Sat, 05 Jul 2008 21:49:18 BST CiteULike: lijil's games http://www.citeulike.org/user/lijil/tag/games CiteULike.org en-gb Copyright © 2004-2008 citeulike.org http://www.citeulike.org/user/lijil/article/899189 <i>(1999)</i> Game Research - the art, business, and science of computer games Ted Friedman (1999) 2006-10-16T09:33:04-00:00 1999 New York UP games gamestudies simulations http://www.citeulike.org/user/lijil/article/437253 <i></i><br /><br /> Women and girls of today are more tech savvy than ever before and research shows that they currently make up over 52% of Internet users and 70% of casual online gamers. Why then, is the game industry still producing computer games that primarily target males ages 13-25? With this tight focus, game developers are not only sharply limiting their possible total income, but they are losing sight of the bigger picture. The games industry is currently growing faster than the target market. To keep the industry strong and growing, game developers must start looking at expanding their market, which means designing titles that are accessible to the female audience. Successful entertainment industries have sustained growth for decades because they have considered the diversity of their audiences. Today's blockbuster products, be it movies, recordings or books, are most often the ones with elements that directly appeal to many market sectors, while containing very few barriers to access for others. By understanding the issues and barriers connected to gender, the game industry can benefit from a similar growth strategy. Gender Inclusive Game Design: Expanding the Market addresses issues that help designers and developers understand the real differences between how the genders approach and resolve conflicts, and what their entertainment criteria and responses are. It also explores the differences in reward systems, game play preferences, and avatar selection criteria, and how these issues all apply to game design, regardless of genre. By understanding these differences, designers can apply this knowledge to the traditional genres that make up the contemporary computer game industry and begin tapping the future market. Perhaps the real question developers need to be asking themselves is, "but what if the player is female?" Gender Inclusive Game Design : Expanding The Market (Advances in Computer Graphics and Game Development Series) Sheri Ray 2005-12-14T07:19:11-00:00 Charles River Media games gender http://www.citeulike.org/user/lijil/article/666224 <i>(06 April 2006)</i><br /><br />This book explores the lifecycle of digital games. Drawing upon a broad range of media studies perspectives with aspects of sociology, social theory and economics, Aphra Kerr explores this all-pervasive, but under-theorised, aspect of our media environment.</p> <p></p> <p>Written as an introductory text for media and game students this book aims present an overview of industry and scholary work on who makes games, where they get made, what kind of media and cultural form they are and who plays them and where. </p> <p></p> <p>Digital Games looks at:</p> <p></p> <p>" games as a new media form;</p> <p>" the design, development and marketing of games;</p> <p>" the use of games in public and private spaces.</p> <p></p> <p>Combining a theoretical and empirical analysis of the production, content and consumption of computer games, this book will be of interest to many students of media, culture and communication. The Business and Culture of Digital Games : Gamework and Gameplay Aphra Kerr (06 April 2006) 2006-05-23T14:17:33-00:00 2006 SAGE Publications games textbook http://www.citeulike.org/user/lijil/article/559842 <i>(10 March 2006)</i><br /><br />In <i>Play Between Worlds</i>, T. L. Taylor examines multiplayer gaming life as it is lived on the borders, in the gaps--as players slip in and out of complex social networks that cross online and offline space. Taylor questions the common assumption that playing computer games is an isolating and alienating activity indulged in by solitary teenage boys. Massively multiplayer online games (MMOGs), in which thousands of players participate in a virtual game world in real time, are in fact actively designed for sociability. Games like the popular <i>Everquest</i>, she argues, are fundamentally social spaces. <br /> <br /> Taylor's detailed look at <i>Everquest</i> offers a snapshot of multiplayer culture. Drawing on her own experience as an <i>Everquest</i> player (as a female Gnome Necromancer)--including her attendance at an <i>Everquest</i> Fan Faire, with its blurring of online-and offline life--and extensive research, Taylor not only shows us something about games but raises broader cultural issues. She considers "power gamers," who play in ways that seem closer to work, and examines our underlying notions of what constitutes play--and why play sometimes feels like work and may even be painful, repetitive, and boring. She looks at the women who play <i>Everquest</i> and finds they don't fit the narrow stereotype of women gamers, which may cast into doubt our standardized and preconceived ideas of femininity. And she explores the questions of who owns game space--what happens when emergent player culture confronts the major corporation behind the game. Play Between Worlds : Exploring Online Game Culture TL Taylor (10 March 2006) 2006-03-22T10:01:04-00:00 2006 The MIT Press everquest games gamestudies mmog social http://www.citeulike.org/user/lijil/article/445663 <i>Convergence, Vol. 9, No. 1. (Spring 2003), pp. 21-46.</i><br /><br />This article explores the issue of gender and computer games by looking at the growing population of women in massive multiplayer online role-playing environments (MMORPGs). It explores what are traditionally seen as masculine spaces and seeks to understand the variety of reasons women might participate. Through ethnographic and interview data, the themes of social interaction, mastery and status, team participation, and exploration are considered as compelling activities female gamers are engaging in online. Given that these online games often include a component of fighting, the issue of violence is discussed. Rather than seeing this group of players as an anomaly, this article explores how focusing on the pleasures women derive from gaming might lend a more complex understanding of both gender and computer games. Finally, a consideration of how design is affecting this emerging genre is explored. Multiple Pleasures: Women and Online Gaming TL Taylor Convergence, Vol. 9, No. 1. (Spring 2003), pp. 21-46. 2005-12-20T20:56:59-00:00 2003 Convergence 9 1 21 46 everquest games gender mmorpg http://www.citeulike.org/user/lijil/article/350920 <i></i><br /><br />This digital document is an article from Papers: Explorations into Children's Literature, published by Deakin University on November 1, 2004. The length of the article is 7739 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.<BR><BR><strong>Citation Details</strong><br><strong>Title:</strong> Remember not to die: young girls and video games.(Critical Essay)<br><strong>Author:</strong> Valerie Walkerdine<br><strong>Publication:</strong> <em>Papers: Explorations into Children's Literature</em> (Refereed)<br><strong>Date:</strong> November 1, 2004<br><strong>Publisher:</strong> Deakin University<br><strong>Volume:</strong> 14 <strong>Issue:</strong> 2 <strong>Page:</strong> 28(10)<BR><BR>Article Type: Critical Essay<BR><BR>Distributed by Thomson Gale Remember not to die: young girls and video games.(Critical Essay) : An article from: Papers: Explorations into Children's Literature Valerie Walkerdine 2005-10-14T13:36:13-00:00 games gender http://www.citeulike.org/user/lijil/article/139295 <i>(01 September 1997)</i><br /><br /><P>Can computer games be great literature? Do the rapidly evolving and culturally expanding genres of digital literature mean that the narrative mode of discourse -- novels, films, television series -- is losing its dominant position in our culture? Is it necessary to define a new aesthetics of cyborg textuality? </P><P>In <I>Cybertext</I>, Espen Aarseth explores the aesthetics and textual dynamics of digital literature and its diverse genres, including hypertext fiction, computer games, computer-generated poetry and prose, and collaborative Internet texts such as MUDs. Instead of insisting on the uniqueness and newness of electronic writing and interactive fiction, however, Aarseth situates these literary forms within the tradition of "ergodic" literature--a term borrowed from physics to describe open, dynamic texts such as the <I>I Ching</I> or Apollinaire's calligrams, with which the reader must perform specific actions to generate a literary sequence.</P><P>Constructing a theoretical model that describes how new electronic forms build on this tradition, Aarseth bridges the widely assumed divide between paper texts and electronic texts. He then uses the perspective of ergodic aesthetics to reexamine literary theories of narrative, semiotics, and rhetoric and to explore the implications of applying these theories to materials for which they were not intended.</P><P>"In many respects, this is the book I and many others have been waiting for. I have not seen any work so comprehensive in its synthesis of previous commentary. Aarseth's brilliant observations remind me of McLuhan's 'probes'--highly condensed, provocative statements meant to generate controversy and insight. This is clearly the best study of electronic texts I have yet read."--Stuart Moulthrop, University of Baltimore, author of <I>Victory Garden</I></P> Cybertext: Perspectives on Ergodic Literature Espen Aarseth (01 September 1997) 2005-03-24T17:13:37-00:00 1997 Johns Hopkins University Press cybertext games hypertext muds narratology http://www.citeulike.org/user/lijil/article/131188 <i>(2003), pp. 91-100.</i> Six in the city: introducing Real Tournament - a mobile IPv6 based context-aware multiplayer game Keith Mitchell Duncan Mccaffery George Metaxas Joe Finney Stefan Schmid Andrew Scott doi:10.1145/963900.963909 (2003), pp. 91-100. 2005-03-17T13:37:34-00:00 2003 91 100 ACM Press games mobile multiplayer http://www.citeulike.org/user/lijil/article/131190 <i>(2003), pp. 569-576.</i> Where on-line meets on the streets: experiences with mobile mixed reality games Martin Flintham Steve Benford Rob Anastasi Terry Hemmings Andy Crabtree Chris Greenhalgh Nick Tandavanitj Matt Adams Ju Row-Farr doi:10.1145/642611.642710 (2003), pp. 569-576. 2005-03-17T13:39:14-00:00 2003 569 576 ACM Press crossmedia distributed games mobile http://www.citeulike.org/user/lijil/article/192 <i></i> Orchestrating a mixed reality game 'on the ground' Andy Crabtree Nick Tandavanitj Anthony Steed Steve Benford Tom Rodden Chris Greenhalgh Martin Flintham Rob Anastasi Adam Drozd Matt Adams Ju Row-Farr doi:10.1145/985692.985742 2004-11-22T00:17:30-00:00 crossmedia distributed games http://www.citeulike.org/user/lijil/article/126910 <i>(2003)</i> First Person: New Media as Story, Performance, and Game (2003) 2005-03-14T21:01:29-00:00 2003 MIT Press anthology elit games new-media