Game studies

GADIMATH: Gamified Discrete Mathematics is an interactive two-dimensional mobile-based application in discrete mathematics working on the Android program. This application would work as an additional tool to strengthen the students' training in discrete mathematics. It would benefit students to observe particular rules, accomplish goals, and resolve problems. Upon using the application, students would experience enjoyment, interaction, and motivation while learning takes place. The problems and difficulties that the students encountered towards mastering learning competencies in mathematics are the instructions, school adjustments, and over-extended schedules. With all these difficulties and struggles, the proponent produces the GADIMATH's main features: user-friendliness, infotainment, authenticity, interactivity, learning support, portability, and changing environment. GADIMATH has seven functions: choose avatar, gameplay, backpack, shop, settings, help, and about that are...

This research is titled "Youkai Characters in Onmyoji Arena Game". This research aims to describe the depiction of youkai used as characters in the Onmyoji Arena game. The method used in this research is descriptive analysis method. This research uses semiotics theory according to Charles Sanders Peirce. Based on the research results, there are five youkai taken in the Onmyoji Arena game. The depiction of the form of youkai contained in the Onmyoji Arena game has several things related to the concept of youkai in Japanese beliefs. The depictions seen in the youkai in the Onmyoji Arena game are (1) Youkai Tanuki who is related to sake and the science of shapeshifting. (2) Youkai Zashiki Warashi which is related to luck and house guardian spirits. (3) Youkai Yumekui who likes to eat dreams. (4) Youkai Kiyohime who has a tragic love. (5) Youkai Aoandon who is related to the event 'Hyakumonogatari Kaidankai'. These five youkai produce icons, indexes, and symbols. The i...

1 Pesquisa Institucional desenvolvida no Departamento de Estudos Agrários, pertencente ao Grupo de Pesquisa em Saúde Animal. 2 Aluno do Curso de Graduação em Medicina Veterinária do Departamento de estudos Agrários, Unijuí, bolsista PROBIC/FAPERGS, [email protected] 3 Aluna do Curso de Graduação em Medicina Veterinária do Departamento de estudos Agrários, Unijuí, bolsista PIBITI/UNIJUI, [email protected]. 4 Professor Doutor do Departamento de Estudos Agrários, Orientador. [email protected]

The persuasive potential of games and their use in political propaganda and raising social awareness are well-established components of the game studies discourse, and the literature around persuasive games highlights satire among the expressive tones of several games. Despite this, what persuasive games' literature still lacks is a complete and stand-alone defining account of satire in games, which could be useful in analyzing both analog and digital games used for satirical purposes. Our intention with this paper is to frame satire within the field of game studies through notions and perspectives borrowed from other media studies and narratology. In that pursuit, we initially give an operational definition of satire focusing on concepts such as entertainment, critique, and rhetoric. Subsequently, we explore how this definition relates to, and interacts with, key concepts in game studies, such as procedural rhetoric, and the implied designer.

To recognize satire, the audience must be aware of the context and the satirical intent of the work in question. Academic research on the possibilities and effects of satire in games is minimal, if compared with other rhetorical uses of playful interaction. This paper contributes to our understanding of satire in games by discussing and annotating design decisions that were meant to be taken satirically. More specifically, the focus of this paper is Construction BOOM!, a tile-laying boardgame designed by the some of the authors of the paper (Gualeni and Schellekens) themselves with the overt intention of satirizing the current situation of real-estate development in Malta. Part of our contribution consists in leveraging the notion of the 'implied designer' as articulated by Van de Mosselaer and Gualeni to show how game elements participate in the player's inferring a satiric implied designer for the game. The paper highlights the opportunities available for designers to implement satire into the various elements of a game and opens the door to further research into exploring how much these elements influence the perception of satire by players.

Transmedia storytelling embodies how we interact with and engage in a continuously expanding story across media. In this dissertation, I argue that transmedia storytelling can be better understood through the concept of player agency within game studies, specifically how players choose to navigate these narratives across storyworlds and characters in BioWare’s Mass Effect series. I examine how players must piece together and engage Mass Effect’s storyworld and its characters across media like a puzzle game. This transmedial puzzle can be effectively understood by applying concepts of ludology, including player agency, choice, and interactive engagement, to Mass Effect’s game-centric transmedia story. Video games can offer the most precise parallel to transmedia stories as player-focused experiences that rely on agency to work within and across media. I explore Mass Effect’s transmedia story through a transmedial application of concepts from game studies (ludology). Transmedial ludology, or the practice of understanding and examining transmedia stories as games, offers a critical perspective on how players engage storyworlds and characters that center on player agency. Mass Effect offers choices on how players decide to experience the potential arcs of the series, creating their unique experiences on various paths through and between media.

Français : ce papier, présenté à l'occasion du colloque « Jeu de Rôle 2017: Engagements et Résistances » organisé par l'Université Paris 13, se veut une forme de panorama rapide des courants et pratiques visant à faire du jeu de rôle une pratique productrice de récits structurés, en partant des premiers modules « Dragonlance » pour s'arrêter au mouvement « storygame » et à plusieurs écoles du jeu de rôle grandeur nature « Nordique ». English: this paper, introduced during the « Jeu de Rôle 2017: Engagements et Résistances » colloquy at Paris 13 University, constitutes a short panorama of the different schools and practices that aim specifically at turning roleplaying games into structure story-making exercises, starting with the first "Dragonlance" modules to finish with the "storygame" movement and a few "Nordic" Live Action Roleplaying Game movements.

Français : ce papier, présenté à l'occasion du colloque « Jeu de Rôle 2017: Engagements et Résistances » organisé par l'Université Paris 13, se veut une forme de panorama rapide des courants et pratiques visant à faire du jeu de rôle une pratique productrice de récits structurés, en partant des premiers modules « Dragonlance » pour s'arrêter au mouvement « storygame » et à plusieurs écoles du jeu de rôle grandeur nature « Nordique ». English: this paper, introduced during the « Jeu de Rôle 2017: Engagements et Résistances » colloquy at Paris 13 University, constitutes a short panorama of the different schools and practices that aim specifically at turning roleplaying games into structure story-making exercises, starting with the first "Dragonlance" modules to finish with the "storygame" movement and a few "Nordic" Live Action Roleplaying Game movements.

T ension is one of those key qualities that most designers know is important in a game, but which has no precise definition and can mean different things to different people. Tension is a familiar concept that plays a regular part in many aspects of our daily lives, but has a specific meaning in the context of games. This article aims to narrow down exactly what tension means in this context, to define it in a more concrete and measurable – if not formal – way, and to extend this concept to the notion of tension in puzzles.

Much of the current research in the field of role-playing studies focuses upon the positive impact that games can have on the lives of participants. Analysis of the more negative social interactions within role-playing communities becomes necessary in order to establish a more complete picture of the psychosocial effects of these games. This research describes potential problems within role-playing communities in order to aid groups experiencing cohesion difficulties. This thematic, qualitative ethnography describes the types of social conflict occurring within role-playing groups and examines possible sources for their exacerbation. The study includes several types of role-playing from a phenomenological perspective, including tabletop, larp, and virtual gaming. Semi-structured interviews were collected from a selective sample of 30 international participants gathered from vastly different play cultures. While the types of games and methods of play contributed to conflict in some i...

Kajian ini bertujuan untuk mendeskripsikan pemanfaatan media Wordwall sebagai alat bantu dalam pembelajaran Bahasa Arab berdasarkan hasil kajian pustaka. Metode yang digunakan adalah kajian literatur (library research) dengan menganalisis berbagai sumber ilmiah seperti jurnal, buku, dan penelitian terdahulu yang relevan. Hasil kajian menunjukkan bahwa Wordwall memiliki potensi dalam meningkatkan motivasi belajar, partisipasi aktif, serta pemahaman peserta didik terhadap kosakata dan struktur Bahasa Arab. Media ini mampu menciptakan suasana pembelajaran yang interaktif dan menyenangkan melalui permainan edukatif yang kompetitif. Namun demikian, beberapa tantangan seperti keterbatasan perangkat dan kestabilan jaringan internet masih sering ditemukan dalam implementasinya. Kajian ini menyimpulkan bahwa Wordwall merupakan media pembelajaran digital yang relevan dan inovatif dalam mendukung pembelajaran Bahasa Arab di era digital. Optimalisasi penggunaannya perlu didukung oleh infrastruktur yang memadai serta peningkatan kompetensi guru dalam pengelolaan teknologi pembelajaran.

Fondée sur l'étude d'Animal Crossing : New Horizons (ACHN), notre recherche ambitionne de comprendre la relation entre le joueur, son avatar et la mode. Il s'agit d'apporter une réponse aux questions suivantes : Quelles sont les spécificités du mécanisme de projection du joueur envers son avatar dans ce jeu vidéo ? Quel est le rôle de la mode dans ce mécanisme ? Dans une visée compréhensive, notre méthodologie qualitative se fonde sur deux principales sources : observation participante et enquête auprès de la communauté des joueurs d'ACNH. Jeu « bac à sable », ACNH se caractérise par la possibilité qu'ont les joueurs de créer des vêtements puis éventuellement de les partager à la communauté en ligne. Evoluant en fonction des situations, le choix du look de l'avatar semble crucial dans le processus d'identification. Les joueurs choisissent un style de vêtements correspondant à leur look avéré, rêvé ou fantasmé. Notre recherche souligne l'intérêt pour les marques de se saisir des opportunités offertes par le gameplay d'ACNH et leur adresse des recommandations en matière de placement produit. Alors que plusieurs jeux vidéo sont devenus les vitrines de la mode, les enjeux associés au look de l'avatar sont peu explorés par la littérature en marketing. C'est sur la base des spécificités relatives à la création et au partage de designs dans le jeu vidéo ACNH que nous proposons de mieux comprendre les enjeux associés à la mode.

This paper posits a comparative analysis between two views of ludic meaning in game studies. The same two puzzles from Thekla, Inc.’s 2016 puzzle adventure game The Witness are interpreted first from a proceduralist perspective and then are reinterpreted from a play-centric perspective derived from a combination of practice theory and game scholar Miguel Sicart’s formulation of play. The purpose of this analysis is to demonstrate how a game otherwise well-suited to proceduralist readings might be more completely understood from such a play-centric perspective and presents this experimental method of analysis by example.

Este documento presenta la implementación de un prototipo de una Batería Musical, por medio del uso de las tecnologías de Realidad Virtual y Multimedia. Se plantea crear un ambiente virtual 3D adecuado, que sea interactivo e inmersivo, que permita ejecutar un instrumento musical sencillo, con una adecuada sincronización entre las acciones del usuario, la retroalimentación visual y el sonido generado. La razón por la que se escogió a la Batería, es porque es una de las interacciones más fáciles de reproducir en un ambiente virtual además que es un instrumento que goza de nuestra preferencia. Mediante el uso de un dispositivo sensor de posiciones (tracker), cuyos sensores se adjuntan a un par de palillos reales (baquetas), por medio de los cuales son capturados los movimientos motrices que hace el usuario y luego son generadas las imágenes que corresponden a estos movimientos, mostrándolas en una pantalla Head Mounted Display (HMD) que permite ver en tres dimensiones (3D). Cada instrumento tiene asociado una imagen y un sonido en el escenario virtual, este sonido se reproduce mediante golpes que genera el usuario a través de las baquetas. Esta reproducción va asociada con diferentes niveles VII de volumen, de tal forma que a mayor fuerza de golpe se eleva el volumen de reproducción. En la primera parte de este documento se hace la introducción, se establecen los objetivos y justificativos, se detallan conceptos y definiciones concernientes a la realidad virtual y a los dispositivos usados. Luego se elabora el análisis de los distintos componentes que interactúan, se establecen los alcances y los requerimientos del sistema, se explica la arquitectura, herramientas de desarrollo, se detalla la etapa de implementación y las pruebas. Finalmente se presentan las conclusiones y recomendaciones del trabajo realizado.

Metroid: Other M, the latest game in the Metroid series, was heavily criticized for the contradictory portrayal of its avatar-protagonist, Samus Aran. This paper analyzes these critiques within the twenty-five year history of the Metroid series, noting intersections with literary theory, cognitive science, geography, and cinema. "Mapping Metroid" argues that player dissatisfaction is a result of Other M's inconsistency in balancing gameplay constraints with player agency, and the game's failure at "imperative" storytelling. The maps in Other M and its predecessors are treated in depth, since the relationship between cartographic and gameworld spaces must be "read" dynamically by players to progress; these maps reflect the affordances of each game, and how those affordances contribute to player enjoyment or frustration. The paper concludes with the suggestion that paying attention to signifying spaces may help design better games, and help situate video games within a wider discussion of theories of postmodern subjectivity.

Metroid: Other M, the latest game in the Metroid series, was heavily criticized for the contradictory portrayal of its avatar protagonist, Samus Aran. This article analyzes these critiques within the 25-year history of the Metroid series, noting intersections with literary theory, cognitive science, geography, and cinema. “Mapping Metroid” argues that player dissatisfaction is a result of Other M’s inconsistency in balancing gameplay constraints with player agency, and the game’s failure at “imperative” storytelling. The maps in Other M and its predecessors are treated in depth, since the relationship between cartographic and gameworld spaces must be “read” dynamically by players to progress; these maps reflect the affordances of each game, and how those affordances contribute to player enjoyment or frustration. The article concludes with the suggestion that paying attention to signifying spaces may help design better games and help situate video games within a wider discussion of t...

In this paper, for a two graded manpower system, a mathematical model is constructed using a Bivariate CUM policy of recruitment based on shock model approach. The mean time to recruitment is obtained based on the assumptions,(i) the loss of manpower due to the attrition form a sequence of independent and identically distributed exponential random variables (ii) the inter exit times and decision times form an ordinary renewal process and (iii) each grade has two types of threshold namely optional and mandatory thresholds which follow independent and identically distributed exponential random variables. A different probabilistic analysis is used to derive the analytical results.

В статье представлена одна из тем, разрабатываемых сотрудниками Лаборатории исследований компьютерных игр (ЛИКИ), -образ Другого (Чужого, Иного, Врага и т. п.) в компьютерных играх. Представляя собой новую форму эстетического, культурного, социального, ком-

Neste artigo argumenta-se que as simulações numéricas fomentam e exploram relações complexas entre o jogador e o sistema cibernético da máquina que com este se relaciona através da jogabilidade, ou seja, da real aplicação às regras de jogo de tácticas e estratégias usadas pelo participante durante o seu trajecto na aplicação lúdica. Considera-se que o espaço mágico imposto pelo tabuleiro de jogo é mais do que um espaço de confusão entre real e artificial mas antes se apresenta como uma cortina ou interface entre o corpo próprio do participante e a simulação digital inerente ao sistema computacional.

Desde la mirada de la sociosemiótica, este artículo aborda el videojuego, sus productos y prácticas sociales atendiendo a los modos de comportamiento del sentido de lo retro. Las investigaciones surgidas en el campo de los game studies abordado la cuestión de lo retro mayormente desde la categoría de nostalgia y han adoptado posiciones celebratorias o lapidarias que no permitieron avanzar en la comprensión del fenómeno. El presente trabajo propone un análisis que repara en el funcionamiento de taxonomías estilísticas, la autoconciencia de ciertos géneros respecto de su propia historia y el intento de restaurar experiencias lúdicas vinculadas a viejos dispositivos. El artículo propone una aproximación a lo retro siguiendo los conceptos de estilo, género y dispositivo. Esta segmentación de la pregunta por los reenvíos al pasado revela que lo retro puede exhibir funcionamientos semióticos distintos según la dimensión observada: taxonomías estilísticas como la de 8 bits o Color Graphics Adapter (CGA) prometen un retorno a un momento tecnológico, aunque sus sistemas de referencia se concentran en un corpus delimitado de juegos y operaciones expresivas; la sobrevida nostálgica de un género como el de lucha evidencia una tensión entre aggiornamento audiovisual y la insistencia de viejos placeres táctiles. El lanzamiento de nuevos juegos para antiguas consolas confirma que el disfrute del videojuego no se reduce a sus mundos diegéticos, sino que también se despliega en torno al dispositivo y a los paratextos, como cajas y manuales, que han acompañado la vida del medio y sus consumos desde sus orígenes.

The occurrence of natural disasters causes damage of diverse orders to the population and to the environment. However, many of them could be avoided based on disaster prevention and mitigation actions. Thus, the present article aims to present a game for vegetation recovery around the banks of the water courses. The game, named AtmosGame, was developed for mobile devices in the context of an extension project and its validation was based on a questionnaire applied to students of the 9th grade of a public school. The results indicated that students liked the game and learned about riparian forest as well as aspects of its preservation and recovery. It is concluded that educational games can assist environmental educators in the task of preventing and mitigating disaster risks.

Recently, it is an increasing agreement in social sciences that experiences to violent media enhances violent behavior (Anderson, Shibuya, Ihori, Swing, Bushman, Sakamoto, & Saleem, 2010).The main purpose of the study was to examine and observe the impact of Violent Video Games on learners behavior in the classroom. It is harmfully effecting on the behavior of students at secondary school level. A mixed method research design was adopted for this study. The target population of this study was the secondary schools of Rawalpindi. Sixty eight students were conveniently selected from five secondary schools of Rawalpindi city. A five point Likert scale type questionnaire was used to collect the quantitative data. The questionnaire was consisted of Twenty one items. Qualitative data was collected through semi-structured interviews. Semistructured interviews were conducted with five secondary school teachers. Interview guide consisted of fourteen questions. Quantitative data was analyzed ...

Introduction 22 The adoption of the Europe 2020 strategy puts social policy at the core of EU economic strategy for the first time. The EU has set social headline targets for raising the employment rate, reducing early school leaving, 21 The views expressed are those of the authors and may not in any circumstances be regarded as stating an official position of the European Commission. Neither the European Commission nor any person acting on behalf of the Commission is responsible for the use which might be made of this paper. 22 This article is based on a literature review on ICT, Employability and Inclusion contracted by EC JRC-IPTS and carried out in 2012 by the Institute of

Afin de comprendre quelles sont les caractéristiques que les joueurs détectent et utilisent pour réussir à distinguer les agents virtuels joueurs et non-joueurs nous avons étudié les représentations sociales (i.e., RS) concernant les Personnages Joueurs (i.e., player character : PC) et les Personnages Non-Joueurs (i.e., non-player charcater : NPC) dans le cadre des jeux-vidéo. Nous avons utilisé la méthode d'association verbale. Les participants devaient produire 3 mots à partir des mots inducteur « Personnage Joueur » et « Personnage Non-Joueur ». L'analyse de similitude a révélé 4 principaux noeuds qui regroupent les concepts : « avatar », « personnages de jeux-vidéo », « quête et personnage non-joueur », et enfin « ordinateur et robot ». Nous faisions l'hypothèse que les PCs et NPCs constitueraient des représentations sociales différentes. L'analyse de classification hiérarchique a montré qu'il y avait 4 classes. Chacune représente un monde lexical. Les classes 1 et 3 regroupaient les mondes lexicaux des PCs et les classes 2 et 4 regroupaient les mondes lexicaux des NPCs. Conformément à nos hypothèses l'analyse factorielle de correspondance a montré une opposition sur l'axe factoriel 1 des RS concernant les PCs et les NPCs. Sur l'axe factoriel 2 nous avions une opposition des RS chez les joueurs et les non-joueurs de jeu-vidéo.

Afin de comprendre quelles sont les caractéristiques que les joueurs détectent et utilisent pour réussir à distinguer les agents virtuels joueurs et non-joueurs nous avons étudié les représentations sociales (i.e., RS) concernant les Personnages Joueurs (i.e., player character : PC) et les Personnages Non-Joueurs (i.e., non-player charcater : NPC) dans le cadre des jeux-vidéo. Nous avons utilisé la méthode d'association verbale. Les participants devaient produire 3 mots à partir des mots inducteur « Personnage Joueur » et « Personnage Non-Joueur ». L'analyse de similitude a révélé 4 principaux noeuds qui regroupent les concepts : « avatar », « personnages de jeux-vidéo », « quête et personnage non-joueur », et enfin « ordinateur et robot ». Nous faisions l'hypothèse que les PCs et NPCs constitueraient des représentations sociales différentes. L'analyse de classification hiérarchique a montré qu'il y avait 4 classes. Chacune représente un monde lexical. Les classes 1 et 3 regroupaient les mondes lexicaux des PCs et les classes 2 et 4 regroupaient les mondes lexicaux des NPCs. Conformément à nos hypothèses l'analyse factorielle de correspondance a montré une opposition sur l'axe factoriel 1 des RS concernant les PCs et les NPCs. Sur l'axe factoriel 2 nous avions une opposition des RS chez les joueurs et les non-joueurs de jeu-vidéo.

The Woman in the Window by A. J. Finn. It also aims to expose the reason for the manipulation. Based on the research"s purpose, the researcher formulates two problems that must be solved: (1) how did Ethan manipulate Anna Fox? (2) why did Ethan manipulate Anna Fox? This research uses descriptive qualitative methods. The qualitative method analyzes Ethan"s various ways of manipulating Anna and the various reasons behind the manipulation. The research data is obtained from the novel The Woman in the Window. Data collection starts with reading the novel first, then collecting all of Ethan Russell"s utterances. After that, all of these quotes are categorized based on Ethan"s sides of archetype usage, Ethan"s manipulation behavior, and Ethan"s hidden reasons towards Anna. The research results reveal that Ethan manipulates his victim, Anna Fox, in three different ways, and he needs to use his persona side each time he does manipulation. Those various manipulations are; (1) by pretending to be Granny Lizzie, this manipulation utilizes Granny Lizzie"s character persona, (2) by setting up an artificial scenario, this manipulation utilizes victim of violence, and Granny Lizzie"s character persona, (3) by giving false testimonies, this manipulation utilizes victim of violence, a good teenager, and a crybaby persona. Furthermore, the study also reveals there are three reasons why Ethan manipulates Anna they are; (1) being attracted to older women (Anna), (2) protecting himself from the suspect allegation in Katie"s murder. The findings show Carl Gustav Jung"s archetypes theory is well applied to Ethan"s sides of personality. Then, all identified persona are utilized by Ethan when he is doing the manipulation. Moreover, the results of those manipulations show how dangerous the combination of those two things is. Anna is entirely unaware of his manipulation acts and does not suspect Ethan as perpetrator even in the slightest. viii ABSTRAK

The Woman in the Window by A. J. Finn. It also aims to expose the reason for the manipulation. Based on the research"s purpose, the researcher formulates two problems that must be solved: (1) how did Ethan manipulate Anna Fox? (2) why did Ethan manipulate Anna Fox? This research uses descriptive qualitative methods. The qualitative method analyzes Ethan"s various ways of manipulating Anna and the various reasons behind the manipulation. The research data is obtained from the novel The Woman in the Window. Data collection starts with reading the novel first, then collecting all of Ethan Russell"s utterances. After that, all of these quotes are categorized based on Ethan"s sides of archetype usage, Ethan"s manipulation behavior, and Ethan"s hidden reasons towards Anna. The research results reveal that Ethan manipulates his victim, Anna Fox, in three different ways, and he needs to use his persona side each time he does manipulation. Those various manipulations are; (1) by pretending to be Granny Lizzie, this manipulation utilizes Granny Lizzie"s character persona, (2) by setting up an artificial scenario, this manipulation utilizes victim of violence, and Granny Lizzie"s character persona, (3) by giving false testimonies, this manipulation utilizes victim of violence, a good teenager, and a crybaby persona. Furthermore, the study also reveals there are three reasons why Ethan manipulates Anna they are; (1) being attracted to older women (Anna), (2) protecting himself from the suspect allegation in Katie"s murder. The findings show Carl Gustav Jung"s archetypes theory is well applied to Ethan"s sides of personality. Then, all identified persona are utilized by Ethan when he is doing the manipulation. Moreover, the results of those manipulations show how dangerous the combination of those two things is. Anna is entirely unaware of his manipulation acts and does not suspect Ethan as perpetrator even in the slightest. viii ABSTRAK

This research, a theoretical construction based on a bibliographic study, aims to discuss the role of the Portuguese Language teacher within the curriculum. It draws from the memory of an experience lived by the author-researcher with students in the Learning Program of the National Service for Commercial Learning of Bahia (Senac - BA) in 2011. At that time, the researcher taught the subject "Communication" and, together with the institution's pedagogical supervision, sought to include orality as a topic of study for young apprentices. By subverting the day’s planned lecture and instead placing the students in a presentation scenario — later providing commentary on their bodily performances — the teacher allowed his theatrical background as an actor to shape the activity. This approach used theatrical dynamics to guide students in the construction of characters through a pedagogical activity focusing on linguistic registers. Methodologically, the professor's experience with his students was revisited during the research through embodied memory and external memories, including lesson plans, evaluation documents, and classroom materials such as texts and workbooks. Drawing on Heidegger’s concept of being-becoming, William Pinar’s perspectives on the curriculum as a “complicated conversation” and as currere, and the researcher’s expertise in linguistics and theater, these memories were developed into an autofictional narrative. This narrative foregrounds the subject and their possibilities. The convergence of these concepts and experiences leads to the notion of the transitive subject. Inspired by syntactic analysis terminology, the transitive subject (human) is understood as someone shaped by historicity, open to exploring and composing other possible selves, and navigating various ways of being. Organized into acts and scenes, the text invites a theatrical reading experience, connecting corporeality to the subject as an actor fully embracing transitivity. This challenges Cartesian dualism, which diminishes the body's role in intellectual spaces. Using theatrical terminology, the research also introduces the concept of curricular staging. It views both theater and curriculum as dynamic processes that take shape through projects, planning, and rehearsals, culminating in encounters with the audience—and in the actors' encounters with themselves. These interactions provoke individual and collective projections, enabling transitive subjects to see themselves in others and simultaneously become other possible versions of themselves. Ultimately, the research argues that within the curricular staging of linguistic formation for transitive subjects, oral performance transcends the practice of speech for interpreting social roles. It becomes an individual endeavor, wherein each learner—whether teacher or student—composes and presents their possible characters.

This research investigates how the accessibility of video games can be improved for deaf and hearing-impaired players. The journal is divided into several areas, first, examining the use of subtitles and closed captions used in video games; and second, how visual cues can be used to provide better accessibility for deaf and hearing-impaired gamers. This includes effectively creating suitable atmospheres and mood in games through lighting as well as having a varied environment that prevents the players from getting bored with the setting of a game and finally exploring current best practices within the gaming industry. Through this research data the issues with accessibility can be found as well as how a lack of accessibility affects deaf and hearing-impaired gamers. Research from this investigation supports some of the evidence from other researchers in the field that accessibility features for deaf and hearing-impaired can be considered and implemented.

O projeto Jogos Educacionais em Africanidades Brasileiras teve como objetivo estudar aspectos históricos, geográficos e pedagógicos do conceito de africanidade. No primeiro semestre, desenvolvemos narrativas autorais considerando as africanidades brasileiras e investigamos como homens e mulheres negros(as) no Brasil interagem com suas origens e com a cultura africana de maneira geral. No segundo semestre, em parceria com o Instituto de Tecnologia e Liderança (INTELI), desenvolvemos um jogo educativo que aborda a história do Movimento Negro Unificado, propondo questões baseadas nas informações presentes no jogo. O projeto visou ainda à disseminação de conteúdos sobre a cultura afro-brasileira e à promoção do respeito às matrizes étnico-raciais, em conformidade com a Lei nº 10.639/2003.

In research on videogame production, much attention has been given, justifiably, to 'crunch', whereby employees in large studios work extremely long hours for months at a time prior to a game's launch, at the request of management. There has to date been limited research about how duration and urgency are experienced at other periods, and also in the economically and culturally significant 'independent' or indie sectors and companies. This article draws on a Deleuzian framework initially developed to analyse experience of temporality in academic research, and applies it to data generated by an ethnography of a UK-based indie game studio, which examined how games are produced as part of a more routine working life. The framework enables a re-examination of how 'passionate' work in the cultural industries is lived day to day, and aims to contribute to debates about the politics of time in the games sector, offering analytic resources which expand the vocabulary for expressing desired experiences of time in game work.

In this study, we explore the unique role of video games within the realm of transmedia storytelling, a concept initially defined by Henry Jenkins in 2006. Using "Cyberpunk 2077" and its anime counterpart "Cyberpunk: Edgerunners" as case studies, we investigate how video games contribute to the narrative universe in a way distinct from traditional media. Specifically, the concept of "narrative dissonance" in games is introduced and analyzed. We find that such dissonance is mitigated and complemented by other forms of media, in this case, anime, enhancing the overall storytelling experience. This offers new perspectives on game design and its integration into broader transmedia narratives, which have both academic and economic implications.

Der Titel des vorliegenden Band Inseln als literarischer und kultureller Raum erklärt deutlich den Hauptpunkt des Werkes. Dazu kommt noch der Untertitel Utopien, Dystopien, Narrative der Reise, der quasi die Grundlagen legt, die den thematischen Rahmen für die darauf folgenden Artikel bilden. Nicht zuletzt auch, dass diese aber das Motiv der Insel in der deutschprachigen Literatur und Kultur analysieren. Der Band ist das Ergebnis einer erfolgreichen Zusammenarbeit von vier

Transmedia franchises have become cornerstone strategies for both the Hollywood system and Japan's "media mix" model. The Kingdom Hearts video game franchise, a collaborative endeavour between Square Soft and Disney, stands as an ambitious crossover, uniting characters from the Final Fantasy series of Japanese Role-Playing Games (JRPGs) and from the some of the most iconic Disney animated films. Central to this creative fusion is the musical contribution of composer Yōko Shimomura, who bridges these distinct worlds through a soundtrack that blends rearranged tracks from Disney's original films with her own original compositions. This presentation examines the interplay between Shimomura's own compositional style-prominent in her other works and most evident when the non-Disney elements of the franchise dominate-and different influences drawn from her Western sources. Central to the analysis are two idiomatic elements of Shimomura's original music: stylistic eclecticism and piano-driven symphonism. A classification of the soundtrack is proposed, mapping the tracks according to their proximity or divergence from Disney's musical models. This analysis highlights the relationship between stylistic eclecticism and the evolving formula of the franchise, alongside the technological affordances offered by the various gaming platforms for which Kingdom Hearts has been developed. By exploring this dynamic, the presentation sheds light on how Shimomura's work navigates and negotiates the musical identities of two distinct cultural domains, contributing to the broader understanding of transmedia music in global entertainment.

The book explores digital games through the lens of theatre and performance theories. The author approaches the problematic from the perspective that digital technologies allow the building of virtual bodies not only for entertainment but to enable alternative ways of communication and self-expression. This comes from posthumanism theories where our bodies are mere extensions of objective bodies, which enables gamers to undergo embodied experiences as actors on the stage.

In Germany’s telecommunication industry, two major firms; Vodafone and T-Mobile compete
as a duopoly. Their competition extends beyond price and quantity wars to areas like
sustainability and Corporate Social Responsibility (CSR). These initiatives have become
important in shaping consumer preferences and strengthening brands.
This paper will analyze how these firms interact regarding sustainability and CSR. I aim to
show how their decisions in sustainability affect competition and market outcomes using
game theory. Specifically, I will explore how their repeated interactions over time influence
their choices, shaping market outcomes and the broader societal impacts of their actions. My
main claim is that the competition between Vodafone and T-Mobile can be explained using
game theory.
This study will illustrate how the competition between Vodafone and T-Mobile can be
explained as a strategic game by applying a repeated game framework. High CSR
investments yield long-term reputational and financial payoffs by appealing to consumers. On
the other hand, low or no CSR investments may result in reputational damage.
This study highlights the dynamic and strategic nature of CSR competition. It evaluates
whether cooperative or aggressive approaches lead to better outcomes for both firms and society

The text discusses under which conditions video games can philosophize by outlining a “Critique of Videogame Reason.” Section 1 introduces the idea that academic research, especially in philosophy, uncritically assumes that writing is the most effective way of expressing and communicating ideas. Section 2 (“Transcendental Aesthetic”) discusses the representational status of video games, claiming that they amplify and stimulate a sensorimotor way of “seeing.” Section 3 (“Transcendental Analytic”) argues that for a videogame knowledge and thinking to be possible, there must be a “gamish” mindset in which writing and reading are not just confined to the act of putting words in lines, but also entail the design of sets of actions. Section 4 (“Transcendental Dialectic”) advocates for a medial progressivist approach revolving around an expansive view of philosophical practice, claiming that a videogame philosophy must be able to provide at least three sui generis performances: enlightening the multi-modal, sensorimotor dimension that also characterizes the most amodal, linguistic concepts; building and supporting “emersive” experiences capable of taking specific advantage of the power of immersivity; and taking part in and fostering an explicitly dialogical interchange among scholars and researchers. Section 5 (Conclusion) envisages a more liberal and inclusive future for philosophical practice.

УТВЕРЖДАЮ Ректор Белорусского государственного университета ________________ С. В. Абламейко__________ (подпись) (И.О.Фамилия) ___09.10.2013____ (дата утверждения) Регистрационный № УД-2013-1425/р. Культура современного Израиля Учебная программа учреждения высшего образования по учебной дисциплине для специальности: 1-21 04 01 Культурология (фундаментальная) Специализации: 1-21 04 01-01 06 Гебраистика и английский язык Факультет гуманитарный Кафедра культурологии Курс (курсы) ____________4__ Семестр (семестры) _____VIII__ Лекции _____30_______ Экзамен _________VIII_______ (количество часов) (семестр) Практические (семинарские) занятия _____2_______ Зачет _________-__________ (количество часов) (семестр) Лабораторные занятия _______-_____ Курсовая работа (проект) _____-___ (количество часов) (семестр) Аудиторных часов по учебной дисциплине _____44______ (количество часов) Всего часов по Форма получения учебной дисциплине _____44_______ высшего образования _дневная__ (количество часов) Составил(а) _______Е. В. Борисевич, старший преподаватель 2013 г.

УТВЕРЖДАЮ Ректор Белорусского государственного университета ________________ С. В. Абламейко__________ (подпись) (И.О.Фамилия) ___09.10.2013____ (дата утверждения) Регистрационный № УД-2013-1425/р. Культура современного Израиля Учебная программа учреждения высшего образования по учебной дисциплине для специальности: 1-21 04 01 Культурология (фундаментальная) Специализации: 1-21 04 01-01 06 Гебраистика и английский язык Факультет гуманитарный Кафедра культурологии Курс (курсы) ____________4__ Семестр (семестры) _____VIII__ Лекции _____30_______ Экзамен _________VIII_______ (количество часов) (семестр) Практические (семинарские) занятия _____2_______ Зачет _________-__________ (количество часов) (семестр) Лабораторные занятия _______-_____ Курсовая работа (проект) _____-___ (количество часов) (семестр) Аудиторных часов по учебной дисциплине _____44______ (количество часов) Всего часов по Форма получения учебной дисциплине _____44_______ высшего образования _дневная__ (количество часов) Составил(а) _______Е. В. Борисевич, старший преподаватель 2013 г.

Stephen King's novel The Long Walk, written under the pseudonym of Richard Bachman, offers a vision of sport in a near-future society, where death-sports serve as a major spectacle. This was designed as a critique of trends and problems in sport in the 1960s and 1970s, with over-commercialization and increased violence. Some of this has been mitigated by recent rule changes in the world of sport, but King's writing prefigured the rise of reality television, where people are practically willing to risk it all for personal gain.

This article draws on sociological and anthropological theories relating to cultural constructions of the figure of 'the child' to determine whether Detroit: Become Human by Quantic Dream affirms or subverts ideological beliefs about children. It argues that much of the backlash Quantic Dream experienced following the premiere of the game's trailer, which featured a scene of child abuse, can be understood part of a broader moral performance that relies on the sanctity of 'the child' to function as a touchstone for the modern Western society. It concludes that far from challenging dominant narratives about the moral value of 'the child', Detroit: Become Human replicates a conservative, reactionary, paternalistic view of children's position within society.