Markus Montola's research while affiliated with Tampere University and other places

... This is called "pervasive gaming" being defined by Arango et al. [11] as "one that provides the player with an enriched game experience through the evolution of dynamics, expanding the game space 2 according to the context where it is played, which allows breaking the limits of the game world 3 , breaking into reality and making the elements present in it influence during the experience" . This definition has been strongly influenced by previous established definitions such as the one defined by Montola [12], [13] which defines that pervasive games are "those that extend the boundaries of traditional computer games with respect to spatial, social and time dimensions". In this definition, it is established that pervasive games differ from traditional games when the first break the limits of the "magic circle" established by Huizinga [14]. ...

... A dark pattern is defined as "a user interface that has been carefully crafted to trick users into doing things" [7]. Studies have reported dark pattern designs in various scenarios: e-shopping websites [60,62], mobile applications [30], gaming [29,83], robot [50], etc. ...

... The calculated SAR for Mx = 20 , My = 10 and Mz = 5 samples is about 1.93 W/ Kg. Compared to SAR safety limit (1.6 W/Kg [20]), this scenario of interaction is considered unsafe. Content courtesy of Springer Nature, terms of use apply. ...

... Para la clasificación de los videojuegos para dispositivos móviles se realizó una búsqueda de artículos en los cuales se encontraron los géneros de videojuegos, entre los cuales están las propuestas mencionadas en [1][2][3][4][5][6][7][8][9][10][11][12][13]. ...

... We propose that in addition to such real-world problem solving competitions and crowd-sourcing initiatives, mixed reality gaming provides an approach to study the outlined research aims including emotional issues of human-agent interaction in disaster settings. In particular, MRGs (or pervasive games) provide a setting under which people have been shown to suspend disbelief [8], and share some further key characteristics with disaster response scenarios, of which we highlight three by drawing on related work. ...

... In their overview of current uses of the term, Deterding et al. point to another industry use of gamification which refers to the "increasing adoption, institutionalization and ubiquity of (video) games in everyday life" (2011,(1)(2). This use of the term gamification can be seen as part of a larger process of "ludification" of culture, which can be traced back to the 1960s (Stenros et al. 2009; see also the introductory chapter of this book). With games and play increasingly pervading mainstream culture, the gamification phenomenon only adds to the articulation of the playful dimensions of our individual and cultural identity. ...

... Works combining performance theory and video games do exist, however they are still rare. Few examples: performance theory has been suggested as a structural tool for analyzing video games (Fernández-Vara 2009); avatars have been discussed as puppets(Westecott 2009); gameplay events have been experienced as site-specific performance(Westerside and Holopainen 2019); and roleplaying games have been discussed as performative(Hoover et al. 2018;Montola 2012;Stenros 2010). ...

... These games, which have their roots in Dungeons & Dragons in the 1970s (Mason, 2004), exhibit a vast diversity in terms of the number of participants, mode of play, and the formal and informal systems that govern them. An RPG is a type of game in which a group of players assumes the ability to de ne and rede ne the properties of an imaginary, real, or re-imagined world (Montola, 2008). The ability is achieved through the utilization of a game system as a framework for communal storytelling and identity alteration (Bowman, 2010), offering players the opportunity to create events that result from the collective efforts and actions of the participants. ...

... The cognitive theory of pretense does not seem to take into account the problem of affective states (see the concept of immersion in the role-playing studies, Bowman, 2018) of the real person and its relation to the pretend-world-box of the player-character, or the necessity to discuss the cognitiveaffective distribution of cognitive and affective resources for pretending. The porousness of the boundary of the play can be illustrated best through spillover effects of play into player, or vice versa, in so called "bleed-effects" (Montola, 2011;Leonard and Thurman, 2019) -an experience where cognitive qualities of the player may bleed-in to the player-character (such as a player's fear of spiders unintentionally influencing an player-character's action), or where the cognitive qualities of the player-character may bleed-out into the player (such as a player's sincere feelings of grief). Thus, even though these experiences are partially quarantined (i.e., the player still recognizes the source of the experience), they also blend experiences, which posits challenging examples of inadequacy of any pretense quarantine theory with strict boundaries. ...

... Even after the initial decisions were made, some points of data were difficult to fit into these categories. [17] The comparison is not a full fit, since game jams are not only community driven, since professionalization of game jams is further along than in Nordic larps (in 2011). However, the plurality and lack of standardization are similar. ...