ORCID Profile
0000-0002-6390-6593
Current Organisation
Tampere University
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Cultural Theory | Cultural Studies
Publisher: Informa UK Limited
Date: 06-2013
Publisher: Informa UK Limited
Date: 02-10-2018
Publisher: Routledge
Date: 12-11-2013
Publisher: SAGE Publications
Date: 03-2006
Abstract: This article examines the notion of genre in video games. The main argument is that the market-based categories of genre that have been developed in the context of video games obscure the new medium's crucial defining feature, by iding them into categories (loosely) organized by their similarities to prior forms of mediation. The article explores the inherent tension between the conception of video games as a unified new media form, and the current fragmented genre-based approach that explicitly or implicitly concatenates video games with prior media forms. This tension reflects the current debate, within the fledgling discipline of Game Studies, between those who advocate narrative as the primary tool for understanding video games, “narratologists,” and those that oppose this notion, “ludologists.” In reference to this tension, the article argues that video game genres be examined in order to assess what kind of assumptions stem from the uncritical acceptance of genre as a descriptive category. Through a critical examination of the key game genres, this article will demonstrate how the clearly defined genre boundaries collapse to reveal structural similarities between the genres that exist within the current genre system, defined within the context of visual aesthetic or narrative structure. The inability of the current genre descriptions to locate and highlight these particular features suggests that to privilege the categories of the visual and narrative is a failure to understand the medium. The article concludes by suggesting that the tension between “ludology” and “narratology” can be more constructively engaged by conceptualizing video games as operating in the interplay between these two taxonomies of genre.
Publisher: SAGE Publications
Date: 02-2013
Abstract: This article outlines a model for teaching both computer games and videogames in the classroom for teachers. The model illustrates the connections between in-game actions and youth gaming culture. The article explains how the out-of-school knowledge building, creation and collaboration that occurs in gaming and gaming culture has an impact on students' understanding of their own lifeworlds. The authors demonstrate how the development of curricula around and with games and gaming cultures can incorporate and capitalise on approaches to learning and collaboration, design and identity that students have developed in their own gaming practices.
Publisher: University of Westminster Press
Date: 10-2012
DOI: 10.16997/WPCC.145
Publisher: Routledge
Date: 29-11-2020
Publisher: Palgrave Macmillan UK
Date: 2015
Publisher: No publisher found
Date: 2013
Publisher: SAGE Publications
Date: 21-04-2022
DOI: 10.1177/15554120221084453
Abstract: This article examines the prominent role of Patreon in the rapidly growing sector of crowdfunded pornographic games. Recent research has indicated that, on average, more people (patrons) are funding pornographic digital games on Patreon than other (non-adult) digital games ( Lankoski & Dymek, 2020 ). Graphtreon’s ‘Top Patreon Creators’ list from 9 June 2021 includes six NSFW game projects among the top 50 projects (ranked by number of Patrons). 1 For ex le, Summertime Saga (Dark Cookie), the highest-ranked pornographic game, is third in terms of the number of funders, with 27,791 patrons funding $74,657 per month. While Wild Life – An Adult RPG (Adeptus Steve), which reportedly only had 9417 patrons as of 9 June 2021, receives a monthly income of $94,129 from those pledges. 2 The current funding levels for both Patreon projects are considerably higher than when we began our s ling: since January 2020, the funding level for Summertime Saga has risen by 27.86%, while for Wild Life – An Adult RPG it has risen by 21.45%.
Publisher: Digital Games Research Association
Date: 14-12-2015
Abstract: This special issue of the Transactions of the Digital Games Research Association Journal represent approaches by contemporary Australian scholars in the study of digital games. They responded to the provocation ‘What is Game Studies in Australia?’ the topic of the inaugural conference of the Digital Games Research Association Australia (DiGRAA). This event, held on 17th of June 2014, was a meeting of academic researchers, critics, designers, developers, and artists focused on developing a discussion of what game studies ‘is’ in Australia. The conference focused special attentiveness both to ersity and any particular regional issues that delegates chose to address. These articles illustrate the breadth and variety of approaches which were discussed.
Publisher: Informa UK Limited
Date: 06-2009
Publisher: Open Library of the Humanities
Date: 2018
DOI: 10.16995/OLH.286
Publisher: SAGE Publications
Date: 25-11-2018
Abstract: Haptic media studies emphasize the centrality of touch in the experience of digital media. This article considers how the haptic effect created by relationship between touch, gesture and spatial practice in Pokémon GO cements new possibilities for ambient play and co-presence. The app effectively draws on the genealogies of Nintendo’s handheld Pokémon games, but through the shift to smartphone devices the app creates new forms of ambient play, co-presence and communication that are realized through the publicness of the touch, gesture and comportment which make up the haptic effect of the app. By making the smartphones camera an integral part the game, Pokémon GO suggests the wider relevance of the communicability of feeling and gesture by extending ambient play and co-presence into social media, allowing players to (re)-experience the feeling and touch of Pokémon GO through affective resonance. This suggests that the tactility and touch of the haptic affect are embedded in a matrix of embodied experiences that are revealed through how photography and social media become sites for extending and ambient play.
Publisher: SAGE Publications
Date: 17-07-2019
Abstract: This article explores the cultural appropriation of the term avatar by Western tech culture and what this implies for scholarship of digital games, virtual worlds, social media, and digital cultures. The term has roots in the religious tradition of the Indian subcontinent and was subsequently imported into video game terminology during a period of widespread appropriation of Eastern culture by Californian tech industries. We argue that the use of the term was not a case of happenstance but a signaling of the potential for computing to offer a mystical or enchanted perspective within an otherwise secular world. This suggests that the concept is useful in game cultures precisely because it plays with the “otherness” of the term's original meaning. We argue that this indicates a fundamental hybridity to gaming cultures that highlight the need to add postcolonial perspectives to how issues of ersity and power in gaming cultures are understood.
Publisher: University of Illinois Libraries
Date: 27-11-2013
Abstract: Historically, the play of digital games in public was restricted to certain locations such as arcades and cybercafés. The proliferation of personal, mobile, and digitally networked devices, however, has contributed to the ubiquity of digital games in contemporary culture, making them available for play anywhere, any time. This paper uses two ex les to examine this recent shift to consider how play and digital games can contribute to revitalising the urban experience. The first examines the experience of playing digital games in urban cybercafés and the second discusses the recent popular location–based gaming app for the iPhone, Shadow Cities. By contrasting the types of play that unfold in the situated but highly contingent environments of the cybercafé and the ‘hybrid’ space Shadow Cities’ massively multiplayer world, this paper argues that the historical role of play as the foundation for a vibrant and progressive city life is increasingly at stake in the shift towards pervasive, software–mediated gaming applications.
Publisher: Informa UK Limited
Date: 20-04-2011
Publisher: SAGE Publications
Date: 12-10-2018
Abstract: This article examines the use of player-controlled avatars on digital gambling platforms and apps. Through a discussion of the influential, but now defunct, online gambling platform PKR ‘The Second Life of gambling’ the article illustrates how the avatar has a key role in the routinization of online gambling and cultivating affective investment from gamblers. The process of creating, maintaining and updating avatars promotes spending winnings in-house as the house now provides digital items that allow players to personalize their avatars. For gamblers, the affective investment in avatars adds a crucial qualitative and social dimension to what is otherwise a game of numbers and odds. The customizable avatar introduces a qualitative uncertainty by creating the possibility for indirect communication through avatar appearance, accessories and gestures, which reconnects online poker to face-to-face gambling through traditions such as bluffing. Affective investment in the avatar thus creates a feeling of co-presence between gamblers while gamblers and gambling platforms.
Publisher: ACM
Date: 21-07-2012
Publisher: Wiley
Date: 16-07-2012
Start Date: 2014
End Date: 06-2019
Amount: $170,000.00
Funder: Australian Research Council
View Funded Activity