlined. Additionally, the paper addresses regulatory and ethical considerations associated with NFTs in gaming, emphasizing the need for responsible innovation in this rapidly evolving industry.
... Gaming can be traced back to the 1950s when Physicist William Higinbotham developed Tennis for Two [4]. In the following decade, Steve Russel, Martin Graetz, and Wayne Witanen, all students of Massachusetts Institute of Technology, developed Spacewar, making their work and that of Higinbotham the first interactive computer games [5], and not necessarily the first games ever created. ...
... Home computers like the Apple II and Commodore PET became popular. The video game crash of 1983 led to the rise of Japanese gaming companies like Nintendo and Sega [4]. ...
... The 1990s ushered in innovations like 3D graphics, FPS games, and real-time strategy games. Violent video games like Mortal Kombat and Doom sparked concerns [4]. Gaming has evolved significantly over the years, from simple simulations to complex, immersive experiences across a variety of platforms and technologies. ...
... Gaming can be traced back to the 1950s when Physicist William Higinbotham developed Tennis for Two [4]. In the following decade, Steve Russel, Martin Graetz, and Wayne Witanen, all students of Massachusetts Institute of Technology, developed Spacewar, making their work and that of Higinbotham the first interactive computer games [5], and not necessarily the first games ever created. ...
... Home computers like the Apple II and Commodore PET became popular. The video game crash of 1983 led to the rise of Japanese gaming companies like Nintendo and Sega [4]. ...
... The 1990s ushered in innovations like 3D graphics, FPS games, and real-time strategy games. Violent video games like Mortal Kombat and Doom sparked concerns [4]. Gaming has evolved significantly over the years, from simple simulations to complex, immersive experiences across a variety of platforms and technologies. ...
... With the rise of digital technologies and computing advancements, the generation of digital games, often referred to as video games, became an opportunity for both entertainment and education. While the first digital game is still up for debate, several games had been developed since the 1950s, as there was increasing interest in computers (Ivory 2016). The earliest digital game, as defined by player action within a playful digital space, was created in 1958 by the physicist William Higinbotham of the Brooklyn National Laboratory, called Tennis for Two (Wardyga 2018). ...
... In combination with the already renowned and trusted brand name and a technologically better system than its competitors, this console became one of the most successful selling home game console. Additionally, Atari benefitted from being able to port over their arcade games to the home system and licenses of other popular arcade titles (Wolf 2012 In 1980 with the release of Pac-Man, the digital gaming industry was finding places in both arcades and homes via television consoles (Ivory 2016). The 1981 adaptation of Pac-Man for the Atari 2600 further cemented its popularity (Egenfeldt-Nielsen et al. 2019). ...
... The 1981 adaptation of Pac-Man for the Atari 2600 further cemented its popularity (Egenfeldt-Nielsen et al. 2019). The ability to access digital games continued to increase with the popularity and ability of individuals to acquire personal computers in the 1980s (Ivory 2016;Wardyga 2018). Earlier releases for personal computers and consoles were recreated for newer systems, like the porting of Zork to Atari consoles and to be released for the more modern Apple The discussion of the history of games is touches the history of a number of disciplines required for the advancement of the digital turn. ...
With 10 million copies sold and 500 million dollars of revenue, the 11th installment of Ubisoft’s Assassin’s Creed series, Assassin’s Creed Odyssey (2018), showed how a videogame based on ancient Greek history and archaeology can make a splash in popular culture and that the distant past can become an extinguishable source of infinite engaging gaming narratives. As pedagogic and research counterparts to videogames of this kind, serious games and archaeogames focusing on Greek and Roman civilizations move from different premises, though aspiring to the same level of success. Serious games, created for a primary purpose other than sole entertainment, have found their way into classrooms and museums to educate students in a variety of disciplines mostly relying on digital storytelling strategies. Archaeogaming, on the other hand, encompasses, among other things, the creation of video games by archaeologists, who create 3D representations of the ancient material culture subject of their study, initially for the purpose of testing hypotheses in simulated environment and later to popularize archaeology and cultural heritage studies, finding a more ‘serious’ use in higher education.
This dissertation deals with defining best practices in archaeogaming design and production focusing on two practical examples of re-use of digital archaeological data for the generation of game assets for teaching and public outreach. Both case studies explore the context of Late Roman Sicily on which I conducted most of the experimental work in the preparatory years of this research. The first case study will be the narrative game prototype for the Villa del Casale (Piazza Armerina) in Enna, Sicily, entitled In Ersilia’s Footsteps, featuring Ersilia Caetani-Lovatelli (1840-1925), the first female archaeologist in Italian history. The game, developed in collaboration with the University of Arkansas’ Tesseract and directed by Dr. David Fredrick and Dr. Rhodora Vennarucci, narrative follows her in the exploration of the Late Roman Imperial countryside residence and UNESCO World Heritage site. The game revolves around the use of 3D digitized assets, created employing digital photogrammetry and 3D laser-scanning to capture the archaeological site, that significantly contributed to increase the realism of the game environment influencing the game creation process towards telling stories of real historic characters in real historic places. The second game, Building by the River, is an a building and experimental archaeogame, aimed at both contextualized elements from the archaeological site as well as the ability aid researchers in understanding the relationship between space and flow in the Late Roman villa of Caddeddi on the Tellaro river (Noto). More specifically, it seeks to explore how the Villa di Caddeddi may have looked and how the rooms functioned during its time as an operating rural villa in the late 4th Century CE. Giving players the ability to pick from a list of 3D digitized assets of actual archaeological materials found both on site and in similar Sicilian Roman villas, the game seeks to engage with playful building and experimentation as seen in other popular digital game titles, like Sims 4, Subnautica, and Minecraft. The on-going work at adding assets to use in the game as well as learn more about the nature and history of the Villa di Caddeddi is discussed in terms of the second-life of digital data, archaeological interpretation, and investigation of spatial use by ancient Romans in their elite rural homes. These assets, in both In Ersilia’s Footsteps and Building by the River, represent at the same time an example in best practices in reusing 3D data, since, once used to achieve research goals, they are repurposed and in combination with an original narrative and a user-friendly interface and mechanics they become the core of an engaging and exciting exploration game.
Ultimately, the experimental work, the new data gathered and the production of two original media research tools have proven to be a strategic decision to advance the digital scholarship agenda on Roman archaeology of Sicily and to trace a path for incorporating archaeogaming as a methodological approach into a research framework. The ability to re-use scientific data for the purpose of public outreach, education, and research allows for archaeologists to address pseudoscience and dangerous representations of the field. As such, the need to provide assets for games can be served through the second life of 3D digital archaeological materials.
... Hollywood films and advertisements from the 1970s to the early 2000s frequently portrayed child video game players as sedentary, delinquent, and violent (Narine and Grimes 2009). The focus of much of the scholarly research on video games reflects this portrayal (Ivory 2016). These portrayals have contributed to the enduring and prominent stereotype of video game players as socially awkward, unattractive, physically unhealthy, male teenagers (Bergstrom et al. 2016;Kowert et al. 2012). ...
... To begin with, video games are no longer a niche activity. An estimated 1.2 billion people play video games around the globe (Ivory 2016) and an estimated 65% of US households contain at least one person who plays video games for three or more hours a week (Entertainment Software Association 2017). In addition, video games are not the sole province of young men in America. ...
... Moreover, similar to many popular video games, Hollywood films are commercial products. Consistent with Hollywood's blockbuster business model (Elberse 2013), the vast majority of the US video game industry's revenue comes from a small number of massive hits (Ivory 2016). In addition, avid video game fans are also often avid fans of science fiction and fantasy films and consider both to be key parts of their identities (Dunbar-Hester 2008;Massanari 2017;McCain et al. 2015;Woo 2012). ...
For a creative expression to be widely recognized as art, sociology of art scholars argue that proponents must apply a legitimizing discourse that supporters of past art forms have successfully used. Unfortunately, sociology of art scholars have ignored the affective connections people have with these art forms and how proponents draw upon these meanings in their push for legitimation. To be sensitive to this dimension, scholars must adopt principles from the Strong Program (SP) of cultural sociology. To demonstrate the insights we gain from a SP approach, I examine how video game fans responded to disparaging comments made by the prominent film critic Roger Ebert. My findings indicate that certain aspects of fans’ push for artistic recognition are consistent with previous research. However, fans also express meaningful attachments to video games, and this affective dimension influences the narratives they construct in their pushes for legitimation. Moreover, the narratives fans construct disagree on whether video games are or can become art. Despite these disagreements, all the narratives emerge from the same affective foundation. These findings demonstrate the need for sociologists to examine how pushes for artistic legitimation build upon a deeply felt foundation.
... The digital games industry has experienced exponential growth [7], becoming an integral part of everyday life and seamlessly integrating into various sectors [3]. According to estimates, the global market for games generated between USD 81.5 billion and USD 93 billion in sales in 2015 [8]. By 2022, the market had grown to USD 197 billion [9]. ...
... The overall growth of the digital game industry partially depends on the increasing diversity of its user base and on the introduction of casual games [10], suitable for any user who is not necessarily a habitual digital game consumer (i.e., "gamer"). The ratio of male to female users has become more balanced [8], and user categories have expanded to include children, educators, corporate professionals, individuals in therapy, and those with various types of disabilities. ...
The digital games industry has grown exponentially due to the diversification of games and the increasing multiplicity of the user target base. The market explosion and the great variety make digital game cataloguing and classification challenging issues whose effectiveness can advance scientific research and address design, development and distribution. Firstly, the present study reviews previous cataloguing for video and serious games through systematic literature review and, joining together the findings from the literature review, develops a unified cataloguing model based on five definitions. This model can aid designers in tailoring their applications and contribute to disseminating game design knowledge in academic research. Then, a matrix that correlates design principles and the cataloguing model’s metadata is applied to the cataloguing model, obtaining a unified classification system. Together, they offer a comprehensive framework for understanding the multifaceted landscape of digital games, addressing the limitations of existing domain-specific approaches and providing a versatile tool for game designers. Research validation exploits a two-stage cluster analysis using agglomerative hierarchical and k-means clustering on the data extracted from a sample of digital games. The results show the framework's effectiveness in categorizing digital games without a clear-cut distinction between video and serious games. The system's application in real-world scenarios suggests its potential to guide game development. Future work will refine the proposal based on feedback from digital game designers, expanding the research scope to include a broader range of games.
... Its market has grown exponentially over the years, gaining an important role in everyday life, and fitting seamlessly into a variety of sectors [1]. In 2015 it was estimated that the total revenue of the global digital game market was between $81.5 billion and $93 billion [2]. This situation hinges on the fact that digital games are no longer just limited to the field of entertainment but have expanded to edutainment as well. ...
... The growing development of the video game industry is directly proportional to the increase in the segments of the population that use it. The overall male target user is now only slightly outnumbering the female target user [2], compared with the past. Moreover, the same categories of users have expanded according to the sphere that the game embraces, including children, teachers, corporate workers, as well as patients in therapy or people with different types of disabilities. ...
The paper proposes a novel unified classification of digital games, i.e., video games and serious games, due to the recent interest of academia and industry for their use to achieve several educational purposes. The paper reviews existing cataloging systems and proposes a five-definition based matrix cataloging including a set of key digital game metadata, unifying existing knowledge and highlighting commonalities between cataloging systems. It offers a higher-level categorization of digital games that retain distinctions where necessary, thus unifying both categories of digital games. Such taxonomy enables the creation of a correlation matrix that will provide a theoretical basis necessary to specify guidelines for the concept design phase of digital games.
... Two dominant strands of debate emerged from this, one focusing on the negative effects of violent content (e.g., Drummond et al., 2018;Scharrer et al., 2018) and the other focusing on the effects of overuse (e.g., Nielsen & Kardefelt-Winther, 2018;Pontes, 2018). Since the early days of coin-op arcade games and home console video games, the technologies, platforms, and forms of use have evolved considerably -from playing on personal (desktop) computers (PCs), laptop computers and dedicated handhelds to playing on ultra-mobile smart devices as well as virtual reality (VR) or augmented reality (AR) systems (for a historic overview, see Ivory, 2016). In parallel to this differentiation of all types of digital games, media effects research in communication science, psychology, and dedicated games studies has blossomed as well. ...
... While the enduring success of such innovations is not guaranteed-and indeed, some innovations (e.g., various motion controllers and motion sensing devices for video game consoles) were relatively short-lived-it is equally not a matter of course that the current forms of gaming, including disordered forms of use, will remain untouched by these advances in technology. Indeed, when reflecting upon the historic and technological changes of gaming (Ivory, 2016), one must realize that gaming today only shares some core features with the coin-up arcade and home console video games from earlier days-and what was discussed as being addictive back then has little in common with the focus of current research. Thus, identifying and understanding the general principles of why some users develop disordered forms of use on the basis of specific game features, logics, and mechanics under various conditions seem to be more promising routes than tying research to one current form of gaming-or, more generally, the current use of a given media technology, channel, or platform (which may disappear or evolve considerably). ...
... The focus on games for amusement drove much of the nascent gaming industry (Ivory, 2015) and indeed, few would debate the hedonic pleasure of digital games (e.g., Grodal, 2000;Sherry, 2004). However, like many other forms of media (Stober, 2004), digital games have evolved from their earliest days as curious technological demonstrations into a broadly appealing and creative form of expression (Bowman, 2019). ...
... Our review also suggests that eudaimonic gaming experiences entail other facets, particularly social connections, nostalgia, elevation or self-transcendence. Of course, many of these experiences (e.g., meaningful, emotionally moving, self-reflective, nostalgic experiences) are not unique to digital games, although it is relevant to note that digital games are capable of triggering eudaimonia, especially given the historical perspective towards the medium as being restricted to hedonia (Bowman, 2019;Ivory, 2015). That said, the current study makes a critical contribution to eudaimonia research by further specifying game-specific elements that contribute to and shape the experience, thus expanding the conceptual space of eudaimonia. ...
Digital games have evolved into a medium that moves beyond basic toys for distraction and pleasure towards platforms capable of and effective at instigating more serious, emotional, and intrapersonal experiences. Along with this evolution, games research has also started to consider more deeply affective and cognitive reactions that resemble the broad notion of eudaimonia, with work already being done in communication studies and media psychology as well as in human-computer interaction. These studies offer a large variety of concepts to describe such eudaimonic reactions-including eudaimonia, meaningfulness, appreciation, and self-transcendence-which are frequently used as synonyms as they represent aspects not captured by the traditional hedonic focus on enjoyment. However, these concepts are potentially confusing to work with as they might represent phenomenological distinct experiences. In this scoping review, we survey 82 publications to identify different concepts used in digital gaming research to represent eudaimonia and map out how these concepts relate to each other. The results of this scoping review revealed four broad conceptual patterns: (1) appreciation as an overarching (yet imprecise) eudaimonic outcome of playing digital games; (2) covariation among meaningful, emotionally moving/challenging, and self-reflective experiences; (3) the unique potential of digital games to afford eudaimonic social connectedness; and (4) other eudaimonia-related concepts (e.g., nostalgia, well-being, elevation). This review provides a conceptual map of the current research landscape on eudaimonic game entertainment experiences and outlines recommendations for future scholarship, including how a focus on digital games contributes to a more comprehensive understanding of eudaimonic media experiences broadly.
... Digital gaming, on the other hand, is a broad category encompassing video games, computer games and mobile games. Digital games gained widespread popularity in the early 1970s with the rise of mass-produced arcade video game machines, such as Computer Space (published in 1971) (Ivory, 2015;Malliet & De Meyer, 2005). The development of gaming consoles and home computers further accelerated their popularity, with mobile games recently experiencing a surge in popularity (Mäyrä, 2015). ...
Aims: Both gambling and digital gaming are growing in popularity and there is ongoing discussion about their convergence. This population-based longitudinal survey study investigated how gambling and digital gaming types contribute to at-risk gambling and gaming. Methods: The study was based on a representative sample of 18–75-year-olds from mainland Finland. Survey data were collected at 6 -month intervals in 2021–2022, starting in April 2021. Of original T1 respondents, 58.95% took part in all four time points. In total, 3,608 observations from 902 individuals were analysed. Outcome measures were at-risk gambling and gaming based on the Problem Gambling Severity Index and the Internet Gaming Disorder Test. Various types of gambling and gaming were investigated. Results: Population-averaged models showed that different forms of gambling were associated with a higher risk of at-risk gaming. Online casino games were associated with the highest likelihood of at-risk gambling and gaming. Prevalence of digital gaming problems was low. Hybrid models were used to investigate the longitudinal within-person and between-person effects of gambling and gaming activities. Online casino games and offline slot machines increased at-risk gambling. Microtransactions within digital games increased at-risk gambling and gaming over time, but the amount of money spent on digital gaming was small compared to gambling. Conclusions: Our results underline the risks of EGMs and online gambling for the participants. Although gambling and gaming are converging, harm is mostly based on gambling.
... 1970'lerde geliştirilen "Spacewar!" birden fazla makinede oynanabilmesi ve ticari olması ile ilk video oyunu olma özelliği taşımaktadır (Ivory, 2015). İlk ticari video oyunun piyasaya sürülmesinden günümüze kadar video oyunların formatı ve sağladığı olanaklar teknolojik ilerlemelerle sürekli olarak değişmiştir (Flynn, Richert ve Wartella, 2019). ...
Bu araştırmanın amacı okul öncesi dönem çocuklarının ekran kullanım özellikleri, dijital oyun bağımlılık eğilimleri, sosyal yetkinlik ve davranış durumları ve ebeveyn rehberlik stratejileri arasındaki ilişkinin incelenmesidir. Nicel araştırma yöntemlerinden ilişkisel tarama modeli kullanılan bu araştırmanın örneklemini 2021-2022 eğitim öğretim yılında Denizli ili merkez ilçelerinde, bağımsız anaokulu ve resmi anasınıflarına devam eden çocukların 330 ebeveyni oluşturmuştur.Araştırmadan elde edilmiş olan bulgular çocukların ekranı daha çok ilk çocukluk yıllarında ve tek başına kullandıklarını ve günlük ekran kullanım sürelerinin çoğunlukla 1-2 saat aralığında olduğunu göstermektedir. Çocukların dijital oyun tercihlerinin cinsiyete göre farklılık gösterdiği, erkek çocuklarının kız çocuklarına kıyasla daha çok aksiyon\macera, arcade\refleks, spor, yarış\hız oyunlarını, kız çocuklarının ise erkek çocuklarına kıyasla daha çok simülasyon\rol oyunu ve eğitsel oyunları tükettikleri belirlenmiştir. Ekranı tek başına kullanan çocukların dijital oyun bağımlılık eğilimlerinin, ekranı aile üyeleri ile kullanan çocuklardan daha fazla olduğu ancak ekran kullanmaya başlama yaşının çocukların dijital oyun bağımlılığı eğiliminde fark oluşturmadığı anlaşılmaktadır. Araştırmadan elde edilmiş bir diğer bulgu ise çocukların ekran içerik tüketim puanları ile dijital oyun bağımlılık eğilimi puanları arasında pozitif yönde anlamlı bir ilişki olduğudur.
... Emotional demands refer to players' affective reactions to on-screen events, which often result in both bottom-up (subconscious and primal) and top-down (cognitive and deliberative) emotional reactions (Hemenover & Bowman, 2018). At a basic level, video games encourage individuals toward an experiential mindset conducive to a wide variety of unique emotional states commonly associated with enjoyment and pleasure (Ivory, 2015;McGonigal, 2011)-simply put, games are seen as a source of positive affect and pleasure and for the most part, are both produced and consumed with this narrow gratification in mind. Schell (2013) explained the evolution of video games from a medium focus on "below the neck" verbs more aligned with action and arousal (such as running and jumping) to a medium equally focused on "above the neck verbs" (such as talking and listening)-the latter being more conceptually aligned with deeper emotional appeals. ...
This handbook provides a strong collection of communication- and psychology-based theories and models on media entertainment, which can be used as a knowledge resource for any academic and applied purpose. Its 41 chapters offer explanations of entertainment that audiences find in any kind of ‘old’ and ‘new’ media, from classic novels to VR video games, from fictional stories to mediated sports. As becomes clear in this handbook, the history of entertainment research teaches us not to forget that even if a field is converging to a seemingly dominant perspective, paradigm, and methodology, there are more views, alternative approaches, and different yet equally illuminative ways of thinking about the field. Young scholars may find here innovative ways to reconcile empirical-theoretical approaches to the experience of entertainment with such alternative views. And there are numerous entertainment-related phenomena in contemporary societies that still fit the „bread and circuses-“ perspective of the initial Frankfurt School thinking. So while the mission of the present handbook is to compile and advance current theories about media entertainment, scholars active or interested in the topic are invited to also consider the historic roots of the field and the great diversity it has featured over the past nearly 100 years. Many lessons can be learned from this history, and future innovations in entertainment theory may just as likely emerge from refining those approaches compiled in the present handbook as from building on neglected, forgotten, or marginalized streams of scholarship.
... La evolución y el crecimiento del sector de los videojuegos ha sido objeto de atención por parte de diversos autores (García, 2006;Izushi y Aoyama, 2006;Egenfeldt-Nielsen, Heide-Smith y Tosca, 2013;Bengtsson, Wilson, Zackariasson y Wilson, 2010;Marchand y Hennig-Thurau, 2013;Ivory, 2015) a lo largo de los últimos años. ...
La industria del videojuego está en pleno auge y no deja de crecer, de tal modo que, cada día, se desarrollan cada vez más videojuegos con el fin de saciar las necesidades de un número cada vez mayor y más variado de usuarios finales. El desarrollo de videojuegos incluye, de forma intrínseca, el proceso de localización, para adaptar lingüística y culturalmente un producto a un nuevo mercado de destino. Por tanto, es importante no solo cubrir las necesidades formativas del alumnado interesado en este ámbito, sino también abrir vías que permitan que las nuevas voces interesadas en la investigación académica puedan ahondar y analizar la industria. Por eso mismo, desde el grupo de investigación Traducción & Paratraducción de la Universidade de Vigo, el Máster en Traducción para la Comunicación Internacional (Máster Universitario Excelente de la Xunta de Galicia) y el Título Propio de Especialista en Traducción para la Industria del Videojuego (ETIV), hemos preparado un volumen que permite que investigadores e investigadoras noveles puedan compartir sus primeros trabajos en el ámbito junto a otros investigadores referentes en el campo.
... The first digital games were developed in the 1950s and 1960. Of course, at the time the games were simpler in design and graphics (Ivory, 2015). The first commercial digital game was developed in 1971 "Computer Space" and showed that digital games could reach paying audiences. ...
In recent years with the help of digital games there is an increasing interest in creating Serious Games for learning through play. With the help of machine learning algorithms, an educational serious game can be used, not only to assist the learner in his/her studies, but also to extract insights about the learner's personality. In game-based learning we take into account that the student behaves differently according to his/her individual characteristics while learning by playing. The most used method to model the learner’s personality is the self-report using questionnaires. The drawback of this approach is that the learner may not assess himself correctly or his/her answers’ may be biased towards the more socially acceptable responses rather than being truthful. In this paper, we explore the idea of having an alternative method of learning a person’s personality model and thus to better create interactive and engaging methods to assist learners in their studies. A story-based game with gamified learning elements was created for helping the learners study and evaluate their knowledge in the programming language C. The students learn by evaluating code snippets and depending on their response the game would give constructive feedback. At the same time students’ in-game behavior is captured and thus their personality traits could be determined. For modeling the learner’s personality we used the Five-Factor Model (OCEAN), a taxonomy of five personality traits (Openness, Conscientiousness, Extraversion, Agreeableness, and Neuroticism), each of which combines many personality characteristics. To evaluate the efficiency of the proposed serious game, we gathered data from 107 first year Computer Science students from the University of Macedonia. The students played the game and filled in the Big Five Inventory (BFI) questionnaire to capture their OCEAN traits. The BFI questionnaire was used as a ground truth. After the data gathering, we used machine learning techniques and also classification algorithms to create our model. The goodness of the model was assessed using different metrics and the results showed that it is effective to model both the extraversion and openness personality dimensions using serious games instead of questionnaires.
... Now in 2023, in this most modern era, gaming addiction is at its peak. [3] Prevalence Globally IGD is having a prevalence of 10.1% and In India the overall prevalence estimate of IGD is 3.50% among the school children and it is higher among male students (8.8%) than female students (0.8%). [4] Diagnosis According to DSM5, for the diagnosis of gaming disorder the behavior pattern must be of sufficient severity to result in significant impairment in all areas of functioning. ...
Internet gaming is the most entertaining activity of current generation, especially of the young adolescents. Gaming provides, a sense of accomplishment through a virtual reality platform and finally, intense degree of fun. Anyhow Spending too much time and avoiding all necessary activities for gaming leads to Internet gaming addiction. Due to the negative consequences in the behavioral and cognitive components and the alteration in reward and anti-reward system it is considered as a disorder in DSM 5 and ICD 11. Symptoms include anxiety, depression, preoccupied thoughts, irritability, playing games to feel better, insomnia, feeling of emptiness, inability to control the gaming, restlessness, fantasies and dreams about the game. In this review, the concept of gaming disorder in Ayurveda is concentrated in the light of Manovikaras/ Manasika Bhava, Prajnaparadha and Asathmya Indriyartha Samyoga. Management approaches are discussed in preventive and curative aspects. Management can also be done by assessing the dosha predominance and severity in each stage.
... A origem dos videogames surgiu durante a Guerra Fria [Brown 2015b]. Consequentemente, eventos históricos afetaram aspectos mercadológicos e econômicos, fazendo com que o mundo evoluísse o mercado de videogames em ritmos diferentes [Brown 2015b, Ivory 2015, dificultando categorizar os videogames a partir de métricas (ex.: velocidade de clock, quantidade de bits de processadores, datas de lançamento etc.). ...
Jogos possuem propósitos multifacetados e multidisciplinares e tem sido uma das mídias de maior influência na cultura popular. A capacidade empática que o meio possui envolve os jogadores em narrativas para eles sentirem-se como os personagens em tela. Este artigo, via metodologia overview, procurou compreender elementos e técnicas que a indústria de videogames, desde sua origem até o presente momento, tem empregado para gerar empatia nos jogos. Este sentimento torna jogadores capazes estar na situação do personagem, e portanto, mais compreensivos a realidades alheias a sua. Este é um dos passos deste grupo de pesquisa na busca da construção de um framework conceitual para o design de jogos empáticos.
... When video gaming emerged as a cultural phenomenon, the engagements were constrained by video games' primary availability in commercial arcades and the devices' physical immobility. Gaming devices are today increasingly mobile, can be consumed on-the-go, in domestic spaces and on demand (Ivory 2015, Jörnmark, Axelsson, and Ernkvist 2005, Mackay 1997). Consequently, gaming's qualities in relation to its flexibility and compatibility with its intersecting practices are key to examine because contemporary gaming overlaps with other simultaneously performed practices of everyday life. ...
The frequency of video game consumption is a contested topic among scholars. In existing research, the extent of video game use is often related to the terminologies ‘excessive gaming’, ‘video game addiction’ and ‘problem gaming’. Yet the socio-material and practical qualities of gaming in everyday life have received little theoretical and empirical attention in the research on frequent video gaming. By considering these issues this article aims at detaching time spent gaming from a problem framework through a practice theoretical perspective. The empirical data stems from a qualitative study of young Danish adults who are frequently engaged in gaming. The article finds that gaming is constituted by multiple socio-material components that make it highly convenient to consume in everyday life. First, the devices and applications involved in gaming setups conjure mundane, and not focused, engagements with video games. Second, the mobility of gaming enables it to be simultaneously performed with other everyday practicalities such as cooking or commuting. Third, frequent video gaming may occur because the affordances of gaming grant easy access and flexible options for socialising. The convenience of gaming suggests that frequent engagements with video gaming can be viewed as a consequence of how people value their time use.
... The principled study of digital game performance is in its infancy (Huang et al., 2017;Campbell et al., 2018;Listman et al., 2021), even though video games have been popular for decades (Gee, 2003;Kent, 2010;Egenfeldt-Nielsen et al., 2013;Ivory, 2015;Wolf, 2015). Performance in first-person shooter (FPS) video games relies on acquired perceptual and motor skills (Green and Bavelier, 2003) and evidence suggests that playing these games enhances visuomotor and cognitive skills (Green and Bavelier, 2008;Bavelier et al., 2012) in a variety of visual and cognitive tasks Bavelier, 2003, 2007;Dye et al., 2009;Colzato et al., 2013) in children and adolescents (Funk and Buchman, 1996;Adachi and Willoughby, 2013a,b,c;Chaarani et al., 2022) as well as adults Bavelier, 2006, 2007;Kowal et al., 2018). ...
In contrast to traditional professional sports, there are few standardized metrics in professional esports (competitive multiplayer video games) for assessing a player's skill and ability. We assessed the performance of professional-level players in Aim Lab TM , a first-person shooter training and assessment game, with two target-shooting tasks. These tasks differed primarily in target size: the task with large targets provided an incentive to be fast but imprecise and the task with large targets provided an incentive to be precise but slow. Each player's motor acuity was measured by characterizing the speed-accuracy trade-off in shot behavior: shot time (elapsed time for a player to shoot at a target) and shot spatial error (distance from center of a target). We also characterized the fine-grained kinematics of players' mouse movements. Our findings demonstrate that: 1) movement kinematics depended on task demands; 2) individual differences in motor acuity were significantly correlated with kinematics; and 3) performance, combined across the two target sizes, was poorly characterized by Fitts Law. Our approach to measuring motor acuity has widespread applications not only in esports assessment and training, but also in basic (motor psychophysics) and clinical (gamified rehabilitation) research.
... 1997 Yılında Nokia firmasının mobil cihazlarına ‚Snake‛ oyununu yüklemesiyle bambaşka bir dünyanın kapısı açılmış oldu (Ivory, 2015). Artık konsollara, ekranlara, TV'lere bağlı olan oyun oynama alışkanlığı kendini ifade edebilecek yepyeni bir alan bulmuştu (Chittaro ve Sioni, 2012). ...
... Video games on the other hand, is a fairly nascent field when compared to translation, as it only came into being in 1958 with the creation of Pong by physicist William Higinbotham. (Ivory, 2015) Ever since then, the video game industry had grown from strength to strength, with various blockbuster releases that covers multiple languages in a single game. ...
... The hedonic core of entertainment, commonly referred to as enjoyment, is a well-known (and perhaps, obvious) intentional outcome of gaming (cf. Olson, 2010Olson, , 2016)-largely comporting with the idea that video games are historically viewed as pleasurable toys and past-time pursuits (Ivory, 2015). The mechanisms of enjoyment in gaming have also been examined, with Tamborini, Bowman, Eden, Grizzard, and Organ (2010) suggesting that the enjoyment in games is in part a function of the technology's ability to satisfy basic psychological needs of the player, such as boosting feelings of competence, autonomy, and relatedness. ...
Recent years have seen important advances in the study of video games, with many scholars examining how video games impact emotional experiences of players. While this research borrows heavily from traditional media effects paradigms, it has proceeded without effectively integrating developments in emotion and emotion regulation. Therefore, this paper first reviews the nature of emotion and emotion regulation, and then reviews the extant video game literature. We next draw on theoretical accounts of emotion to frame three broad research questions that may advance future work on video games and emotions: (1) What is the nature of video game-evoked emotional experiences? (2) What are the processes through which video games produce emotions? (3) How are video games used to regulate emotions?
The development of digital communication technologies recently led to a progressive change in the way we perform daily activities, rapidly transforming society into a global digital eco-system. Although digitalization determined an improvement in some aspects of life, it also led to the emergence of new technology-based psychopathologies, including problematic use of digital tools and new technological addictions (i.e., Internet addiction, smartphone addiction, social media addiction, internet gaming disorder). Furthermore, new digital technologies and tools determined significant modifications of the characteristics of several existing mental disorders. For example, several social media, forums/blogs, and dedicated websites may reinforce psychological dynamics underpinning eating disorders or provide means to enact them and facilitate their expression. Some social media ‘game challenges’ recently contributed to the spread of non-suicidal self-harm behaviours, particularly among teens. The rise of Internet clearly promoted the onset and perpetration of techno-assisted sexual violence and cyberbullying. Despite the pathoplastic potential associated to new communication technologies, digital tools should not be demonised at all, given the abundant evidence concerning their efficacy in the management and treatment of several mental disorders. Nowadays, digital psychiatry has a great potential to integrate and implement several diagnostic and therapeutic interventions, to support and make more effective psychiatric clinical practice. Therefore, a more balanced approach to digital communication technologies should be taken by mental health professionals, in order to increase awareness of their risks but also to gain knowledge about the benefits of such new communication tools.
Günümüzde farklı donanım ve mecralardan, farklı türler ile bireylerin ilgisine sunulan dijital oyunlara yönelik akademik çalışmalar gün geçtikçe artmaktadır. Bu çalışmaların bir uzantısını oluşturan dijital oyun okuryazarlığı, oyun oynayan bireylerin çeşitli nitelikleri kazanmasını sağlamakta ve bireylerin oyunlarla ilgili analitik düşünme yeteneğini geliştirmekle ilgilenmektedir. Dolayısıyla bu çalışma akademik literatürde dijital oyun okuryazarlığı farkındalığına ilişkin bir veri oluşturma amacı taşımaktadır. Çalışma, nitel araştırma yöntemlerinden biri olan görüşme tekniği ile gerçekleştirilmiştir. Katılımcılar olasılıksız örnekleme yöntemlerinden kolayda örnekleme yoluyla seçilmiş, veriler yarı yapılandırılmış sorularla toplanmış ve betimsel analiz yöntemi ile yorumlanmıştır. Çanakkale şehrinde 17 katılımcı ile gerçekleştirilen bölgesel araştırma sonucunda oyun türü tercihlerinde erkek katılımcıların çoğu aksiyon odaklı, kadın katılımcıların çoğu ise zekâ ve bulmaca türü oyunları tercih ettiğini belirtmiştir. Katılımcıların dijital oyun okuryazarlığı kapsamında görsel ve grafiksel metinleri anlayabildiği, yorumlayabildiği görülmektedir. Araştırmaya dair elde edilen bir diğer önemli bulgu ise katılımcıların oyun içerisinde maruz kaldığı olumsuz tutumlar karşısında yasalara karşı bilgisiz ya da güvensiz olduğudur. Ayrıca katılımcıların oyun bileşenlerini ve oyun içeriklerini ayırt edebildiği saptanmıştır. Dolayısıyla katılımcıların çoğunun dijital oyun okuryazarlığına ilişkin seçici yeteneklere sahip olmaları çalışmanın önemli sonuçlarından biridir.
The video game, a phenomenon less than a century old, is relatively recent compared to the millennia-long history of “analog” gaming, its natural predecessor. In recent decades, digital play has emerged as a prominent expression of contemporary culture, possessing exceptional social, cultural, and technological value. It stands as the leading global entertainment sector in terms of time spent and budget, surpassing the revenues of the film and record industries. Digital games are not only a central economic force in the entertainment and technology industries but also foster new cultural and social narratives through their participatory and collaborative nature. This chapter will explore the evolution from traditional games to video games and their effectiveness in enhancing knowledge and learning.
Video oyunları, bilgisayar yazılımı alanında etkili ve popüler bir form olarak değerlendirilmektedir. Oyuncuların oldukça fazla zaman ve çaba harcadığı oyunlar hem oyun ekosisteminin ilgisini çekmekte hem de son dönemde akademik çalışmalara sıklıkla konu olmaktadır. Video oyunları, rekabet ve iş birliği unsurlarını sorunsuz bir şekilde birleştirerek ve oyuncular arasında bağlantı kurmayı teşvik ederek bireyleri bir araya getirmektedir. Bunun yanı sıra tüm video oyunları, çeşitli insan-bilgisayar etkileşimi (İBE) yöntemlerini kullanarak oyuncuların sanal bir ortamla etkileşime geçebilmelerini sağlamaktadır. Ayrıca kullanıcılara sunduğu çeşitli etkileşim imkanlarıyla farklı bir kültürel medya türü olarak öne çıkmaktadır. Ancak bu alanın karmaşıklığı ve disiplinler arası kavramları da içermesi nedeniyle akademik çalışmalar için birtakım zorluklar oluşturmakta ve etkileşim tasarımı sürekli olarak yenilenmektedir. Bu çalışma, video oyunları etkileşimleri konusunda literatürdeki mevcut durumu ortaya koyarak gelecekte yapılacak akademik çalışmalara ve oyun tasarımlarına katkı sağlamayı amaçlamaktadır. Video oyunlarda etkileşimin etkilerine yönelik yapılan çalışmalardan derlenen sonuçlar değerlendirildiğinde sosyal etkileşimlerin ve insan-bilgisayar etkileşimlerinin, oyuncuların bağlanma düzeylerini, akış deneyimlerini, algılanan keyfi, oyun oynamaya devam etme niyetlerini ve oyun içi satın alma davranışlarını etkilediği görülmüştür.
Emerging research has suggested that retrogames can serve as vehicles for historical nostalgia among younger gamers without firsthand experience using older games and equipment—providing an opportunity to engage in a “bygone era” of video gaming. The current study focused on the historic nostalgia potential of playing a retrogame using original or modern-style controllers, expecting that older controllers would be perceived as more natural for retrogaming and thus, elicit higher levels of historical nostalgia (i.e., a mediating effect). Replicating prior work, controller manipulation had no impact on historical nostalgia. However, post hoc modeling of observed relationships among notable covariates revealed that as appreciation for the gameplay experience increased, individuals with higher levels of broad gaming self-efficacy felt greater levels of historical nostalgia. Participants also noted a distinct respect for “bygone gaming eras” especially relevant to games played by older family and siblings. This research has implications for how we understand and further investigate retrogames and historical nostalgia.
This article develops Kawika Guillermo's ‘machphrasis’ (2016) as a theoretical contribution to discourse considering the deployment of video games in contemporary literary culture. After presenting machphrasis’ academic stakes, I propose that machphrasis can give explanations for some techniques and images endemic to late 20 th /21 st century writing with regards to video games represented in prose. By appending Guillermo's conceptual work with three additions, I work towards a reproducible poetics of the video game in prose writing. I will show that machphrasis may be used to understand video games in literature as proxies for anticipated technologies, as discursive tools for reckoning with new subjectivities indebted to play, and as the means for generating new ideological positions for those who play games but are excluded from the normative ‘gamer’ group. This contribution prepares current academic discourse for a future literary landscape increasingly beholden to machphrastic themes, ambitions, and language.
Time and again PUBG game is alleged to have problematic addiction. It has been having negative impacts on those who play too much. Even the American Psychiatric Association has acknowledged the addiction to and problem caused by online gaming in its fifth edition. It's frequently claimed that gamers lose track of their time management. The condition is sometimes accompanied by many issues, such as violent behaviour and avoiding social interactions. Since the release of PUBG, many people have expressed concern about the compulsive gaming habits of Pakistani youth. The current study used quantitative methodology to examine to what extent Pakistani youths become addicted to PUBG gaming. The results of the study show that among Pakistani Players, the independent variable (PUBG Game Exposure) has a significant association with the dependent variables (Addiction).
Video games have been a popular form of media entertainment since the 1970s, with gamers of all ages experiencing and engaging digital worlds and creating lasting memories in those spaces. As video games mature, so are their players-by some estimates, the average age of a gamer is in their 30s, and often playing games with their children. As such, video games are a potentially powerful elicitor of nostalgia, as is being recognized in more recent research and discourse. In this article, we describe and explain nostalgia as elicited from video gaming experiences, discuss the effects of gaming-induced nostalgia on psychological well-being, and offer direct avenues for fostering and growing this research.
Video game content has evolved over the last six decades, from a basic focus on challenge and competition to include more serious and introspective narratives capable of encouraging critical contemplation within gamers. The “No Russian” mission from Call of Duty: Modern Warfare 2 casts players as terrorists responsible for the murder of innocent bystanders, sparking debate around how players engage and react to wanton violence in modern video games. Through thematic analysis of 649 Reddit posts discussing the mission, 10 themes emerged representing complexity in player experiences. Those themes were grouped into categories representing (descending order), (1) rote gameplay experiences, (2) dark humor, (3) comparing the mission to other games and real-world events, and (4) self-reflective eudaimonic reactions to the mission. Although less common, the presence of eudaimonic media effects (in at least 15% of posts) holds promise for the use of video games as reflective spaces for violence prevention.
La industria de los deportes electrónicos o ciber deportes se encuentra en un constante crecimiento año con año, adquiriendo cada vez mayor relevancia a una escala internacional. Cada vez más países y empresas ven en esta modalidad una manera de aumentar sus beneficios, y al mismo tiempo, un medio de desarrollo tecnológico y de innovación. En este trabajo de investigación documental con enfoque descriptivo y diseño no experimental, se analiza la situación actual de los deportes electrónicos, explicando en primera instancia el origen de los videojuegos y el cómo algunos de éstos han podido convertirse en E-sports; luego, se expondrán las cifras a nivel general describiendo lo que ha sucedido en los países más desarrollados en esta industria; y por último, se dará a conocer el panorama que encierra a esta disciplina en México viéndola como una alternativa para la innovación y la creación de empresas, sobre todo en el contexto de la actual pandemia del Covid-19.
The morphological and functional evolution of appendages has played a crucial role in the adaptive radiation of tetrapods, arthropods and winged insects. The origin and diversification of fins, wings and other structures, long a focus of palaeontology, can now be approached through developmental genetics. Modifications of appendage number and architecture in each phylum are correlated with regulatory changes in specific patterning genes. Although their respective evolutionary histories are unique, vertebrate, insect and other animal appendages are organized by a similar genetic regulatory system that may have been established in a common ancestor.