Lately in the past couple of years, there are an increasing in the normal rate of playing computer games or video games compared to the E-learning content that are introduced for the safety of our children, and the impact of the video game addictiveness that ranges from (Musculoskeletal issues, Vision problems and Obesity). Furthermore, this paper introduce an intelligent tutoring system for both parent and their children for enhancement the experience of gaming and tell us about the (...) health problems and how we can solve them, with an easy user interface that way can our children be happy and excited about the information and their health. (shrink)

Today’s everyone normal life can include a normal rate of playing computer games or video games; but what about an excessive or compulsive use of video games that impact on our life? Our kids, who usually spend a lot of time in playing video games will likely have a trouble in paying attention to their school lessons. In this paper, we introduce an expert system to help users in getting the correct diagnosis of the health problem of (...) video game addictions that range from (Musculoskeletal issues, Vision problems and Obesity). Moreover, this expert system provides information about the problem and tell us how we can solve it. SL5 Object expert system language was used to design and implement the expert system. (shrink)

Many parents worry over their children’s gaming habits, but to what extent do such worries match any detrimental effects of excessive gaming? We attempted to answer this question by comparing children of highly concerned parents with other adolescents of the same age. A cohort of parents who identified as highly concerned over their children’s video game habits were recruited for a public study in collaboration with a national television network. Using an online experimental platform in conjunction with surveys (...) of parents’ beliefs and attitudes, we compared their children to age-matched peers in an exploratory case-control study. The scores of children with highly concerned parents on tests of cognitive control and psychological wellbeing were statistically similar to controls, suggesting no selective cognitive or psychological detriments from gaming or otherwise in the cases with concerned parents. The case group, however, did spend more time gaming, and scored higher than controls on problem gaming indicators, which also correlated negatively with wellbeing. Within the case group, wellbeing effects seemed mainly to consist in issues of relaxation and sleep, and related to gaming addiction indicators of playing to forget real-world problems, and the feeling of neglecting non-gaming activities. Where most results of research staged for TV never get published, making it difficult to interpret both methods and results, this paper describes findings and participant recruitment in detail. The relationship between parental concern and children’s gaming is discussed, as is the merits and challenges of research conducted with media, such as TV programs and their recruited on-screen participants. (shrink)

This study concentrates on two kinds of video games, Massive Online Battle Arena and Massive Multiplayer Online Role Play Game, and examines the scores obtained by the subjects in the sample. Score...

If a list were compiled of all substance and process addictions, we would find ourselves with a long catalog, including heroin, methamphetamines, marijuana, fentanyl, exercise, pornography, gambling, cocaine, and video games, just to name a handful. Addiction is diverse. And in severe cases, addiction can have devastating consequences in the lives of addicted individuals. There is currently no widely accepted definition of addiction that crosses social, philosophical, scientific and medical discourse. In fact, there is no uncontested (...) definition within any one of these domains. However, across fields of study, the phenomenon of craving is widely taken to be an important, if not central, feature of addiction. Craving... (shrink)

Increase in popularity of games like "Second Life" has contributed not only to significant changes in the development of the electronic entertainment industry. Promoting Games 2.0, the new trend of video game production that are assumed to be the virtual worlds that contain user-generated content makes both measured with a specific technological innovation, as well as a serious change in the organization of socio-cultural heritage. The article presents problems of the existing difficulties of terminology, the implications of the (...) availability of Games 2.0 for social life, the concept of leisure as work in the new economy and creative non-material and the characteristics of "Generation C". Work stresses the need for discussion on trends in the development of video games - defined as a choice between the projects’ of "socio-cultural ideology of perpetual motion" and "utopia of universal creativity". These approaches allow to identify the methodological basis for analysis of relations between the operators and users of Games 2.0, taking into account the wider social environment. ** Wzrost popularności gier typu „Second Life” przyczynił siȩ nie tylko do znacznych przemian w rozwoju branży rozrywki elektronicznej. Upowszechnianie Games 2.0, nowego nurtu produkcji gier wideo które z założenia maj¸a} stanowić wirtualne światy zawieraj¸a}ce treści tworzone przez użytkowników sprawia, że mierzymy siȩ zarówno z określon¸a} innowacj¸a} technologiczn¸a}, jak też z poważn¸a} zmian¸a} organizacji życia społeczno-kulturowego. Artykuł przedstawia problematykȩ istniej¸acych trudności terminologicznych, konsekwencje dostȩpności Games 2.0 dla życia społecznego, pojȩcie rozrywki jako pracy w nowej gospodarce niematerialnej i twórczej oraz charakterystykȩ „generacji C”. Praca podkreśla potrzebȩ dyskusji nad kierunkami rozwoju gier wideo - określanymi jako wybór miȩdzy projektami „ideologii społeczno-kulturowego perpetuum mobile” i „utopii powszechnej twórczości”. Podejścia te pozwalaj¸a na wskazanie podstaw metodologicznych do prowadzenia analiz relacji miȩdzy operatorami, a użytkownikami Games 2.0 przy uwzglȩdnieniu szerszego otoczenia społecznego. (shrink)

Games played on mobile phones or tablets have become a serious game platform. In the new International Classification of Diseases in 2019, the WHO now includes video game disorder as a mental disease, this highlights the seriousness of game addiction which has now become a global problem. Game design may be one of the factors that affect game addiction. Game playability can be used to evaluate the game design and to (...) determine the features that can cause game addiction. The purpose of this study was to explore the relationship between playability and game addiction, and a comparison of the difference in playability among healthy players (N = 1286) and problematic players (N = 278) that allows game developers to design games in ways that may reduce addiction while maintaining or improving playability. In this study, 1564 valid questionnaires that collected data about the Game Playability Scale and the Game Addiction Scale showed that (1) The level of playability in the problematic players was significantly higher than in healthy players. (2) The degree of correlation between playability and game addiction in the problematic players was lower than in healthy players. (3) Some playability factors and addiction factors are negatively correlated. (shrink)

The study of the effects of interactive media has mainly focused on dysregulated behaviors, the conceptualization of which is supported by the paradigms of addiction. Research into Game Transfer Phenomena examines the interplay between video game features, events while playing, and the manipulation of hardware, which can lead to sensory-perceptual and cognitive intrusions and self-agency transient changes related to video games. GTP can influence the interpretation of stimuli and everyday interactions and, in contrast to gaming (...) disorder, are relatively common and not necessarily negative. However, some players have reported feeling distress due to their GTP. This study focuses on how dispositional and interactive media habit factors are related to GTP and two forms of problematic interactive media [problematic video game playing and problematic social media use ]. A sample of 343 university students who played video games completed an online survey. Not all who had experienced GTP were identified as exhibiting PVG or PSMU, but all of those in the PVG group had experienced GTP. Overall, the profiles of the groups, including GTP, PVG, and PSMU, were in accordance with previous findings. Those in the GTP and the PVG groups were characterized by being male, being highly engaged in the game, and showed preferences for game-related activities. However, while those in the GTP group were significantly more likely to be fantasy-prone, those with PVG were the ones who played most per day. Those in the PSMU group were characterized by being female and/or extroverted, frequently using social/sharing platforms, and seldom playing video games. A hierarchical binary logistic regression revealed that males were more likely to experience GTP. Increases in PVG, fantasy proneness, and neuroticism increased the odds of GTP. Future work can benefit from considering the role of GTP in gaming disorder, since intrusive thoughts, cognitive biases, and poor impulse control are pivotal in the initiation and maintenance of dysfunctional playing behaviors. (shrink)

Some video games are said to be philosophical. Despite video games having received some attention in academic philosophy, that contention has not been sufficiently addressed. This paper investigates in what sense video games might be properly called “philosophical”. To this end, I utilize Wittgenstein’s distinction between saying and showing to get into view how some video games might be properly called philosophical. This leads to two senses of being philosophical: a conventional sense of expressing philosophy through (...) propositions, i.e., through saying, and a sense of being genuinely philosophical by expressing philosophical thought through showing. I argue that the conventional sense is not sufficient to call video games philosophical, leaving the question whether there are video games which satisfy the conditions of being genuinely philosophical. I furthermore contend that there are at least some examples of video games which qualify as being philosophical, e.g., Papers, Please and The Stanley Parable. (shrink)

If you enjoy video games as a pastime, you are certainly not alone―billions of people worldwide now play video games. However, you may still find yourself reluctant to tell others this fact about yourself. After all, we are routinely warned that video games have the potential to cause addiction and violence. And when we aren’t being warned of their outright harms, we are told we should be doing something better with our time, like going outside, socializing (...) with others, or reading a book. Playing video games is thus often seen at best as a waste of time, and at worst a source of violent tragedy. -/- Why It’s OK to Be a Gamer takes on the pervasive assumption that playing video games is a childish and time-wasting hobby, and a potentially addictive and dangerous one at that. It argues instead that there are many ways in which gaming can help us flourish, for example by: developing genuine friendships and other meaningful relationships with others, helping us cultivate a virtuous personal character, giving us a unique aesthetic experience, providing us with psychological benefits, and just plain helping us relax and enjoy ourselves. Video games are not just for those with no life; on the contrary, they can help contribute to a rich and meaningful life. (shrink)

Les mondes virtuels sont issus des MMORPG, Massively Multiplayer Online Role-Playing Games qui sont eux-mêmes issus du monde du jeu vidéo. À ce titre, il existe une filiation « ludique » entre ces différents dispositifs. Les travaux de Steinkuehler suggèrent que les mécanismes de l’apprentissage générés par les jeux issus des mondes virtuels dépendent « certes de la nature du jeu mais aussi des pratiques sociales qu’ils engendrent ». Dans cette continuité, nous avons démontré dans nos travaux que ces environnements (...) immersifs permettaient de créer du lien social et donnaient lieu à des formes de rites numériques entre sphère privée et publique. Dans cet article nous nous intéressons aux controverses des environnements immer- sifs en questionnant la place du corps virtuel au sein de ces dispositifs qui pourraient se situer selon nous, entre lieux de spectacle, de loisir et d’apprentissage médiatisé. Le cas des serious games sera évoqué à titre d’illustration.Virtual worlds started with the MMORPG who emerged from the video gaming world, thus indicating their play-related origins. Steinkuehler’s work suggests that the learning mechanisms triggered by games in the virtual world depend “on the nature of the game obviously, but also on the social practices they give rise to”. Continuing this line of study, our work shows that these immersive environments actually forge social ties and generate digital rites of various kinds between the public and private spheres. In this article, we explore the controversies around immersive environments through an investigation of the virtual body within these systems, which we believe function as venues partly for entertainment, partly for leisure and partly as mediated learning spaces. The case of “serious games” is discussed here as an illustration. (shrink)

ABSTRACTVirtual games are played by millions of people today. Almost everyone has the means to access virtual worlds in most places in the world. Virtual games are new worlds for the players waiting to be discovered. Video games in this new world are considered to be sports activities by some people, while some oppose to this conception. In this regard, philosophical approaches set out and the current state of whether video games are considered as sports activities is presented. (...) In addition to this classificatory issue an ethical one concerning the level of addiction for the players who immerse into the virtual worlds is also discussed, since the level of immersion is sometimes so high that some people die while playing video games on the computer. The answer to the question of how these video games can be so addictive is considered in relation to Johan Huizinga’s Homo ludens, and the notion of phantasm by Gilles Deleuze. It is argued that the fantasy aspect of video games is more dominant their being the... (shrink)

Is it ever morally wrong to enjoy fantasizing about immoral things? Many video games allow players to commit numerous violent and immoral acts. But, should players worry about the morality of their virtual actions? A common argument is that games offer merely the virtual representation of violence. No one is actually harmed by committing a violent act in a game. So, it cannot be morally wrong to perform such acts. While this is an intuitive argument, it does not (...) resolve the issue. -/- Focusing on why individual players are motivated to entertain immoral and violent fantasies, Video Games, Violence, and the Ethics of Fantasy advances debates about the ethical criticism of art, not only by shining light on the interesting and under-examined case of virtual fantasies, but also by its novel application of a virtue ethical account. Video games are works of fiction that enable players to entertain a fantasy. So, a full understanding of the ethical criticism of video games must focus attention on why individual players are motivated to entertain immoral and violent fantasies. -/- Video Games, Violence, and the Ethics of Fantasy engages with debates and critical discussions of games in both the popular media and recent work in philosophy, psychology, media studies, and game studies. (shrink)

This article explores the nature and theoretical import of a hitherto neglected class of fictions which we term ‘self-involving interactive fictions’. SIIFs are interactive fictions, but they differ from standard examples of interactive fictions by being, in some important sense, about those who consume them. In order to better understand the nature of SIIFs, and the ways in which they differ from other fictions, we focus primarily on the most prominent example of the category: video-game fictions. We argue (...) that appreciating the self-involving nature of video-game fictions is key to understanding various otherwise puzzling phenomena concerning the ways in which consumers respond to them. Video-game fictions are, however, far from being the only extant example of this class; and we suggest that the recent philosophical interest in video games would be better focused on the wider class of self-involving interactive fictions. (shrink)

Accounts of video game play developed from an ethnomethodological and conversation analytic perspective remain relatively scarce. This study collects together an emerging, if scattered, body of research which focuses on the material, practical “work” of video game players. The study offers an example-driven explication of an EMCA perspective on video game play phenomena. The materials are arranged as a “tactical zoom.” We start very much “outside” the game, beginning with a wide view of (...) how massive-multiplayer online games are played within dedicated gaming spaces; here, we find multiple players, machines, and many different sorts of activities going on. Still remaining somewhat distanced from the play of the game itself, we then take a closer look at the players themselves by examining a notionally simpler setting involving pairs taking part in a football game at a games console. As we draw closer to the technical details of play, we narrow our focus further still to examine a player and spectator situated “at the screen” but jointly analyzing play as the player competes in an online first-person shooter. Finally, we go “inside” the game entirely and look at the conduct of avatars on-screen via screen recordings of a massively multiplayer online game. Having worked through specific examples, we provide an elaboration of a selection of core topics of ethnomethodology and conversation analysis that is used to situate some of the unstated orientations in the presentation of data fragments. In this way, recurrent issues raised in the fragments are shown as coherent, interconnected phenomena. In closing, we suggest caution regarding the way game play phenomena have been analyzed in this study, while remarking on challenges present for the development of further EMCA-oriented research on video game play. (shrink)

Accounts of video game play developed from an ethnomethodological and conversation analytic perspective remain relatively scarce. This study collects together an emerging, if scattered, body of research which focuses on the material, practical “work” of video game players. The study offers an example-driven explication of an EMCA perspective on video game play phenomena. The materials are arranged as a “tactical zoom.” We start very much “outside” the game, beginning with a wide view of (...) how massive-multiplayer online games are played within dedicated gaming spaces; here, we find multiple players, machines, and many different sorts of activities going on. Still remaining somewhat distanced from the play of the game itself, we then take a closer look at the players themselves by examining a notionally simpler setting involving pairs taking part in a football game at a games console. As we draw closer to the technical details of play, we narrow our focus further still to examine a player and spectator situated “at the screen” but jointly analyzing play as the player competes in an online first-person shooter. Finally, we go “inside” the game entirely and look at the conduct of avatars on-screen via screen recordings of a massively multiplayer online game. Having worked through specific examples, we provide an elaboration of a selection of core topics of ethnomethodology and conversation analysis that is used to situate some of the unstated orientations in the presentation of data fragments. In this way, recurrent issues raised in the fragments are shown as coherent, interconnected phenomena. In closing, we suggest caution regarding the way game play phenomena have been analyzed in this study, while remarking on challenges present for the development of further EMCA-oriented research on video game play. (shrink)

Historically, video games featuring content perceived as excessively violent have drawn moral criticism from an indignant (and sometimes, morally outraged) public. Defenders of violent video games have insisted that such criticisms are unwarranted, as committing acts of virtual violence against computer-controlled characters – no matter how heinous or cruel those actions would be if performed in real life – harm no actual people. In this paper, I present and critically analyze key aspects of this debate. I argue that (...) while many ethical objections to playing violent video games seem to miss their marks, there is sufficient reason to take modest steps in order to address the concerns that theorists have raised. (shrink)

I argue that by any major definition of art many modern video games should be considered art. Rather than defining art and defending video games based on a single contentious definition, I offer reasons for thinking that video games can be art according to historical, aesthetic, institutional, representational and expressive theories of art. Overall, I argue that while many video games probably should not be considered art, there are good reasons to think that some video (...) games should be classified as art. I also show that the debates over the artistic status of chess and sports offer some insights into the status of video games. (shrink)

Smartphone addiction behaviors are becoming more and more common with the rapid popularity and widespread use of smartphones. Such behaviors are significantly influenced by the overuse of smartphones before bedtime. In this study, the overuse of smartphones after 9:00 pm before bedtime was investigated by an online questionnaire. The sample consists of 1,035 college students in China. The artificial neural networks were applied to predict the use time of smartphones before bedtime based on their different usages, and the relationship (...) between smartphone usage and additive behaviors was analyzed. The results show that the neural network model can more accurately predict the usage time of smartphones according to the usage of smartphones before going to bed. At the same time, it is also found that the prediction accuracy of the samples that use the smartphone for less than half an hour and more than 3 h before bed is higher than that of other samples. Moreover, watching short videos and playing games are more likely to lead to mobile phone addiction behavior. These findings would help guide college students to correctly use phones and reduce smartphone addition, which is of great significance for mental health education. (shrink)

This article explores the nature and theoretical import of a hitherto neglected class of fictions which we term ‘self-involving interactive fictions’. SIIFs are interactive fictions, but they differ from standard examples of interactive fictions by being, in some important sense, about those who consume them. In order to better understand the nature of SIIFs, and the ways in which they differ from other fictions, we focus primarily on the most prominent example of the category: video-game fictions. We argue (...) that appreciating the self-involving nature of video-game fictions is key to understanding various otherwise puzzling phenomena concerning the ways in which consumers respond to them. Video-game fictions are, however, far from being the only extant example of this class; and we suggest that the recent philosophical interest in video games would be better focused on the wider class of self-involving interactive fictions. (shrink)

Many theories of complex cognitive-motor skill learning are built on the notion that basic cognitive processes group actions into easy-to-perform sequences. The present work examines predictions derived from laboratory-based studies of motor chunking and motor preparation using data collected from the real-time strategy video game StarCraft 2. We examined 996,163 action sequences in the telemetry data of 3,317 players across seven levels of skill. As predicted, the latency to the first action is delayed relative to the other actions (...) in the group. Other predictions, inspired by the memory drum theory of Henry and Rogers, received only weak support. (shrink)

Commercial video games are popular entertainment media and part of students’ media reality. While commercial video games’ main purpose is not learning, they nonetheless could and should serve as objects of reflection in formal educational settings. Teachers could guide student learning and reflection as well as motivate students with commercial video games, but more evidence from formal educational settings is required. We conducted two mixed methods case studies to investigate students’ reflection processes using commercial video games (...) in regular formal high school teaching. In a double lesson, 29 students of a 10th-grade biology course and 17 students of a 12th-grade advanced course on history played and discussed a commercial video game related to the current curricular topic. We examined the reflection processes of students in terms of their reactions to the teachers’ game-related statements and questions. Regarding teachers’ statements, students discussed several topics related to game enjoyment and the games’ representation of topic-related content. Regarding teachers’ questions, students discussed multiple goals in each game, how the games represented topic-related content, and how the games could be appropriate for learning. In Study 2, students additionally discussed emotions, stereotypes, violence, and the narrative related to the digital history game. We found that the discussions provided students opportunities to reflect on their game experiences and the current curricular topic as well as to practice media criticism. We further provide quantitative results on students’ perceived topic knowledge, on several facets of their learning motivation, and on their acceptance of video games. Overall, our findings illustrate the educational value of using commercial video games as objects of reflection. (shrink)

While video games have blossomed into the foremost expression of contemporary popular culture over the past decades, their critical study occupies a fringe position in American Studies. In its engagement with video games, this book contributes to their study but with a thematic focus on a particularly important subject matter in American Studies: spatiality. The volume explores the production, representation, and experience of places in video games from the perspective of American Studies. Contributions critically interrogate the use (...) of spatial myths ("wilderness," "frontier," or "city upon a hill"), explore games as digital borderlands and contact zones, and offer novel approaches to geographical literacy. Eventually, Playing the Field II brings the rich theoretical repertoire of the study of space in American Studies into conversation with questions about the production, representation, and experience of space in video games. (shrink)

This paper considers what it is about violent video games that leads one reasonably minded person to declare “That is immoral” while another denies it. Three interpretations of video game content are discussed: reductionist, narrow, and broad. It is argued that a broad interpretation is required for a moral objection to be justified. It is further argued that understanding the meaning of moral utterances—like “x is immoral”—is important to an understanding of why there is a lack of (...) moral consensus when it comes to the content of violent video games. Constructive ecumenical expressivism is presented as a means of explaining what it is that we are doing when we make moral pronouncements and why, when it comes to video game content, differing moral attitudes abound. Constructive ecumenical expressivism is also presented as a means of illuminating what would be required for moral consensus to be achieved. (shrink)

Although previous studies have found that video games induce stress, studies have not typically measured all salient indicators of stress responses including stress appraisals, cardiovascular indicators, and emotion outcomes. The current study used the Biopsychosocial Model of Challenge and Threat (Blascovich & Tomaka, 1996) to determine if video games induce a cardiovascular stress response by comparing the effects of threat and challenge appraisals across two types of video games that have shown different cardiovascular outcomes. Participants received challenge (...) or threat appraisal instructions, and played a fighting game (Mortal Kombat) or a puzzle game (Tetris). Study outcomes were heart rate variability, systolic and diastolic blood pressure, and positive and negative emotion ratings measured before, during and after gameplay. Results indicated that threat appraisal instructions increased negative emotion ratings and decreased heart rate variability, but not blood pressure, which is an essential marker for cardiovascular stress responses. Increased blood pressure and decreased heart rate variability was associated with fighting game players when compared with the puzzle game players, indicating a cardiovascular stress response; however, fighting game players also reported higher positive emotion ratings. Based on the study findings, video games do not induce stress responses like mental stressors used in previous research, demonstrating that the interactive player experience in video gaming may have more complex effects on stress outcomes. Future research should comprehensively measure biopsychosocial stress indicators and multiple emotional states over time to fully examine the relationship between video games and stress. (shrink)

Video games and virtual worlds play substantial roles in contemporary transhumanism. Many transhumanists appreciate the freedom and power that accompany these digital landscapes and recognize that they can promote transhumanist ways of thinking beyond the borders of explicitly transhumanist groups. Video games and virtual worlds enable transcendence through their design and contribute to transhumanism through the options they enable and the influence they have. Because of their significant place in transhumanism, video games and virtual worlds are thus (...) important to the study of religion and science in the twenty‐first century. (shrink)

The most cursory look at video games raises several interesting issues that have yet to receive any consideration in the philosophy of art, such as: Are videogames art and, if so, what kind of art are they? Are they more closely related to film, or are they similar to performance arts, such as dance? Perhaps they are more akin to competitive sports and games like diving and chess? Can we even define “video game” or “game”? We (...) often say that video games are interactive, but what is interactivity and what are the effects of interactivity on eliciting emotional responses from players? (shrink)

This article explores the identity of youth in relation to the information sources they choose in the constellation of information of video games, using the massively multiplayer online game World of Warcraft as an example. From this study, several identities are recognized that are combinations of the participants skill and level in the game, as well as their play style and the information practices they use in relation to school success.

Violent video games (VVGs) are a source of serious and continuing controversy. They are not unique in this respect, though. Other entertainment products have been criticized on moral grounds, from pornography to heavy metal, horror films, and Harry Potter books. Some of these controversies have fizzled out over time and have come to be viewed as cases of moral panic. Others, including moral objections to VVGs, have persisted. The aim of this paper is to determine which, if any, of (...) the concerns raised about VVGs are legitimate. We argue that common moral objections to VVGs are unsuccessful, but that a plausible critique can be developed that captures the insights of these objections while avoiding their pitfalls. Our view suggests that the moral badness of a game depends on how well its internal logic expresses or encourages the players’ objectionable attitudes. This allows us to recognize that some games are morally worse than others—and that it can be morally wrong to design and play some VVGs—but that the moral badness of these games is not necessarily dependent on how violent they are. (shrink)

This article engages with the fabrication of experiences in first-person shooter video games. On one hand, it explores the forms of affective and cognitive engagement this novel type of immersive imagery demands of the player. On the other hand, the article speculates on how video games images resonate and coincide with other key practices and imaginations defining the political reality of life today. What (at least according to some accounts) matters most in the politics of life today is (...) a particular locus of mediation – the brain. The ways we imagine ourselves are today characterized by a figure of the ‘cerebral subject’. The article presents an attempt to chart video games imagery in relation to this key contemporary image of who we are, and to consider how the rhythms of the console screen might be seen as emblematic of a more general anthropology of subjectivity today. (shrink)

In recent years, poetry and videogames have begun talking to one another in earnest. Poets have found inspiration in digital-interactive landscapes, while game developers now look to poetry as a source of textual enrichment. This book examines the p.

Video games are a $20-billion-a-year industry, but it is still treated as a niche market. The video game corporations hold considerable power over the articles that journalists write. Through in-de...

Video games fictions are interactive: some of the content is set by the game designer and some is set by the player. However, philosophers disagree over how this interaction is reflected within the fictional content of video games. First, I will show that games and playthroughs are two distinct works of fiction with their associated fictional content. Second, I argue that players engage with both fictional works when playing a video game. They imagine the fictional (...) truths associated with the game and those associated with their playthrough. Thus, I defend what I will call a Dual-Work View of our engagement with video game fictions. To do so, I show that games have accessible fictional content, that games are distinctively incomplete fictions, and that players engage with this distinctive incompleteness. My goal is to offer a clear account of the fictional content of video games. (shrink)

How can _Wii Sports_ teach us about metaphysics? Can playing _World of Warcraft_ lead to greater self-consciousness? How can we learn about aesthetics, ethics and divine attributes from _Zork_, _Grand Theft Auto_, and _Civilization_? A variety of increasingly sophisticated video games are rapidly overtaking books, films, and television as America's most popular form of media entertainment. It is estimated that by 2011 over 30 percent of US households will own a Wii console - about the same percentage that owned (...) a television in 1953. In _Philosophy Through Video Games, _Jon Cogburn and Mark Silcox - philosophers with game industry experience - investigate the aesthetic appeal of video games, their effect on our morals, the insights they give us into our understanding of perceptual knowledge, personal identity, artificial intelligence, and the very meaning of life itself, arguing that video games are popular precisely because they engage with longstanding philosophical problems. Topics covered include: * The Problem of the External World * Dualism and Personal Identity * Artificial and Human Intelligence in the Philosophy of Mind * The Idea of Interactive Art * The Moral Effects of Video Games * Games and God's Goodness Games discussed include: _Madden Football_, _Wii Sports_, _Guitar Hero_, _World of Warcraft_, _Sims Online_, _Second Life_, _Baldur's Gate_, _Knights of the Old Republic_, _Elder Scrolls_, _Zork_, _EverQuest_ _Doom_, _Halo 2_, _Grand Theft Auto_, _Civilization_, _Mortal Kombat_, _Rome: Total War_, _Black and White_, _Aidyn Chronicles_. (shrink)

L’articolo colloca i videogiochi nell’area di ciò che chiamo “esperienze progettate”. Le esperienze progettate sono esperienze – nel mondo reale o attraverso i media – che sono progettate per sollecitare specifici effetti o affetti. Nei miei lavori precedenti, ho indagato il modo in cui gli insegnanti, nelle loro classi, o i designer dei videogiochi, nei loro giochi, progettino esperienze volte, in entrambi i casi, a condurre verso l’apprendimento. Tuttavia, le esperienza progettate possono essere volte a sollecitare attività diverse dall’apprendimento. Esse (...) possono anche cercare di sollecitare cose come il cambiamento sociale, i cambiamenti di atteggiamento o di comportamento, le emozioni o altri effetti del (o sul) corpo, la mente o l’anima. Nell’articolo considero la relazione tra i videogiochi intesi come esperienze progettate e i videogiochi intesi come arte. (shrink)

I, player : the puzzle of personal identity (MMORPGS and Virtual Communities) -- The game inside the mind, the mind inside the game (The Nintendo Wii Gaming Console) -- Realistic blood and gore : do violent games make violent gamers? (First-person Shooters) -- Games and God's goodness (World-builder and Tycoon Games) -- The metaphysics of interactive art (Puzzle and Adventure Games) -- Artificial and human intelligence (Single-player RPGS) -- Epilogue: Video games and the meaning of life.

The goal of this paper is to see how mental and language representations are unique from a video-game perspective, using two main criteria. First, I will posit that the level of being both an interactive work of fiction and a self-involving interactive fiction belongs to a fuzzy interval and that some works – and, therefore, some video games – are more immersive than others. Second, I will observe how propositions tie the player’s representations of the real world (...) and the game world. Starting from psychological theories of pretense in children’s make-believe games, I will then expand Nichols and Stich’s cognitive theory of pretense to include an extra layer related to the game world, i.e., player-specific representations that govern player-specific propositions. The representations dealing with the work world are the socially shared ones, while the possible-world representations, dealing with most of the game world, are player-specific and tied to unique language use. (shrink)

The starting point of this conversation with philosopher Mathieu Triclot is the issue of the causal contribution of video game playing in school shootings. Triclot explains the limitations of current psychological approaches regarding video game violence. He further develops on the peculiar features of the video game medium and how they relate to the problem of violence. Triclot eventually shows that, although players may relate to virtual violence in very different ways, violence in (...) class='Hi'>video games is not merely a subjective phenomenon. He highlights that some “regimes of experience,” which got stable in the video game culture, cultivate a toxic relation to violence. (shrink)

One of the most pleasurable aspects of video games is their ability to induce immersive experiences. However, there appears to be a tentative conceptualization of what an immersive experience is. In this short review, we specifically focus on the terms of flow and immersion, as they are the most widely used and applied definitions in the video game literature, whilst their differences remain disputable. We critically review the concepts separately and proceed with a comparison on their proposed (...) differences. We conclude that immersion and flow do not substantially differ in current studies and that more evidence is needed to justify their separation. (shrink)

In a recent and provocative essay, Christopher Bartel attempts to resolve the gamer’s dilemma. The dilemma, formulated by Morgan Luck, goes as follows: there is no principled distinction between virtual murder and virtual pedophilia. So, we’ll have to give up either our intuition that virtual murder is morally permissible—seemingly leaving us over-moralizing our gameplay—or our intuition that acts of virtual pedophilia are morally troubling—seemingly leaving us under-moralizing our game play. Bartel’s attempted resolution relies on establishing the following three theses: (...) (1) virtual pedophilia is child pornography, (2) the consumption of child pornography is morally wrong, and (3) virtual murder is not murder. Relying on Michael Rea’s definition of pornography, I argue that we should reject thesis one, but since Bartel’s moral argument in thesis two does not actually rely thesis one that his resolution is not thereby undermined. Still, even if we grant that there are adequate resources internal to Bartel’s account to technically resolve the gamer’s dilemma his reasoning is still unsatisfying. This is so because Bartel follows Neil Levy in arguing that virtual pedophilia is wrong because it harms women. While I grant Levy’s account, I argue that this is the wrong kind of reason to resolve the gamer’s dilemma because it is indirect. What we want is to know what is wrong with virtual child pornography itself. Finally, I suggest alternate moral resources for resolving the gamer’s dilemma that are direct in a way that Bartel’s resources are not. (shrink)