2022
Arjoranta, Jonne
How are Games Interpreted? Hermeneutics for Game Studies
In: Game Studies: the international journal of computer game research, vol. 22, iss. 3, 2022, ISSN: 1604-7982.
Journal article Open access
Abstract | Links | Tags: Game hermeneutics, Hermeneutics, Ludo-hermeneutics, philosophical hermeneutics, Real-time hermeneutics
@article{Arjoranta2022,
title = {How are Games Interpreted? Hermeneutics for Game Studies},
author = {Jonne Arjoranta},
url = {http://gamestudies.org/2203/articles/arjoranta_how_are_games_interpreted},
issn = {1604-7982},
year = {2022},
date = {2022-08-31},
urldate = {2022-08-31},
journal = {Game Studies: the international journal of computer game research},
volume = {22},
issue = {3},
abstract = {This paper presents a hermeneutic theory for game studies. It starts by giving an overview of hermeneutics, shows how in understanding games it is useful to divide hermeneutics into two aspects -- real-time hermeneutics and game hermeneutics -- and finishes by detailing complementary approaches to hermeneutics for games. The article builds upon earlier work in the hermeneutics of games and draws from philosophical hermeneutics.},
keywords = {Game hermeneutics, Hermeneutics, Ludo-hermeneutics, philosophical hermeneutics, Real-time hermeneutics},
pubstate = {published},
tppubtype = {article}
}
This paper presents a hermeneutic theory for game studies. It starts by giving an overview of hermeneutics, shows how in understanding games it is useful to divide hermeneutics into two aspects -- real-time hermeneutics and game hermeneutics -- and finishes by detailing complementary approaches to hermeneutics for games. The article builds upon earlier work in the hermeneutics of games and draws from philosophical hermeneutics.
Välisalo, Tanja; Ruotsalainen, Maria
In: Game Studies: the international journal of computer game research, vol. 22, iss. 3, 2022, ISSN: 1604-7982.
Journal article Open access
Abstract | Links | Tags: Belonging, Discourse analysis, Homosexuality, MMO, Overwatch, Representation
@article{Välisalo2022b,
title = {“Sexuality Does Not Belong to the Game”: Discourses in Overwatch Community and the Privilege of Belonging},
author = {Tanja Välisalo and Maria Ruotsalainen},
url = {http://gamestudies.org/2203/articles/valisalo_ruotsalainen},
issn = {1604-7982},
year = {2022},
date = {2022-08-31},
urldate = {2022-08-31},
journal = {Game Studies: the international journal of computer game research},
volume = {22},
issue = {3},
abstract = {Players can experience a sense of belonging to videogames and the transmedial worlds surrounding them. There nevertheless exist ongoing negotiations over who has the right to belong to these spaces. Multiple works addressing related issues have highlighted that white heterosexual men still maintain the position of power in the majority of game communities (e.g., Consalvo, 2012; Paul, 2018). This position can translate into an ease of belonging while others can find themselves struggling for the right to belong.
We examine the transmedial world of Overwatch, an online game, as a place of belonging and non-belonging. Since the game’s launch, two characters have been revealed as queer. In contrast, a third character is considered a gay icon by fans, even though there is no official narrative supporting this. We analyze discussions around these cases using rhetoric-performative discourse analysis (Palonen & Saresma, 2017), an approach originally developed for research of political populism. In addition to similar affective and persuasive rhetoric in both contexts, politics have become an inherent part of online and fan communities (Dean, 2017), making this approach even more apt.
Our analysis makes visible how belonging and non-belonging are constructed in Overwatch communities in relation to gender, sexuality, their intersections and also to identities such as “player” and “fan.” We take into account ongoing design choices in the game’s development and analyze how the complex structures of production and reception interact with these discourses. Discussions analyzed here expand beyond Overwatch, touching upon highly politicized issues of gender and sexuality in games, the right to be represented and the current political climate in Western countries, and reenact divisions present more broadly in media discussions. Our findings also show how characters function as a nexus for these political debates and as limits and horizons for belonging.},
keywords = {Belonging, Discourse analysis, Homosexuality, MMO, Overwatch, Representation},
pubstate = {published},
tppubtype = {article}
}
Players can experience a sense of belonging to videogames and the transmedial worlds surrounding them. There nevertheless exist ongoing negotiations over who has the right to belong to these spaces. Multiple works addressing related issues have highlighted that white heterosexual men still maintain the position of power in the majority of game communities (e.g., Consalvo, 2012; Paul, 2018). This position can translate into an ease of belonging while others can find themselves struggling for the right to belong.
We examine the transmedial world of Overwatch, an online game, as a place of belonging and non-belonging. Since the game’s launch, two characters have been revealed as queer. In contrast, a third character is considered a gay icon by fans, even though there is no official narrative supporting this. We analyze discussions around these cases using rhetoric-performative discourse analysis (Palonen & Saresma, 2017), an approach originally developed for research of political populism. In addition to similar affective and persuasive rhetoric in both contexts, politics have become an inherent part of online and fan communities (Dean, 2017), making this approach even more apt.
Our analysis makes visible how belonging and non-belonging are constructed in Overwatch communities in relation to gender, sexuality, their intersections and also to identities such as “player” and “fan.” We take into account ongoing design choices in the game’s development and analyze how the complex structures of production and reception interact with these discourses. Discussions analyzed here expand beyond Overwatch, touching upon highly politicized issues of gender and sexuality in games, the right to be represented and the current political climate in Western countries, and reenact divisions present more broadly in media discussions. Our findings also show how characters function as a nexus for these political debates and as limits and horizons for belonging.
We examine the transmedial world of Overwatch, an online game, as a place of belonging and non-belonging. Since the game’s launch, two characters have been revealed as queer. In contrast, a third character is considered a gay icon by fans, even though there is no official narrative supporting this. We analyze discussions around these cases using rhetoric-performative discourse analysis (Palonen & Saresma, 2017), an approach originally developed for research of political populism. In addition to similar affective and persuasive rhetoric in both contexts, politics have become an inherent part of online and fan communities (Dean, 2017), making this approach even more apt.
Our analysis makes visible how belonging and non-belonging are constructed in Overwatch communities in relation to gender, sexuality, their intersections and also to identities such as “player” and “fan.” We take into account ongoing design choices in the game’s development and analyze how the complex structures of production and reception interact with these discourses. Discussions analyzed here expand beyond Overwatch, touching upon highly politicized issues of gender and sexuality in games, the right to be represented and the current political climate in Western countries, and reenact divisions present more broadly in media discussions. Our findings also show how characters function as a nexus for these political debates and as limits and horizons for belonging.
Ruotsalainen, Maria
Overwatch Esports and The (Re)Configurations of Gender and Nationality
2022, ISBN: 978-951-39-9184-5 .
Doctoral thesis Open access
Abstract | Links | Tags: Competitive gaming, Esports, Gender, Nationalism, Nationality, Qualitative research
@phdthesis{Ruotsalainen2022d,
title = {Overwatch Esports and The (Re)Configurations of Gender and Nationality},
author = {Maria Ruotsalainen},
url = {http://urn.fi/URN:ISBN:978-951-39-9184-5
https://jyx.jyu.fi/bitstream/handle/123456789/82456/1/978-951-39-9184-5_vaitos23082022.pdf},
isbn = {978-951-39-9184-5 },
year = {2022},
date = {2022-08-23},
urldate = {2022-08-23},
publisher = {University of Jyväskylä},
abstract = {The dissertation comprises five research articles and a compilation portion, focusing on gender and nationality in competitive Overwatch. Overwatch is a team-based first-person shooter that Blizzard Entertainment published in 2014. From the beginning onwards, it has had an active esports scene. In 2018, the game’s publisher took hold of the whole esports scene and organised it in a league format—strikingly similar to how traditional sports leagues in North America are organised—and to a yearly (2016–2019) organised Overwatch World Cup. Against this backdrop, I examine how gender and nationality are portrayed within the production of competitive Overwatch Esports and how they are performed and negotiated within the reception of competitive Overwatch. Drawing from the concept of banal nationalism, I suggest the production choices of Overwatch esports are meant to evoke nationalist sentiments from the viewers and fans, intimately tying in with the ongoing sportification of Overwatch esports and esports in general. The ongoing sportification of Overwatch esports also affects how gender, particularly masculinity, is portrayed and positioned within this particular esports. The influence of traditional sports strengthens the position of hegemonic masculinity, often leading to portrayals of athletic masculinity as the desirable masculinity within the Overwatch esports ecosystem. However, examining the reception of Overwatch esports reveals a richer and more varied picture of how masculinity and gender are negotiated within Overwatch esports. The players, fans, and viewers both affirm and resist the nationalist ethos and the sportified aesthetics and the configurations of the masculinity they suggest, drawing also from alternative ways to frame competitive gaming. Particularly relevant for this is anime aesthetics which are used by fans to frame Overwatch esports. This also affects what kind of desirable masculinity is negotiated amongst fans: The hegemonic masculinity is reconfigured to a form of hybrid masculinity, with elements of athletic masculinity, geek masculinity, and Kawaii masculinity, allowing (white and Asian) men to have more varied gender expression. Unfortunately, this allowance has little to no bearing on the positions of the others and women continue being marginalised in Overwatch esports.
Keywords: esports, competitive gaming, gender, nationality, nationalism, qualitative research
Tässä väitöskirjassa tutkin sukupuolen ja kansallisuuden rakentumista Overwatch kilpapelaamisessa. Väitöskirja koostuu viidestä tutkimusartikkelista ja kokoelmaosasta. Overwatch on joukkuepohjainen ensimmäisen persoonan ammuntapeli, jonka Blizzard Entertainment julkaisi vuonna 2014. Sen ympärillä on alusta alkaen ollut aktiivinen e-urheiluskene. Pelin julkaisija otti vuonna 2018 haltuunsa koko e-urheiluskenen ja järjesti sen liigamuotoon, seuraten perinteisten urheiluliigojen mallia Pohjois-Amerikassa. Lisäksi julkaisija järjesti vuosittaiset Overwatchin maailmanmestaruuskisat vuosina 2016-2019. Tätä taustaa vasten tutkin, kuinka sukupuoli ja kansallisuus rakentuvat Overwatch e-urheilun vastaanotossa sekä tuotannossa. Ehdotan banaalin nationalismin käsitteen pohjalta, että Overwatch e-urheilun tuotantovalinnat on tarkoitettu herättämään katsojissa ja faneissa kansallismielisiä tunnekokemuksia ja että tämä liittyy läheisesti Overwatch e-urheilun ja koko e-urheilun jatkuvaan urheilullistamiseen. Overwatch e-urheilun jatkuva urheilullistaminen vaikuttaa myös tapaan, jolla sukupuoli ja erityisesti maskuliinisuus esitetään siinä. Overwatch e-urheilun vastaanoton tarkastelu paljastaa kuitenkin rikkaamman ja monipuolisemman kuvan tavoista, joilla maskuliinisuus ja sukupuoli neuvotellaan Overwatch e-urheilussa. Fanit ja katsojat vahvistavat mutta myös vastustavat kansallismielisiä tunteita sekä sen ehdottamia maskuliinisuuden muotoja hyödyntäen vaihtoehtoisia tapoja ymmärtää kilpailupelaamista. Erityisen relevantti tälle on anime, jota fanit käyttävät Overwatch e-urheilun kehystykseen. Tämä vaikuttaa myös siihen, minkälaisesta halutusta maskuliinisuudesta fanien keskuudessa neuvotellaan: hegemoninen maskuliinisuus muotoillaan uudelleen hybridi-maskuliinisuuden muotoon, jossa on elementtejä atleettisesta maskuliinisuudesta, nörtti-maskuliinisuudesta ja kawaii-maskuliinisuudesta. Tämä mahdollistaa (valkoisille ja aasialaisille) miehille monimuotoisempia tapoja performoida maskuliinisuutta, mutta valitettavasti sillä on vain vähän tai ei ollenkaan vaikutusta muiden asemaan, ja naiset ovat edelleen marginaaleissa Overwatch e-urheilussa kuten e-urheilussa yleensäkin.
Keywords: e-urheilu, kilpapelaaminen, sukupuoli, kansallisuus, nationalismi, laadullinen tutkimus},
keywords = {Competitive gaming, Esports, Gender, Nationalism, Nationality, Qualitative research},
pubstate = {published},
tppubtype = {phdthesis}
}
The dissertation comprises five research articles and a compilation portion, focusing on gender and nationality in competitive Overwatch. Overwatch is a team-based first-person shooter that Blizzard Entertainment published in 2014. From the beginning onwards, it has had an active esports scene. In 2018, the game’s publisher took hold of the whole esports scene and organised it in a league format—strikingly similar to how traditional sports leagues in North America are organised—and to a yearly (2016–2019) organised Overwatch World Cup. Against this backdrop, I examine how gender and nationality are portrayed within the production of competitive Overwatch Esports and how they are performed and negotiated within the reception of competitive Overwatch. Drawing from the concept of banal nationalism, I suggest the production choices of Overwatch esports are meant to evoke nationalist sentiments from the viewers and fans, intimately tying in with the ongoing sportification of Overwatch esports and esports in general. The ongoing sportification of Overwatch esports also affects how gender, particularly masculinity, is portrayed and positioned within this particular esports. The influence of traditional sports strengthens the position of hegemonic masculinity, often leading to portrayals of athletic masculinity as the desirable masculinity within the Overwatch esports ecosystem. However, examining the reception of Overwatch esports reveals a richer and more varied picture of how masculinity and gender are negotiated within Overwatch esports. The players, fans, and viewers both affirm and resist the nationalist ethos and the sportified aesthetics and the configurations of the masculinity they suggest, drawing also from alternative ways to frame competitive gaming. Particularly relevant for this is anime aesthetics which are used by fans to frame Overwatch esports. This also affects what kind of desirable masculinity is negotiated amongst fans: The hegemonic masculinity is reconfigured to a form of hybrid masculinity, with elements of athletic masculinity, geek masculinity, and Kawaii masculinity, allowing (white and Asian) men to have more varied gender expression. Unfortunately, this allowance has little to no bearing on the positions of the others and women continue being marginalised in Overwatch esports.
Keywords: esports, competitive gaming, gender, nationality, nationalism, qualitative research
Tässä väitöskirjassa tutkin sukupuolen ja kansallisuuden rakentumista Overwatch kilpapelaamisessa. Väitöskirja koostuu viidestä tutkimusartikkelista ja kokoelmaosasta. Overwatch on joukkuepohjainen ensimmäisen persoonan ammuntapeli, jonka Blizzard Entertainment julkaisi vuonna 2014. Sen ympärillä on alusta alkaen ollut aktiivinen e-urheiluskene. Pelin julkaisija otti vuonna 2018 haltuunsa koko e-urheiluskenen ja järjesti sen liigamuotoon, seuraten perinteisten urheiluliigojen mallia Pohjois-Amerikassa. Lisäksi julkaisija järjesti vuosittaiset Overwatchin maailmanmestaruuskisat vuosina 2016-2019. Tätä taustaa vasten tutkin, kuinka sukupuoli ja kansallisuus rakentuvat Overwatch e-urheilun vastaanotossa sekä tuotannossa. Ehdotan banaalin nationalismin käsitteen pohjalta, että Overwatch e-urheilun tuotantovalinnat on tarkoitettu herättämään katsojissa ja faneissa kansallismielisiä tunnekokemuksia ja että tämä liittyy läheisesti Overwatch e-urheilun ja koko e-urheilun jatkuvaan urheilullistamiseen. Overwatch e-urheilun jatkuva urheilullistaminen vaikuttaa myös tapaan, jolla sukupuoli ja erityisesti maskuliinisuus esitetään siinä. Overwatch e-urheilun vastaanoton tarkastelu paljastaa kuitenkin rikkaamman ja monipuolisemman kuvan tavoista, joilla maskuliinisuus ja sukupuoli neuvotellaan Overwatch e-urheilussa. Fanit ja katsojat vahvistavat mutta myös vastustavat kansallismielisiä tunteita sekä sen ehdottamia maskuliinisuuden muotoja hyödyntäen vaihtoehtoisia tapoja ymmärtää kilpailupelaamista. Erityisen relevantti tälle on anime, jota fanit käyttävät Overwatch e-urheilun kehystykseen. Tämä vaikuttaa myös siihen, minkälaisesta halutusta maskuliinisuudesta fanien keskuudessa neuvotellaan: hegemoninen maskuliinisuus muotoillaan uudelleen hybridi-maskuliinisuuden muotoon, jossa on elementtejä atleettisesta maskuliinisuudesta, nörtti-maskuliinisuudesta ja kawaii-maskuliinisuudesta. Tämä mahdollistaa (valkoisille ja aasialaisille) miehille monimuotoisempia tapoja performoida maskuliinisuutta, mutta valitettavasti sillä on vain vähän tai ei ollenkaan vaikutusta muiden asemaan, ja naiset ovat edelleen marginaaleissa Overwatch e-urheilussa kuten e-urheilussa yleensäkin.
Keywords: e-urheilu, kilpapelaaminen, sukupuoli, kansallisuus, nationalismi, laadullinen tutkimus
Keywords: esports, competitive gaming, gender, nationality, nationalism, qualitative research
Tässä väitöskirjassa tutkin sukupuolen ja kansallisuuden rakentumista Overwatch kilpapelaamisessa. Väitöskirja koostuu viidestä tutkimusartikkelista ja kokoelmaosasta. Overwatch on joukkuepohjainen ensimmäisen persoonan ammuntapeli, jonka Blizzard Entertainment julkaisi vuonna 2014. Sen ympärillä on alusta alkaen ollut aktiivinen e-urheiluskene. Pelin julkaisija otti vuonna 2018 haltuunsa koko e-urheiluskenen ja järjesti sen liigamuotoon, seuraten perinteisten urheiluliigojen mallia Pohjois-Amerikassa. Lisäksi julkaisija järjesti vuosittaiset Overwatchin maailmanmestaruuskisat vuosina 2016-2019. Tätä taustaa vasten tutkin, kuinka sukupuoli ja kansallisuus rakentuvat Overwatch e-urheilun vastaanotossa sekä tuotannossa. Ehdotan banaalin nationalismin käsitteen pohjalta, että Overwatch e-urheilun tuotantovalinnat on tarkoitettu herättämään katsojissa ja faneissa kansallismielisiä tunnekokemuksia ja että tämä liittyy läheisesti Overwatch e-urheilun ja koko e-urheilun jatkuvaan urheilullistamiseen. Overwatch e-urheilun jatkuva urheilullistaminen vaikuttaa myös tapaan, jolla sukupuoli ja erityisesti maskuliinisuus esitetään siinä. Overwatch e-urheilun vastaanoton tarkastelu paljastaa kuitenkin rikkaamman ja monipuolisemman kuvan tavoista, joilla maskuliinisuus ja sukupuoli neuvotellaan Overwatch e-urheilussa. Fanit ja katsojat vahvistavat mutta myös vastustavat kansallismielisiä tunteita sekä sen ehdottamia maskuliinisuuden muotoja hyödyntäen vaihtoehtoisia tapoja ymmärtää kilpailupelaamista. Erityisen relevantti tälle on anime, jota fanit käyttävät Overwatch e-urheilun kehystykseen. Tämä vaikuttaa myös siihen, minkälaisesta halutusta maskuliinisuudesta fanien keskuudessa neuvotellaan: hegemoninen maskuliinisuus muotoillaan uudelleen hybridi-maskuliinisuuden muotoon, jossa on elementtejä atleettisesta maskuliinisuudesta, nörtti-maskuliinisuudesta ja kawaii-maskuliinisuudesta. Tämä mahdollistaa (valkoisille ja aasialaisille) miehille monimuotoisempia tapoja performoida maskuliinisuutta, mutta valitettavasti sillä on vain vähän tai ei ollenkaan vaikutusta muiden asemaan, ja naiset ovat edelleen marginaaleissa Overwatch e-urheilussa kuten e-urheilussa yleensäkin.
Keywords: e-urheilu, kilpapelaaminen, sukupuoli, kansallisuus, nationalismi, laadullinen tutkimus
Karhulahti, Veli-Matti; Nerg, Henri; Laitinen, Tanja; Päivinen, Antti; Chen, Yingrong
In: Current Psychology, 2022, ISSN: 1046-1310.
Journal article Open access
Abstract | Links | Tags: COVID-19, Gaming, Qualitative Methods, Technology use, Wellbeing
@article{Karhulahti2022,
title = {Eight Hypotheses on Technology Use and Psychosocial Wellbeing: A Bicultural Phenomenological Study of Gaming during the COVID-19 Pandemic},
author = {Veli-Matti Karhulahti and Henri Nerg and Tanja Laitinen and Antti Päivinen and Yingrong Chen},
url = {http://urn.fi/URN:NBN:fi:jyu-202208254339},
doi = {10.1007/s12144-022-03586-x},
issn = {1046-1310},
year = {2022},
date = {2022-08-22},
urldate = {2022-08-22},
journal = {Current Psychology},
abstract = {In this nonconfirmatory qualitative study, we pursued a range of hypotheses regarding how gaming operates in the lives and psychosocial wellbeing of those who actively play videogames during a crisis, such as the COVID-19 pandemic in 2020. Informed by an explorative survey (N = 793), interpretive phenomenological analysis was applied to interview data from actively gaming Chinese (n = 10) and Finnish (n = 10) participants. Our findings demonstrate how the general increase of pandemic-time gaming did not manifest in all player groups, but in some life contexts gaming activity rather decreased along with reformations in subjective meaning hierarchies and values. Ultimately, eight subordinate themes were refined into testable hypotheses. The study encourages policies that promote socially supportive gaming during pandemic-like situations to consider including personally meaningful solitary play in their recommendations and highlighting context-specificity over generalization. Finally, as almost all our data points echoing experiences of decreasing gaming activity came from China, we stress the importance of culturally diverse samples in the psychological study of global phenomena.},
keywords = {COVID-19, Gaming, Qualitative Methods, Technology use, Wellbeing},
pubstate = {published},
tppubtype = {article}
}
In this nonconfirmatory qualitative study, we pursued a range of hypotheses regarding how gaming operates in the lives and psychosocial wellbeing of those who actively play videogames during a crisis, such as the COVID-19 pandemic in 2020. Informed by an explorative survey (N = 793), interpretive phenomenological analysis was applied to interview data from actively gaming Chinese (n = 10) and Finnish (n = 10) participants. Our findings demonstrate how the general increase of pandemic-time gaming did not manifest in all player groups, but in some life contexts gaming activity rather decreased along with reformations in subjective meaning hierarchies and values. Ultimately, eight subordinate themes were refined into testable hypotheses. The study encourages policies that promote socially supportive gaming during pandemic-like situations to consider including personally meaningful solitary play in their recommendations and highlighting context-specificity over generalization. Finally, as almost all our data points echoing experiences of decreasing gaming activity came from China, we stress the importance of culturally diverse samples in the psychological study of global phenomena.
Blom, Joleen
In: Replaying Japan, vol. 4, pp. 23-34, 2022, ISSN: 2433-8060.
Journal article Open access
Abstract | Links | Tags: Animal Crossing: New Horizons, Character trade, Characters, Nintendo, Video games
@article{Blom2022c,
title = {Attachment, Possession or Personalization?: Why the Character Trade in Animal Crossing: New Horizons Exploded},
author = {Joleen Blom},
url = {https://urn.fi/URN:NBN:fi:tuni-202208106341},
doi = {10.34382/00017634},
issn = {2433-8060},
year = {2022},
date = {2022-07-31},
urldate = {2022-07-31},
journal = {Replaying Japan},
volume = {4},
pages = {23-34},
abstract = {A month after the release of the video game Animal Crossing: New Horizons (Nintendo 2020), virtual player markets arose where players could exchange characters and other goods, but this simultaneously led to players scamming each other during those trades. A year later Nintendo announced the Amiibo Sanrio Collaboration Pack, a set of character cards to be used in New Horizons, which a minute after its release was completely sold out so that consumers could only obtain the cards at private online vendors, another market economy, for a much higher price. This article is occupied with the question of why players are so willing to go through such great lengths to obtain virtual characters they desire, even risking being deceived? What do these characters mean to them? The article argues that the affective relationships between players and virtual characters cannot be understood independently from the marketing practices of a video game. It shows how the Animal Crossing ludo mix strategy’s uneven distribution of characters in- and outside of New Horizons is the underlying reason for fraudulent player practices to occur. It explains how Animal Crossing uses a blend of monetization approaches resembling the current game monetization trend of free-to-play games with random in-game purchases that use characters as fuel. Finally, it will argue that Nintendo needs to foster a community infrastructure that facilitates a safe exchange of the villagers and other items but due to its neglect to do so, it is actually the player market economies instead that are fostering such responsible gameplay.},
keywords = {Animal Crossing: New Horizons, Character trade, Characters, Nintendo, Video games},
pubstate = {published},
tppubtype = {article}
}
A month after the release of the video game Animal Crossing: New Horizons (Nintendo 2020), virtual player markets arose where players could exchange characters and other goods, but this simultaneously led to players scamming each other during those trades. A year later Nintendo announced the Amiibo Sanrio Collaboration Pack, a set of character cards to be used in New Horizons, which a minute after its release was completely sold out so that consumers could only obtain the cards at private online vendors, another market economy, for a much higher price. This article is occupied with the question of why players are so willing to go through such great lengths to obtain virtual characters they desire, even risking being deceived? What do these characters mean to them? The article argues that the affective relationships between players and virtual characters cannot be understood independently from the marketing practices of a video game. It shows how the Animal Crossing ludo mix strategy’s uneven distribution of characters in- and outside of New Horizons is the underlying reason for fraudulent player practices to occur. It explains how Animal Crossing uses a blend of monetization approaches resembling the current game monetization trend of free-to-play games with random in-game purchases that use characters as fuel. Finally, it will argue that Nintendo needs to foster a community infrastructure that facilitates a safe exchange of the villagers and other items but due to its neglect to do so, it is actually the player market economies instead that are fostering such responsible gameplay.
Malinen, Ville
Sega Rally oli oman elämänsä maanteiden kuninkaiden mansikkapaikka
In: Voima, no. 5-6, pp. 40-41, 2022, ISSN: 1457-1005.
Publication for professional or general audience Open access
Abstract | Links | Tags: Ajopelit (digitaaliset pelit), Kansallinen kulttuuri, Kolikkopelit, Pelikulttuuri, Ralliautoilu, Sega Rally
@other{Malinen2022,
title = {Sega Rally oli oman elämänsä maanteiden kuninkaiden mansikkapaikka},
author = {Ville Malinen},
url = {https://voima.fi/artikkeli/2022/sega-rally-oli-oman-elamansa-maanteiden-kuninkaiden-mansikkapaikka/
https://jyx.jyu.fi/handle/123456789/84508
https://www.lehtiluukku.fi/lue/voima/5-2022/312945.html},
issn = {1457-1005},
year = {2022},
date = {2022-06-27},
urldate = {2022-06-27},
booktitle = {Voima},
number = {5-6},
pages = {40-41},
abstract = {Jos entisaikojen viihdekioskeista yksi pitäisi nostaa ylitse muiden, se olisi vuonna 1994 ilmestynyt Sega Rally Championship, jossa tuijotetaan hypnoottismagneettisesti sumentunutta monitoria ja suhataan pientareita pitkin kartturin tsempatessa.},
keywords = {Ajopelit (digitaaliset pelit), Kansallinen kulttuuri, Kolikkopelit, Pelikulttuuri, Ralliautoilu, Sega Rally},
pubstate = {published},
tppubtype = {other}
}
Jos entisaikojen viihdekioskeista yksi pitäisi nostaa ylitse muiden, se olisi vuonna 1994 ilmestynyt Sega Rally Championship, jossa tuijotetaan hypnoottismagneettisesti sumentunutta monitoria ja suhataan pientareita pitkin kartturin tsempatessa.
Siutila, Miia; Joelsson, Tapani; Karhulahti, Veli-Matti
”Mammat menee kahville, me koneelle”: Kilpapelaaminen poikien elämässä
In: Nuorisotutkimus, vol. 40, no. 2, pp. 41-60, 2022, ISSN: 0780-0886, (Embargoed until: 2023-07-01. Request copy from author.).
Journal article
Abstract | Links | Tags: Asenteet, Boys, E-urheilu, Education, Elektroninen urheilu, Esports, Harrastukset, Kasvatus, Kilpaurheilu, Nuoret, Pelaaminen, Pojat, Upbringing, Verkkopelit, Videopelit, Youth
@article{Siutila2022,
title = {”Mammat menee kahville, me koneelle”: Kilpapelaaminen poikien elämässä},
author = {Miia Siutila and Tapani Joelsson and Veli-Matti Karhulahti},
url = {https://journal.fi/nuorisotutkimus/article/view/120329},
issn = {0780-0886},
year = {2022},
date = {2022-06-23},
urldate = {2022-06-23},
journal = {Nuorisotutkimus},
volume = {40},
number = {2},
pages = {41-60},
abstract = {Tämä artikkeli käsittelee e-urheilua osana aktiivisesti pelaavien turkulaisten poikien elämää. Laadullisen haastatteluaineiston (N=14) kautta artikkeli avaa nuorten näkemyksiä e-urheilun asemasta sekä henkilökohtaisena että yhteiskunnallisena toimintana. Tutkimus viittaa siihen, että e-urheilun rooli aktiivisesti yhdessä pelaavien poikien arjessa toimii perinteisten urheilulajien tavoin tavoitteellisena kilpailuna kuin myös vähemmän tavoitteellisena sosiaalisena ajanvietteenä. Kyseiselle joukolle e-urheilu on harrastus, jota myös perhe, ystävät ja yhteiskunta yhä useammin tukevat. Ohjattu e-urheilutoiminta sekä siihen liittyvät sosiaaliset infrastruktuurit todennäköisesti edesauttavat terveen videopeliharrastuneisuuden
kehitystä.},
note = {Embargoed until: 2023-07-01. Request copy from author.},
keywords = {Asenteet, Boys, E-urheilu, Education, Elektroninen urheilu, Esports, Harrastukset, Kasvatus, Kilpaurheilu, Nuoret, Pelaaminen, Pojat, Upbringing, Verkkopelit, Videopelit, Youth},
pubstate = {published},
tppubtype = {article}
}
Tämä artikkeli käsittelee e-urheilua osana aktiivisesti pelaavien turkulaisten poikien elämää. Laadullisen haastatteluaineiston (N=14) kautta artikkeli avaa nuorten näkemyksiä e-urheilun asemasta sekä henkilökohtaisena että yhteiskunnallisena toimintana. Tutkimus viittaa siihen, että e-urheilun rooli aktiivisesti yhdessä pelaavien poikien arjessa toimii perinteisten urheilulajien tavoin tavoitteellisena kilpailuna kuin myös vähemmän tavoitteellisena sosiaalisena ajanvietteenä. Kyseiselle joukolle e-urheilu on harrastus, jota myös perhe, ystävät ja yhteiskunta yhä useammin tukevat. Ohjattu e-urheilutoiminta sekä siihen liittyvät sosiaaliset infrastruktuurit todennäköisesti edesauttavat terveen videopeliharrastuneisuuden
kehitystä.
kehitystä.
Sihvonen, Lilli
Kimble-lautapelin kestävä tuotesuhde – Kulttuurituotteiden uustuotantoprosessit
2022, ISSN: 2343-3191.
Doctoral thesis Open access
Abstract | Links | Tags: Cultural neo-production process, Culture product, Esinesuhde, Kulttuurituote, Object relationship, Planned obsolescence, Planned revivification, Product relationship, Suunniteltu henkiinherättäminen, Suunniteltu vanhentaminen, Tuotesuhde, Uustuotantoprosessi
@phdthesis{Sihvonen2022,
title = {Kimble-lautapelin kestävä tuotesuhde – Kulttuurituotteiden uustuotantoprosessit},
author = {Lilli Sihvonen},
url = {https://www.utupub.fi/handle/10024/153948
https://www.utupub.fi/bitstream/handle/10024/153948/Annales%20B%20578%20Sihvonen%20DISS.pdf?sequence=1&isAllowed=y},
issn = {2343-3191},
year = {2022},
date = {2022-06-10},
urldate = {2022-06-10},
abstract = {Monimutkaisiin esine- ja tuotesuhteisiimme kuuluu esineiden jatkuva hankinta ja poisheittäminen. Joihinkin esineisiin ja tuotteisiin kyllästymme nopeasti, toisiin taas syntyy syvempi suhde. Oman kiehtovuutensa näihin suhteisiin tuo uustuotanto, jossa jokin vanha, tuotannosta aikoinaan poistettu tuote palautetaan takaisin tuotantoon. Uustuotannossa tuotteen valmistustavat ja -materiaalit sekä visuaalinen ilme saattavat muuttua teknologian ja muodin kehityksen yhteydessä, mutta alkuperäinen tuote säilyy tunnistettavana. Uustuotannosta tulee prosessi, kun toiminta muuttuu systemaattiseksi, jolloin tuote vuoroin poistuu, vuoroin palaa takaisin tuotantoon ja markkinoille.
Uustuotantoprosessi muodostuu suunnitellun vanhentamisen ja henkiinherättämisen eli revivifikaation välisestä vuorovaikutuksesta ja vuorottelusta tuotteen elinkaaressa. Suunnitellun vanhentamisen tarkoitus on rajoittaa tuotteen käyttöä ja toimivuutta, ja prosessissa sen tehtävänä on poistaa tuote markkinoilta. Henkiinherättäminen puolestaan perustuu nostalgiapohjaiseen menneiden tuotteiden elvyttämiseen ja palauttamiseen markkinoille. Aiempi tutkimus on korostanut nostalgian roolia tuotteiden kierrättämisessä ja elvyttämisessä. Tämän tutkimuksen tarkoitus on osoittaa, ettei selitys nostalgiasta riitä vaan ilmiö on paljon laajempi ja moniulotteisempi.
Tutkimus lähestyy aihetta tapaustutkimuksen kautta. Tutkimuksen esimerkkituotteena on vuonna 1967 ilmestynyt suomalainen Kimble-lautapeli, jonka perusversion uudistukset, lisenssiversiot, materiaalinen muuntautuvaisuus sekä toisaalta muuttumattomuus, historiallinen tausta, kestävyys ja mediahuomio puoltavat pelin valitsemista tutkimuskohteeksi. Peli vastustaa suunnitellun vanhentamisen tavanomaisimpia käytänteitä, ja tuo siten päivänvaloon erityyppisiä uustuotantoprosesseja. Tämän väitöskirjan päätutkimuskysymys on: Millainen on kulttuurituotteiden uustuotantoprosessi Kimble-lautapelin esimerkin valossa? Pääkysymystä täydentävät kolme alakysymystä: 1) mitä osa-alueita prosessiin kuuluu, 2) millaisia prosessin rakenne ja vaiheet ovat ja 3) millaisen teoreettisen mallin voi esimerkkituotteen perusteella muodostaa?
Tutkimuksen aineisto muodostuu Kimblen valmistajayhtiö Tactic Games Oy:n työntekijöiden haastatteluista, Kimble-verkkokyselyn vastauksista, opiskelijakulttuurin dokumentoinnista ja opiskelijahaastattelusta, dokumentoiduista Kimble-versioista sekä esineen lähiluvusta. Tutkimuksen teoreettinen viitekehys rakentuu pelitutkimuksen, kulutuksen tutkimuksen sekä materiaalisen kulttuurin ympärille.
Väitöskirja muodostuu tästä yhteenveto-osiosta sekä neljästä vertaisarvioidusta artikkelista, jotka käsittelevät uustuotantoprosessin keskeisimpiä osa-alueita Kimblen näkökulmasta: historiaa, pysyviä ominaisuuksia ja muutoksia sekä elämäkertoja ja käyttökulttuuria. Tämän lisäksi Kimble peilautuu vasten uustuotantoprosessin alustavaa käsitteistöä muodostaen prosessin rakenteen, vaiheet ja reunaehdot; mitä vähintään tarvitaan prosessin muodostumiseen.
Uustuotantoprosessi näyttäytyy erityisenä ja kestävänä tuotesuhteena, joka ei perustu pelkkään nostalgiaan ja jossa ei tarvita suunniteltua vanhentamista ja tuotteen poistamista markkinoilta. Uustuotantoprosessi on useiden tekijöiden vuorovaikutussuhde, jossa sama tuote valitaan aina uudelleen. Eri tuotteiden prosesseissa on vaihtelevuutta, mutta logiikka on sama, jolloin prosessi on mallinnettavissa. Lopputuloksena on uustuotantoprosessin malli, jota voi hyödyntää sekä tuotekehityksessä että tieteellisessä tutkimuksessa.
The Enduring Product Relationship of the Board Game Kimble – The Cultural Neo-production Processes of Products
Our complex relationship to objects and products consists of constant purchases and disposals, yet with some products and objects we form a deeper relationship. In neo-production an old, often forgotten product is revived and brought back to the markets. Quite often, the visual style, production techniques and materials of the product go through some minor changes due to fashion and technological development, but the original product remains recognizable.
The cultural neo-production process describes a repetitive and systematic neo-production method; the product intermittently returns and disappears from the markets. The cultural neo-production process is formed by the controlled relationship between planned obsolescence and planned revivification. Planned obsolescence prematurely turns the product undesirable and useless, and directs the product out of the market to a resting phase. Planned revivification refers to often nostalgic resurrection of the product, bringing the product back to the market. Previous research has emphasized the role of nostalgia in the resurrection of products, but this study aims to give a more thorough and broader explanation to the cultural neoproduction process than nostalgia.
This study uses the Finnish board game Kimble as a case product. Kimble was first introduced to the public market in 1967. Several factors speak for choosing Kimble as a focus: First, Kimble's original version has been updated a number of times, and after the appearance of several theme versions, it proves itself to be both materially flexible and remarkably unchangeable. It is also physically durable, resisting the usual forms of planned obsolescence. Secondly, it has an interesting historical background, and it receives media attention from time to time. These factors point to different forms of cultural neo-production processes. This study asks, what kind of a cultural neo-production process can be formed based on Kimble? Three sub research questions are also pointed: 1) what kinds of components take part in the process, 2) how is the process formed and what kind of phases does it have, and 3) what kind of a theoretical model can be produced based on the case product?
The research material consists of interviews of experts working for the manufacturer Tactic Games Oy, user responses to an online inquiry, documentation of student culture and student interview, documentation of Kimble versions and close reading of the product. The theoretical context of this study is based on game studies, consumption culture and material culture studies.
This doctoral thesis comprises this summary and four peer-reviewed articles that focus on different components revealed by Kimble, essential to the cultural neo-production process: history, permanent features and changes, biographies and user culture. In addition, this study aims to make a light comparison between Kimble and the preliminary concepts of the process. It then forms the structure, phases and preconditions for the process; what are the minimum requirements for the process to take place.
The cultural neo-production process sheds light on the enduring and special product-object relationship, which is not solely based on nostalgia. Planned obsolescence is not necessary either, and there is no need to withdraw the product from the market. In the cultural neo-production process, the same product is chosen over and over again, and this is formed by the interaction between several factors and components. Each product has a unique process, yet the logic is the same, and thus a theoretical model can be produced from the process. As a result, this study presents a two-path model for the cultural neo-production process, which can be used for both scientific research and as guideline for product design.},
keywords = {Cultural neo-production process, Culture product, Esinesuhde, Kulttuurituote, Object relationship, Planned obsolescence, Planned revivification, Product relationship, Suunniteltu henkiinherättäminen, Suunniteltu vanhentaminen, Tuotesuhde, Uustuotantoprosessi},
pubstate = {published},
tppubtype = {phdthesis}
}
Monimutkaisiin esine- ja tuotesuhteisiimme kuuluu esineiden jatkuva hankinta ja poisheittäminen. Joihinkin esineisiin ja tuotteisiin kyllästymme nopeasti, toisiin taas syntyy syvempi suhde. Oman kiehtovuutensa näihin suhteisiin tuo uustuotanto, jossa jokin vanha, tuotannosta aikoinaan poistettu tuote palautetaan takaisin tuotantoon. Uustuotannossa tuotteen valmistustavat ja -materiaalit sekä visuaalinen ilme saattavat muuttua teknologian ja muodin kehityksen yhteydessä, mutta alkuperäinen tuote säilyy tunnistettavana. Uustuotannosta tulee prosessi, kun toiminta muuttuu systemaattiseksi, jolloin tuote vuoroin poistuu, vuoroin palaa takaisin tuotantoon ja markkinoille.
Uustuotantoprosessi muodostuu suunnitellun vanhentamisen ja henkiinherättämisen eli revivifikaation välisestä vuorovaikutuksesta ja vuorottelusta tuotteen elinkaaressa. Suunnitellun vanhentamisen tarkoitus on rajoittaa tuotteen käyttöä ja toimivuutta, ja prosessissa sen tehtävänä on poistaa tuote markkinoilta. Henkiinherättäminen puolestaan perustuu nostalgiapohjaiseen menneiden tuotteiden elvyttämiseen ja palauttamiseen markkinoille. Aiempi tutkimus on korostanut nostalgian roolia tuotteiden kierrättämisessä ja elvyttämisessä. Tämän tutkimuksen tarkoitus on osoittaa, ettei selitys nostalgiasta riitä vaan ilmiö on paljon laajempi ja moniulotteisempi.
Tutkimus lähestyy aihetta tapaustutkimuksen kautta. Tutkimuksen esimerkkituotteena on vuonna 1967 ilmestynyt suomalainen Kimble-lautapeli, jonka perusversion uudistukset, lisenssiversiot, materiaalinen muuntautuvaisuus sekä toisaalta muuttumattomuus, historiallinen tausta, kestävyys ja mediahuomio puoltavat pelin valitsemista tutkimuskohteeksi. Peli vastustaa suunnitellun vanhentamisen tavanomaisimpia käytänteitä, ja tuo siten päivänvaloon erityyppisiä uustuotantoprosesseja. Tämän väitöskirjan päätutkimuskysymys on: Millainen on kulttuurituotteiden uustuotantoprosessi Kimble-lautapelin esimerkin valossa? Pääkysymystä täydentävät kolme alakysymystä: 1) mitä osa-alueita prosessiin kuuluu, 2) millaisia prosessin rakenne ja vaiheet ovat ja 3) millaisen teoreettisen mallin voi esimerkkituotteen perusteella muodostaa?
Tutkimuksen aineisto muodostuu Kimblen valmistajayhtiö Tactic Games Oy:n työntekijöiden haastatteluista, Kimble-verkkokyselyn vastauksista, opiskelijakulttuurin dokumentoinnista ja opiskelijahaastattelusta, dokumentoiduista Kimble-versioista sekä esineen lähiluvusta. Tutkimuksen teoreettinen viitekehys rakentuu pelitutkimuksen, kulutuksen tutkimuksen sekä materiaalisen kulttuurin ympärille.
Väitöskirja muodostuu tästä yhteenveto-osiosta sekä neljästä vertaisarvioidusta artikkelista, jotka käsittelevät uustuotantoprosessin keskeisimpiä osa-alueita Kimblen näkökulmasta: historiaa, pysyviä ominaisuuksia ja muutoksia sekä elämäkertoja ja käyttökulttuuria. Tämän lisäksi Kimble peilautuu vasten uustuotantoprosessin alustavaa käsitteistöä muodostaen prosessin rakenteen, vaiheet ja reunaehdot; mitä vähintään tarvitaan prosessin muodostumiseen.
Uustuotantoprosessi näyttäytyy erityisenä ja kestävänä tuotesuhteena, joka ei perustu pelkkään nostalgiaan ja jossa ei tarvita suunniteltua vanhentamista ja tuotteen poistamista markkinoilta. Uustuotantoprosessi on useiden tekijöiden vuorovaikutussuhde, jossa sama tuote valitaan aina uudelleen. Eri tuotteiden prosesseissa on vaihtelevuutta, mutta logiikka on sama, jolloin prosessi on mallinnettavissa. Lopputuloksena on uustuotantoprosessin malli, jota voi hyödyntää sekä tuotekehityksessä että tieteellisessä tutkimuksessa.
The Enduring Product Relationship of the Board Game Kimble – The Cultural Neo-production Processes of Products
Our complex relationship to objects and products consists of constant purchases and disposals, yet with some products and objects we form a deeper relationship. In neo-production an old, often forgotten product is revived and brought back to the markets. Quite often, the visual style, production techniques and materials of the product go through some minor changes due to fashion and technological development, but the original product remains recognizable.
The cultural neo-production process describes a repetitive and systematic neo-production method; the product intermittently returns and disappears from the markets. The cultural neo-production process is formed by the controlled relationship between planned obsolescence and planned revivification. Planned obsolescence prematurely turns the product undesirable and useless, and directs the product out of the market to a resting phase. Planned revivification refers to often nostalgic resurrection of the product, bringing the product back to the market. Previous research has emphasized the role of nostalgia in the resurrection of products, but this study aims to give a more thorough and broader explanation to the cultural neoproduction process than nostalgia.
This study uses the Finnish board game Kimble as a case product. Kimble was first introduced to the public market in 1967. Several factors speak for choosing Kimble as a focus: First, Kimble's original version has been updated a number of times, and after the appearance of several theme versions, it proves itself to be both materially flexible and remarkably unchangeable. It is also physically durable, resisting the usual forms of planned obsolescence. Secondly, it has an interesting historical background, and it receives media attention from time to time. These factors point to different forms of cultural neo-production processes. This study asks, what kind of a cultural neo-production process can be formed based on Kimble? Three sub research questions are also pointed: 1) what kinds of components take part in the process, 2) how is the process formed and what kind of phases does it have, and 3) what kind of a theoretical model can be produced based on the case product?
The research material consists of interviews of experts working for the manufacturer Tactic Games Oy, user responses to an online inquiry, documentation of student culture and student interview, documentation of Kimble versions and close reading of the product. The theoretical context of this study is based on game studies, consumption culture and material culture studies.
This doctoral thesis comprises this summary and four peer-reviewed articles that focus on different components revealed by Kimble, essential to the cultural neo-production process: history, permanent features and changes, biographies and user culture. In addition, this study aims to make a light comparison between Kimble and the preliminary concepts of the process. It then forms the structure, phases and preconditions for the process; what are the minimum requirements for the process to take place.
The cultural neo-production process sheds light on the enduring and special product-object relationship, which is not solely based on nostalgia. Planned obsolescence is not necessary either, and there is no need to withdraw the product from the market. In the cultural neo-production process, the same product is chosen over and over again, and this is formed by the interaction between several factors and components. Each product has a unique process, yet the logic is the same, and thus a theoretical model can be produced from the process. As a result, this study presents a two-path model for the cultural neo-production process, which can be used for both scientific research and as guideline for product design.
Uustuotantoprosessi muodostuu suunnitellun vanhentamisen ja henkiinherättämisen eli revivifikaation välisestä vuorovaikutuksesta ja vuorottelusta tuotteen elinkaaressa. Suunnitellun vanhentamisen tarkoitus on rajoittaa tuotteen käyttöä ja toimivuutta, ja prosessissa sen tehtävänä on poistaa tuote markkinoilta. Henkiinherättäminen puolestaan perustuu nostalgiapohjaiseen menneiden tuotteiden elvyttämiseen ja palauttamiseen markkinoille. Aiempi tutkimus on korostanut nostalgian roolia tuotteiden kierrättämisessä ja elvyttämisessä. Tämän tutkimuksen tarkoitus on osoittaa, ettei selitys nostalgiasta riitä vaan ilmiö on paljon laajempi ja moniulotteisempi.
Tutkimus lähestyy aihetta tapaustutkimuksen kautta. Tutkimuksen esimerkkituotteena on vuonna 1967 ilmestynyt suomalainen Kimble-lautapeli, jonka perusversion uudistukset, lisenssiversiot, materiaalinen muuntautuvaisuus sekä toisaalta muuttumattomuus, historiallinen tausta, kestävyys ja mediahuomio puoltavat pelin valitsemista tutkimuskohteeksi. Peli vastustaa suunnitellun vanhentamisen tavanomaisimpia käytänteitä, ja tuo siten päivänvaloon erityyppisiä uustuotantoprosesseja. Tämän väitöskirjan päätutkimuskysymys on: Millainen on kulttuurituotteiden uustuotantoprosessi Kimble-lautapelin esimerkin valossa? Pääkysymystä täydentävät kolme alakysymystä: 1) mitä osa-alueita prosessiin kuuluu, 2) millaisia prosessin rakenne ja vaiheet ovat ja 3) millaisen teoreettisen mallin voi esimerkkituotteen perusteella muodostaa?
Tutkimuksen aineisto muodostuu Kimblen valmistajayhtiö Tactic Games Oy:n työntekijöiden haastatteluista, Kimble-verkkokyselyn vastauksista, opiskelijakulttuurin dokumentoinnista ja opiskelijahaastattelusta, dokumentoiduista Kimble-versioista sekä esineen lähiluvusta. Tutkimuksen teoreettinen viitekehys rakentuu pelitutkimuksen, kulutuksen tutkimuksen sekä materiaalisen kulttuurin ympärille.
Väitöskirja muodostuu tästä yhteenveto-osiosta sekä neljästä vertaisarvioidusta artikkelista, jotka käsittelevät uustuotantoprosessin keskeisimpiä osa-alueita Kimblen näkökulmasta: historiaa, pysyviä ominaisuuksia ja muutoksia sekä elämäkertoja ja käyttökulttuuria. Tämän lisäksi Kimble peilautuu vasten uustuotantoprosessin alustavaa käsitteistöä muodostaen prosessin rakenteen, vaiheet ja reunaehdot; mitä vähintään tarvitaan prosessin muodostumiseen.
Uustuotantoprosessi näyttäytyy erityisenä ja kestävänä tuotesuhteena, joka ei perustu pelkkään nostalgiaan ja jossa ei tarvita suunniteltua vanhentamista ja tuotteen poistamista markkinoilta. Uustuotantoprosessi on useiden tekijöiden vuorovaikutussuhde, jossa sama tuote valitaan aina uudelleen. Eri tuotteiden prosesseissa on vaihtelevuutta, mutta logiikka on sama, jolloin prosessi on mallinnettavissa. Lopputuloksena on uustuotantoprosessin malli, jota voi hyödyntää sekä tuotekehityksessä että tieteellisessä tutkimuksessa.
The Enduring Product Relationship of the Board Game Kimble – The Cultural Neo-production Processes of Products
Our complex relationship to objects and products consists of constant purchases and disposals, yet with some products and objects we form a deeper relationship. In neo-production an old, often forgotten product is revived and brought back to the markets. Quite often, the visual style, production techniques and materials of the product go through some minor changes due to fashion and technological development, but the original product remains recognizable.
The cultural neo-production process describes a repetitive and systematic neo-production method; the product intermittently returns and disappears from the markets. The cultural neo-production process is formed by the controlled relationship between planned obsolescence and planned revivification. Planned obsolescence prematurely turns the product undesirable and useless, and directs the product out of the market to a resting phase. Planned revivification refers to often nostalgic resurrection of the product, bringing the product back to the market. Previous research has emphasized the role of nostalgia in the resurrection of products, but this study aims to give a more thorough and broader explanation to the cultural neoproduction process than nostalgia.
This study uses the Finnish board game Kimble as a case product. Kimble was first introduced to the public market in 1967. Several factors speak for choosing Kimble as a focus: First, Kimble's original version has been updated a number of times, and after the appearance of several theme versions, it proves itself to be both materially flexible and remarkably unchangeable. It is also physically durable, resisting the usual forms of planned obsolescence. Secondly, it has an interesting historical background, and it receives media attention from time to time. These factors point to different forms of cultural neo-production processes. This study asks, what kind of a cultural neo-production process can be formed based on Kimble? Three sub research questions are also pointed: 1) what kinds of components take part in the process, 2) how is the process formed and what kind of phases does it have, and 3) what kind of a theoretical model can be produced based on the case product?
The research material consists of interviews of experts working for the manufacturer Tactic Games Oy, user responses to an online inquiry, documentation of student culture and student interview, documentation of Kimble versions and close reading of the product. The theoretical context of this study is based on game studies, consumption culture and material culture studies.
This doctoral thesis comprises this summary and four peer-reviewed articles that focus on different components revealed by Kimble, essential to the cultural neo-production process: history, permanent features and changes, biographies and user culture. In addition, this study aims to make a light comparison between Kimble and the preliminary concepts of the process. It then forms the structure, phases and preconditions for the process; what are the minimum requirements for the process to take place.
The cultural neo-production process sheds light on the enduring and special product-object relationship, which is not solely based on nostalgia. Planned obsolescence is not necessary either, and there is no need to withdraw the product from the market. In the cultural neo-production process, the same product is chosen over and over again, and this is formed by the interaction between several factors and components. Each product has a unique process, yet the logic is the same, and thus a theoretical model can be produced from the process. As a result, this study presents a two-path model for the cultural neo-production process, which can be used for both scientific research and as guideline for product design.
Stenros, Jaakko; Jungman, Heikki; Nylund, Niklas
In: Nylund, Niklas; Stenros, Jaakko; Jungman, Heikki (Ed.): Mielikuvituksen maantiede, Tampereen museot: Vapriikki, 2022.
Publication for professional or general audience Open access
Abstract | Links | Tags: Maantiede, Mielikuvitus, Näyttelyt, Pelikartat
@other{Stenros2022c,
title = {Mielikuvituksen maantiede},
author = {Jaakko Stenros and Heikki Jungman and Niklas Nylund},
editor = {Niklas Nylund and Jaakko Stenros and Heikki Jungman
},
url = {https://urn.fi/URN:NBN:fi:tuni-202303062756
https://trepo.tuni.fi/bitstream/handle/10024/146274/Mielikuvituksen_maantiede_julkaisu.pdf?sequence=1&isAllowed=y},
year = {2022},
date = {2022-06-09},
urldate = {2022-06-09},
booktitle = {Mielikuvituksen maantiede},
publisher = {Tampereen museot: Vapriikki},
abstract = {Näyttelyjulkaisu Suomen pelimuseon Mielikuvituksen maantiede -näyttelyyn},
keywords = {Maantiede, Mielikuvitus, Näyttelyt, Pelikartat},
pubstate = {published},
tppubtype = {other}
}
Näyttelyjulkaisu Suomen pelimuseon Mielikuvituksen maantiede -näyttelyyn
Friman, Usva
Gender and Game Cultural Agency in The Post-Gamer Era: Finnish Women Players’ Gaming Practices, Game Cultural Participation, and Rejected Gamer Identity
2022, ISBN: 978-951-29-8876-1.
Doctoral thesis
Abstract | Tags: Game cultural agency, Game cultural participation, Gamer identity, Gamers, Gaming practices, Gender, Players, Women
@phdthesis{Friman2022d,
title = {Gender and Game Cultural Agency in The Post-Gamer Era: Finnish Women Players’ Gaming Practices, Game Cultural Participation, and Rejected Gamer Identity},
author = {Usva Friman},
isbn = {978-951-29-8876-1},
year = {2022},
date = {2022-06-03},
urldate = {2022-06-03},
number = {581},
publisher = {University of Turku},
series = {Turun yliopiston julkaisuja, Sarja B, Humaniora},
abstract = {This doctoral dissertation study, positioned in the field of game culture studies, seeks to understand women’s game cultural agency by examining the various aspects of gaming practices, game cultural participation, and gamer identity, as well as effects of gender in Finnish women’s digital gaming. Its main research question is: How can women’s game cultural agency be understood beyond the gamer identity? This main research question is divided into three sub research questions:
1. What are women players’ gaming practices like?
2. How does gender affect women players’ game cultural participation?
3. How do women players construct the idea and identity of a gamer?
The theoretical framework of the study is built upon the concepts of game culture, game cultural participation, gamer identity, and gender. In the study, game culture is understood as a Bourdieusian field of culture, hierarchical in its nature. Within this cultural field, an individual’s position is defined by her game cultural capital, based on consumption of game cultural products, participation in game cultural activities, gaming skill, and game cultural expertise. Game cultural participation refers to both participating in game cultural activities and the feeling of belonging in game culture. Gamer identity is seen as a cultural identity – experienced and performed within a specific game cultural context – that requires both identification (from the person seeing herself as a gamer) and validation (from other members of game culture). A person’s gamer identity is performed through the gamer habitus: embodied dispositions and displays of game cultural capital. Gender is understood as embodied performance, set in specific game cultural contexts and against the expectations of hegemonic gamer masculinity.
The primary research material of this study consists of semi-structured theme interviews with 20 interviewees and an online questionnaire with 737 respondents, both collected from Finnish adult women who play digital games. Both the interviews and the online questionnaire report women’s current gaming practices and gaming histories, participation in gaming events, production and consumption of game media, following of and participation in electronic sports, gamer definitions and gamer identity, how gender affects their gaming, and the meanings of gaming in the women’s lives. The material is analysed using reflexive thematic analysis. Additionally, narrative literature reviews are conducted to provide theoretical context for the analysis.
The analysis shows that women are active players and game cultural participants (albeit more as consumers than as producers) who display significant game cultural expertise. Importantly, women define their game cultural agency on their own terms, affected by but standing against the gendered norms and expectations of the hegemonic game culture. However, women also encounter significant gender-based barriers to their game cultural participation and agency, leading them to suffer from misogynistic discrimination and harassment, limit their participation for their safety, or even opt out entirely from certain game cultural activities. Most women participating in the study reported their gender having affected their gaming, mostly in negative ways. Supportive social environments appear central to women’s gaming.
The main contribution of this study is providing understanding of how game cultural agency is constructed beyond the idea and identity of a gamer and the gender-specific issues affecting women’s game cultural agency. The results offer valuable insight into gaming practices, game cultural participation, and (rejection of) gamer identities of women players, as well as into women players’ game cultural position as a group that is simultaneously actively participating in and being rejected from game culture. The study increases our understanding of the structures of marginalisation within game culture, which do not only affect women but many other player groups as well.
The results of the study can be applied in efforts to increase the cultural accessibility, inclusivity, and equity of game culture by a variety of game cultural agents, including gaming event and esports tournament organisers, gaming community managers, gaming education and youth workers, and game journalists. Even though the material is focused on Finnish women players, these results can also be applied to other player groups as well as international contexts.},
keywords = {Game cultural agency, Game cultural participation, Gamer identity, Gamers, Gaming practices, Gender, Players, Women},
pubstate = {published},
tppubtype = {phdthesis}
}
This doctoral dissertation study, positioned in the field of game culture studies, seeks to understand women’s game cultural agency by examining the various aspects of gaming practices, game cultural participation, and gamer identity, as well as effects of gender in Finnish women’s digital gaming. Its main research question is: How can women’s game cultural agency be understood beyond the gamer identity? This main research question is divided into three sub research questions:
1. What are women players’ gaming practices like?
2. How does gender affect women players’ game cultural participation?
3. How do women players construct the idea and identity of a gamer?
The theoretical framework of the study is built upon the concepts of game culture, game cultural participation, gamer identity, and gender. In the study, game culture is understood as a Bourdieusian field of culture, hierarchical in its nature. Within this cultural field, an individual’s position is defined by her game cultural capital, based on consumption of game cultural products, participation in game cultural activities, gaming skill, and game cultural expertise. Game cultural participation refers to both participating in game cultural activities and the feeling of belonging in game culture. Gamer identity is seen as a cultural identity – experienced and performed within a specific game cultural context – that requires both identification (from the person seeing herself as a gamer) and validation (from other members of game culture). A person’s gamer identity is performed through the gamer habitus: embodied dispositions and displays of game cultural capital. Gender is understood as embodied performance, set in specific game cultural contexts and against the expectations of hegemonic gamer masculinity.
The primary research material of this study consists of semi-structured theme interviews with 20 interviewees and an online questionnaire with 737 respondents, both collected from Finnish adult women who play digital games. Both the interviews and the online questionnaire report women’s current gaming practices and gaming histories, participation in gaming events, production and consumption of game media, following of and participation in electronic sports, gamer definitions and gamer identity, how gender affects their gaming, and the meanings of gaming in the women’s lives. The material is analysed using reflexive thematic analysis. Additionally, narrative literature reviews are conducted to provide theoretical context for the analysis.
The analysis shows that women are active players and game cultural participants (albeit more as consumers than as producers) who display significant game cultural expertise. Importantly, women define their game cultural agency on their own terms, affected by but standing against the gendered norms and expectations of the hegemonic game culture. However, women also encounter significant gender-based barriers to their game cultural participation and agency, leading them to suffer from misogynistic discrimination and harassment, limit their participation for their safety, or even opt out entirely from certain game cultural activities. Most women participating in the study reported their gender having affected their gaming, mostly in negative ways. Supportive social environments appear central to women’s gaming.
The main contribution of this study is providing understanding of how game cultural agency is constructed beyond the idea and identity of a gamer and the gender-specific issues affecting women’s game cultural agency. The results offer valuable insight into gaming practices, game cultural participation, and (rejection of) gamer identities of women players, as well as into women players’ game cultural position as a group that is simultaneously actively participating in and being rejected from game culture. The study increases our understanding of the structures of marginalisation within game culture, which do not only affect women but many other player groups as well.
The results of the study can be applied in efforts to increase the cultural accessibility, inclusivity, and equity of game culture by a variety of game cultural agents, including gaming event and esports tournament organisers, gaming community managers, gaming education and youth workers, and game journalists. Even though the material is focused on Finnish women players, these results can also be applied to other player groups as well as international contexts.
1. What are women players’ gaming practices like?
2. How does gender affect women players’ game cultural participation?
3. How do women players construct the idea and identity of a gamer?
The theoretical framework of the study is built upon the concepts of game culture, game cultural participation, gamer identity, and gender. In the study, game culture is understood as a Bourdieusian field of culture, hierarchical in its nature. Within this cultural field, an individual’s position is defined by her game cultural capital, based on consumption of game cultural products, participation in game cultural activities, gaming skill, and game cultural expertise. Game cultural participation refers to both participating in game cultural activities and the feeling of belonging in game culture. Gamer identity is seen as a cultural identity – experienced and performed within a specific game cultural context – that requires both identification (from the person seeing herself as a gamer) and validation (from other members of game culture). A person’s gamer identity is performed through the gamer habitus: embodied dispositions and displays of game cultural capital. Gender is understood as embodied performance, set in specific game cultural contexts and against the expectations of hegemonic gamer masculinity.
The primary research material of this study consists of semi-structured theme interviews with 20 interviewees and an online questionnaire with 737 respondents, both collected from Finnish adult women who play digital games. Both the interviews and the online questionnaire report women’s current gaming practices and gaming histories, participation in gaming events, production and consumption of game media, following of and participation in electronic sports, gamer definitions and gamer identity, how gender affects their gaming, and the meanings of gaming in the women’s lives. The material is analysed using reflexive thematic analysis. Additionally, narrative literature reviews are conducted to provide theoretical context for the analysis.
The analysis shows that women are active players and game cultural participants (albeit more as consumers than as producers) who display significant game cultural expertise. Importantly, women define their game cultural agency on their own terms, affected by but standing against the gendered norms and expectations of the hegemonic game culture. However, women also encounter significant gender-based barriers to their game cultural participation and agency, leading them to suffer from misogynistic discrimination and harassment, limit their participation for their safety, or even opt out entirely from certain game cultural activities. Most women participating in the study reported their gender having affected their gaming, mostly in negative ways. Supportive social environments appear central to women’s gaming.
The main contribution of this study is providing understanding of how game cultural agency is constructed beyond the idea and identity of a gamer and the gender-specific issues affecting women’s game cultural agency. The results offer valuable insight into gaming practices, game cultural participation, and (rejection of) gamer identities of women players, as well as into women players’ game cultural position as a group that is simultaneously actively participating in and being rejected from game culture. The study increases our understanding of the structures of marginalisation within game culture, which do not only affect women but many other player groups as well.
The results of the study can be applied in efforts to increase the cultural accessibility, inclusivity, and equity of game culture by a variety of game cultural agents, including gaming event and esports tournament organisers, gaming community managers, gaming education and youth workers, and game journalists. Even though the material is focused on Finnish women players, these results can also be applied to other player groups as well as international contexts.
Ng, Kwok; Kaskinen, Ari-Pekka; Katila, Rauli; Koski, Pasi; Karhulahti, Veli-Matti
Associations Between Sports Videogames and Physical Activity in Children
In: Physical Culture and Sport Studies and Research, vol. 95, iss. 1, pp. 68-75, 2022, ISSN: 2081-2221.
Journal article Open access
Abstract | Links | Tags: Adolescence, Health behaviour, Physical activity relationships, Screen time, Sedentary
@article{Ng2022,
title = {Associations Between Sports Videogames and Physical Activity in Children},
author = {Kwok Ng and Ari-Pekka Kaskinen and Rauli Katila and Pasi Koski and Veli-Matti Karhulahti },
url = {http://urn.fi/URN:NBN:fi:jyu-202208124051},
doi = {10.2478/pcssr-2022-0012},
issn = {2081-2221},
year = {2022},
date = {2022-05-30},
urldate = {2022-05-30},
journal = {Physical Culture and Sport Studies and Research},
volume = {95},
issue = {1},
pages = {68-75},
abstract = {Objective: The aim of the study was to examine the associations of sports video gaming behaviour in the sociological concept of Physical Activity Relationships (PAR) and to see if sports video gaming differs by gender. Methods: A convenience sample of children between 11–12 years of age (n = 114) from three Finnish regions completed a questionnaire on perceptions of their video gaming and physical activity habits. Differences by gender were tested by contingency tables, and blockwise binary logistic regressions were used to examine the strength of association with physical activity behaviour in PAR. Results: Almost all girls had low importance to video gaming and over two thirds (71%) reported their frequency in sports video gaming was less than monthly. Sports video gaming was positively associated with physical activity behaviours (OR = 3.4, CI = 1.3–9.0), but when combined with perceived physical activity importance and spectating in sports, the association was no longer statistically significant. There were no differences in gender for non-sports video gaming. Conclusions: For children who partake in sports video games, the activity can be an integral part of their overall PAR. These preliminary results require further exploring prior to drawing societal implications or sports video games or applying them for intervention to promote physical activity.},
keywords = {Adolescence, Health behaviour, Physical activity relationships, Screen time, Sedentary},
pubstate = {published},
tppubtype = {article}
}
Objective: The aim of the study was to examine the associations of sports video gaming behaviour in the sociological concept of Physical Activity Relationships (PAR) and to see if sports video gaming differs by gender. Methods: A convenience sample of children between 11–12 years of age (n = 114) from three Finnish regions completed a questionnaire on perceptions of their video gaming and physical activity habits. Differences by gender were tested by contingency tables, and blockwise binary logistic regressions were used to examine the strength of association with physical activity behaviour in PAR. Results: Almost all girls had low importance to video gaming and over two thirds (71%) reported their frequency in sports video gaming was less than monthly. Sports video gaming was positively associated with physical activity behaviours (OR = 3.4, CI = 1.3–9.0), but when combined with perceived physical activity importance and spectating in sports, the association was no longer statistically significant. There were no differences in gender for non-sports video gaming. Conclusions: For children who partake in sports video games, the activity can be an integral part of their overall PAR. These preliminary results require further exploring prior to drawing societal implications or sports video games or applying them for intervention to promote physical activity.
Aarseth, Espen; Karhulahti, Veli-Matti
In Search of Characters Without Signifiers
In: Narrative, vol. 30, no. 2, pp. 268-285 , 2022, ISSN: 1063-3685.
Journal article Open access
Abstract | Links | Tags: Characters, Game characters, Implied characters, Minimalist characters
@article{Aarseth2022,
title = {In Search of Characters Without Signifiers},
author = {Espen Aarseth and Veli-Matti Karhulahti},
url = {http://urn.fi/URN:NBN:fi:jyu-202206163427},
doi = {10.1353/nar.2022.0016},
issn = {1063-3685},
year = {2022},
date = {2022-05-25},
urldate = {2022-05-25},
journal = {Narrative},
volume = {30},
number = {2},
pages = {268-285 },
abstract = {This essay explores the question whether characters can exist without being signified in any way. If characters can exist trans-medially, independently of a particular form of signification or sign-vehicle, why not exist without any signification at all? What kind of existence would such a character have? And, paradoxically, what would examples look like? While the question at face value might appear logically invalid, I argue that at (or just beyond) the minimalist end of the character-representational spectrum, we find what might be called implied characters, that is, characters that are not in any way given, represented, named, or performed, but can only exist in the minds of their players during play, as a formal slot without physical, structural, communicational, or mental properties.},
keywords = {Characters, Game characters, Implied characters, Minimalist characters},
pubstate = {published},
tppubtype = {article}
}
This essay explores the question whether characters can exist without being signified in any way. If characters can exist trans-medially, independently of a particular form of signification or sign-vehicle, why not exist without any signification at all? What kind of existence would such a character have? And, paradoxically, what would examples look like? While the question at face value might appear logically invalid, I argue that at (or just beyond) the minimalist end of the character-representational spectrum, we find what might be called implied characters, that is, characters that are not in any way given, represented, named, or performed, but can only exist in the minds of their players during play, as a formal slot without physical, structural, communicational, or mental properties.
Blom, Joleen; Mikkonen, Kai
Virtual Assistants as Characters—Or Not
In: Narrative, vol. 30, no. 2, pp. 169-181, 2022, ISSN: 1063-3685.
Journal article Open access
Abstract | Links | Tags: Characters, Hikari Azuma, Kyara, Quasi-persons, Voice assistants
@article{Blom2022b,
title = {Virtual Assistants as Characters—Or Not},
author = {Joleen Blom and Kai Mikkonen},
url = {http://hdl.handle.net/10138/345328},
doi = {10.1353/nar.2022.0009},
issn = {1063-3685},
year = {2022},
date = {2022-05-25},
urldate = {2022-05-25},
journal = {Narrative},
volume = {30},
number = {2},
pages = {169-181},
abstract = {New technologies like voice assistants such as Siri, Alexa, and the Google Assistant give the impression that the lines between humans and machines are blurring as machines gradually take up social roles once occupied by humans. To counter that anxiety, this essay argues that these technologies are becoming more like characters, adapting to the templates we initially constructed for fictional beings whose space voice assistants occupy instead. It provides a textual reading of the Japanese voice assistant Hikari Azuma as advertised by the company Vinclu’s website in order to demonstrate how Hikari functions as a kyara, a character without story, whose development depends on the user. The essay proposes that we have to adjust
our conceptual understanding of characters as distinct from human beings and technology. Instead, the essay concludes that we should perceive current technologies like voice assistants as technologies operating on a spectrum in which some machines will look more like characters and others more like software-in-action with no humanlikeness at all.},
keywords = {Characters, Hikari Azuma, Kyara, Quasi-persons, Voice assistants},
pubstate = {published},
tppubtype = {article}
}
New technologies like voice assistants such as Siri, Alexa, and the Google Assistant give the impression that the lines between humans and machines are blurring as machines gradually take up social roles once occupied by humans. To counter that anxiety, this essay argues that these technologies are becoming more like characters, adapting to the templates we initially constructed for fictional beings whose space voice assistants occupy instead. It provides a textual reading of the Japanese voice assistant Hikari Azuma as advertised by the company Vinclu’s website in order to demonstrate how Hikari functions as a kyara, a character without story, whose development depends on the user. The essay proposes that we have to adjust
our conceptual understanding of characters as distinct from human beings and technology. Instead, the essay concludes that we should perceive current technologies like voice assistants as technologies operating on a spectrum in which some machines will look more like characters and others more like software-in-action with no humanlikeness at all.
our conceptual understanding of characters as distinct from human beings and technology. Instead, the essay concludes that we should perceive current technologies like voice assistants as technologies operating on a spectrum in which some machines will look more like characters and others more like software-in-action with no humanlikeness at all.
Sotamaa, Olli
In: Grabarczyk, Paweł (Ed.): Encyclopedia of Ludic Terms, Spring 2022 Edition, 2022.
Publication for professional or general audience Open access
Abstract | Links | Tags: Definitions, Encyclopedia, Modding, Modifying, Terms
@other{Sotamaa2022b,
title = {Modding},
author = {Olli Sotamaa},
editor = {Paweł Grabarczyk},
url = {https://eolt.org/articles/modding},
year = {2022},
date = {2022-05-20},
urldate = {2022-05-20},
booktitle = {Encyclopedia of Ludic Terms},
edition = {Spring 2022 Edition},
abstract = {Modding, originally from modifying, refers to a practice of changing a game by creating modifications to it. Modifications range from very simple edits to "total conversions" and entirely new games. Modding as a phenomenon questions any "fixed" idea of a game by illustrating how games operate as launchpads for player creativity. Game modding draws on the history of software hacking and in this respect modding can take forms that are seen as resistant or illegitimate. At the same time, modding is often invited and supported by game companies, leading to constant negotiations between the game industry and the player community.},
keywords = {Definitions, Encyclopedia, Modding, Modifying, Terms},
pubstate = {published},
tppubtype = {other}
}
Modding, originally from modifying, refers to a practice of changing a game by creating modifications to it. Modifications range from very simple edits to "total conversions" and entirely new games. Modding as a phenomenon questions any "fixed" idea of a game by illustrating how games operate as launchpads for player creativity. Game modding draws on the history of software hacking and in this respect modding can take forms that are seen as resistant or illegitimate. At the same time, modding is often invited and supported by game companies, leading to constant negotiations between the game industry and the player community.
Aura, Isabella; Hassan, Lobna; Hamari, Juho
Gameful Civic Education: A Systematic Literature Review of Empirical Research
In: Bujić, Mila; Koivisto, Jonna; Hamari, Juho (Ed.): Proceedings of the 6th International GamiFIN Conference 2022 (GamiFIN 2022), Gamification Group, Tampere University, Finland, 2022, (April 26-29, 2022 (Organized as an online conference).).
In proceedings Open access
Abstract | Links | Tags: Civic education, Game-based approaches, Game-based learning, Gamification, Systematic literature review
@inproceedings{Aura2022,
title = {Gameful Civic Education: A Systematic Literature Review of Empirical Research},
author = {Isabella Aura and Lobna Hassan and Juho Hamari},
editor = {Mila Bujić and Jonna Koivisto and Juho Hamari},
url = {https://trepo.tuni.fi/bitstream/handle/10024/141230/2022_Aura_et_al_civic_education_review.pdf?sequence=1&isAllowed=y},
year = {2022},
date = {2022-04-29},
urldate = {2022-04-29},
booktitle = {Proceedings of the 6th International GamiFIN Conference 2022 (GamiFIN 2022)},
publisher = {Gamification Group, Tampere University, Finland},
series = {CEUR Workship Proceedings},
abstract = {Gameful approaches to learning have gradually been established as the go-to rhetoric when attempting to increase engagement with learning. This has especially been the case in educational activities that have long-term missions or teach abstract concepts, such as life skills, communal tolerance, or civic education at large, where there exist several pedagogical challenges in making the context meaningful to the youth. However, currently there is no clear overall view on what kind of gameful affordances are utilized in teaching these subjects and what are their reported impacts. To investigate the state-of-the-art of this corpus, 36 empirical papers were identified and systematically reviewed. The current literature, overall, draws quite an optimistic image of the benefits of game-based approaches in civic education. Most of the reported gamification designs included characters and roleplay, social aspects such as co-op and chat functions, as well as 3D worlds and game maps for students to navigate in. Furthermore, the corpus reported positive impact of gamification on learning in the context of civic education as well as positive impact on cognitive, emotional, motivational and social experiences and motivation. However, the lack of detailed descriptions of the exact attributes that facilitated these favorable shifts indicates a need for more systematic research to identify the long-term and transferable influence game-based approaches have on formal civic education and students’ civic skills.},
note = {April 26-29, 2022 (Organized as an online conference).},
keywords = {Civic education, Game-based approaches, Game-based learning, Gamification, Systematic literature review},
pubstate = {published},
tppubtype = {inproceedings}
}
Gameful approaches to learning have gradually been established as the go-to rhetoric when attempting to increase engagement with learning. This has especially been the case in educational activities that have long-term missions or teach abstract concepts, such as life skills, communal tolerance, or civic education at large, where there exist several pedagogical challenges in making the context meaningful to the youth. However, currently there is no clear overall view on what kind of gameful affordances are utilized in teaching these subjects and what are their reported impacts. To investigate the state-of-the-art of this corpus, 36 empirical papers were identified and systematically reviewed. The current literature, overall, draws quite an optimistic image of the benefits of game-based approaches in civic education. Most of the reported gamification designs included characters and roleplay, social aspects such as co-op and chat functions, as well as 3D worlds and game maps for students to navigate in. Furthermore, the corpus reported positive impact of gamification on learning in the context of civic education as well as positive impact on cognitive, emotional, motivational and social experiences and motivation. However, the lack of detailed descriptions of the exact attributes that facilitated these favorable shifts indicates a need for more systematic research to identify the long-term and transferable influence game-based approaches have on formal civic education and students’ civic skills.
Macey, Anna-Leena; Macey, Joseph; Hamari, Juho
Virtual Reality in Emotion Regulation: A Scoping Review
In: Bujić, Mila; Koivisto, Jonna; Hamari, Juho (Ed.): Proceedings of the 6th International GamiFIN Conference (GamiFIN 2022), Gamification Group, Tampere University, Finland, 2022, (April 26-29, 2022 (Organized as an online conference).).
In proceedings Open access
Abstract | Links | Tags: Emotion regulation, Human-computer interaction, Immersive VR, Scoping review, Technological affordances
@inproceedings{Macey2022d,
title = {Virtual Reality in Emotion Regulation: A Scoping Review},
author = {Anna-Leena Macey and Joseph Macey and Juho Hamari},
editor = {Mila Bujić and Jonna Koivisto and Juho Hamari},
url = {https://ceur-ws.org/Vol-3147/paper7.pdf},
year = {2022},
date = {2022-04-29},
urldate = {2022-04-29},
booktitle = {Proceedings of the 6th International GamiFIN Conference (GamiFIN 2022)},
publisher = {Gamification Group, Tampere University, Finland},
series = {CEUR Workshop Proceedings},
abstract = {Academic research investigating virtual reality (VR) is growing rapidly; as a result of VR becoming more easily accessible, it has become a more viable tool for helping individuals regulate their emotions. This research aims to provide an overview of the field and the contexts in which VR has been implemented to facilitate emotion regulation. Results indicate that although VR has been used to facilitate ER for over two decades, empirical research in the field has remained somewhat static until 2018. Furthermore, the contexts in which it has been employed have remained narrow with more than half of all included publications utilising VR to administer exposure therapy. While the recent increase of published works in the field, combined with more varied uses of VR, indicate a broadening of the field this work highlights several gaps in the extant literature, identifying a series of potential avenues for future research.},
note = {April 26-29, 2022 (Organized as an online conference).},
keywords = {Emotion regulation, Human-computer interaction, Immersive VR, Scoping review, Technological affordances},
pubstate = {published},
tppubtype = {inproceedings}
}
Academic research investigating virtual reality (VR) is growing rapidly; as a result of VR becoming more easily accessible, it has become a more viable tool for helping individuals regulate their emotions. This research aims to provide an overview of the field and the contexts in which VR has been implemented to facilitate emotion regulation. Results indicate that although VR has been used to facilitate ER for over two decades, empirical research in the field has remained somewhat static until 2018. Furthermore, the contexts in which it has been employed have remained narrow with more than half of all included publications utilising VR to administer exposure therapy. While the recent increase of published works in the field, combined with more varied uses of VR, indicate a broadening of the field this work highlights several gaps in the extant literature, identifying a series of potential avenues for future research.
Malinen, Ville
Suorituksia, imagoa ja dollareita
In: Tylkkäri - Turun ylioppilaslehti, vol. 92, no. 3, pp. 30-31, Turun yliopiston ylioppilaskunta, 2022, ISSN: 1458-0209.
Publication for professional or general audience Open access
Links | Tags: Arvokisat, Huippu-urheilu, Korruptio, Olympialaiset, Olympialiike, Politisoituminen, Urheilu- ja liikuntajärjestöt, Viihteellistyminen
@other{Malinen2022b,
title = {Suorituksia, imagoa ja dollareita},
author = {Ville Malinen},
url = {https://converis.jyu.fi/converis/portal/detail/Publication/164467310?auxfun=&lang=fi_FI
https://www.lehtiluukku.fi/lue/tyl/03-2022/310599.html},
issn = {1458-0209},
year = {2022},
date = {2022-04-29},
urldate = {2022-04-29},
booktitle = {Tylkkäri - Turun ylioppilaslehti},
volume = {92},
number = {3},
pages = {30-31},
publisher = {Turun yliopiston ylioppilaskunta},
keywords = {Arvokisat, Huippu-urheilu, Korruptio, Olympialaiset, Olympialiike, Politisoituminen, Urheilu- ja liikuntajärjestöt, Viihteellistyminen},
pubstate = {published},
tppubtype = {other}
}
Lankoski, Petri; Apperley, Thomas H.; Harviainen, J. Tuomas
Platform-produced Heteronormativity: A Content Analysis of Adult Videogames on Patreon
In: Games and Culture, vol. 18, iss. 1, pp. 102-123, 2022, ISSN: 1555-4120, (First published online April-21-2022. Upcoming publication January 2023.).
Journal article Open access
Abstract | Links | Tags: Adult games, Content analysis, Heteronormativity, Non-consensual sex, Patreon funding, Pornography
@article{Lankoski2022,
title = {Platform-produced Heteronormativity: A Content Analysis of Adult Videogames on Patreon},
author = {Petri Lankoski and Thomas H. Apperley and J. Tuomas Harviainen},
url = {https://urn.fi/URN:NBN:fi:tuni-202205024229},
doi = {10.1177/15554120221084453},
issn = {1555-4120},
year = {2022},
date = {2022-04-21},
urldate = {2022-04-21},
journal = {Games and Culture},
volume = {18},
issue = {1},
pages = {102-123},
abstract = {This article examines the prominent role of Patreon in the rapidly growing sector of crowdfunded pornographic games. Recent research has indicated that, on average, more people (patrons) are funding pornographic digital games on Patreon than other (non-adult) digital games (Lankoski & Dymek, 2020). Graphtreon’s ‘Top Patreon Creators’ list from 9 June 2021 includes six NSFW game projects among the top 50 projects (ranked by number of Patrons).1 For example, Summertime Saga (Dark Cookie), the highest-ranked pornographic game, is third in terms of the number of funders, with 27,791 patrons funding $74,657 per month. While Wild Life – An Adult RPG (Adeptus Steve), which reportedly only had 9417 patrons as of 9 June 2021, receives a monthly income of $94,129 from those pledges.2 The current funding levels for both Patreon projects are considerably higher than when we began our sampling: since January 2020, the funding level for Summertime Saga has risen by 27.86%, while for Wild Life – An Adult RPG it has risen by 21.45%.},
note = {First published online April-21-2022. Upcoming publication January 2023.},
keywords = {Adult games, Content analysis, Heteronormativity, Non-consensual sex, Patreon funding, Pornography},
pubstate = {published},
tppubtype = {article}
}
This article examines the prominent role of Patreon in the rapidly growing sector of crowdfunded pornographic games. Recent research has indicated that, on average, more people (patrons) are funding pornographic digital games on Patreon than other (non-adult) digital games (Lankoski & Dymek, 2020). Graphtreon’s ‘Top Patreon Creators’ list from 9 June 2021 includes six NSFW game projects among the top 50 projects (ranked by number of Patrons).1 For example, Summertime Saga (Dark Cookie), the highest-ranked pornographic game, is third in terms of the number of funders, with 27,791 patrons funding $74,657 per month. While Wild Life – An Adult RPG (Adeptus Steve), which reportedly only had 9417 patrons as of 9 June 2021, receives a monthly income of $94,129 from those pledges.2 The current funding levels for both Patreon projects are considerably higher than when we began our sampling: since January 2020, the funding level for Summertime Saga has risen by 27.86%, while for Wild Life – An Adult RPG it has risen by 21.45%.
Mäyrä, Frans
In: Grabarczyk, Paweł (Ed.): Encyclopedia of Ludic Terms, Spring 2022, 2022.
Publication for professional or general audience Open access
Abstract | Links | Tags: Culture, Discipline, Education, Games, Humanities, Interdisciplinarity, Research
@other{Mäyrä2022,
title = {Game Studies},
author = {Frans Mäyrä},
editor = {Paweł Grabarczyk},
url = {https://urn.fi/URN:NBN:fi:tuni-202206285861
https://trepo.tuni.fi//bitstream/handle/10024/141138/GameStudies_Mayra.pdf?sequence=1
https://eolt.org/articles/game-studies},
year = {2022},
date = {2022-04-21},
urldate = {2022-04-21},
booktitle = {Encyclopedia of Ludic Terms},
edition = {Spring 2022},
abstract = {‘Game Studies’ is generally used to signify a humanities-based orientation to the study of games, play and related phenomena. This involves the development of conceptual, theoretical and methodological approaches that address the artistic form and aesthetic experience of games as a form of art and entertainment. As such, Game Studies is also a young academic discipline, which entered academia in the early 2000s. There are different emphases in how contemporary Game Studies is being practised, with some scholars focusing more attention on the formal characteristics of games, some on the role of play and players, game design, or on the historical and political contexts and meanings for games and play.},
keywords = {Culture, Discipline, Education, Games, Humanities, Interdisciplinarity, Research},
pubstate = {published},
tppubtype = {other}
}
‘Game Studies’ is generally used to signify a humanities-based orientation to the study of games, play and related phenomena. This involves the development of conceptual, theoretical and methodological approaches that address the artistic form and aesthetic experience of games as a form of art and entertainment. As such, Game Studies is also a young academic discipline, which entered academia in the early 2000s. There are different emphases in how contemporary Game Studies is being practised, with some scholars focusing more attention on the formal characteristics of games, some on the role of play and players, game design, or on the historical and political contexts and meanings for games and play.
Blom, Joleen
In: Grabarczyk, Paweł (Ed.): Encyclopedia of Ludic Terms, Spring 2022, 2022.
Publication for professional or general audience Open access
Abstract | Links | Tags: Actor, Agent, Avatar, Character, Companion, Emotional attachment, Narrative, Player-character, Transmedia
@other{Blom2022e,
title = {Game Character},
author = {Joleen Blom},
editor = {Paweł Grabarczyk},
url = {https://researchportal.tuni.fi/files/63703413/GameCharacter_Blom_3_OAversionTuniCris.pdf
http://urn.fi/URN:NBN:fi:tuni-202206225775
https://eolt.org/articles/game-character},
year = {2022},
date = {2022-04-21},
urldate = {2022-04-21},
booktitle = {Encyclopedia of Ludic Terms},
edition = {Spring 2022},
abstract = {This entry explains how game characters have been discussed in Game Studies and adjacent fields, evolving from agents and human-like beings to avatars, player-characters, transmedia characters and companions. Our understanding of game characters is based on our perception of charactersin other media. Although characters are understood as pieces of writing and human-like entities in Literary Studies, Game Studies has focused mainly on the playable figure, that is, the avatar and the player-character with little interest in other types of game characters. Currently, game characters are mainly discussed in two trends: as part of a global and transmedial network of characters over different texts, and as companion characters with which players can form a romantic emotional attachment.
},
keywords = {Actor, Agent, Avatar, Character, Companion, Emotional attachment, Narrative, Player-character, Transmedia},
pubstate = {published},
tppubtype = {other}
}
This entry explains how game characters have been discussed in Game Studies and adjacent fields, evolving from agents and human-like beings to avatars, player-characters, transmedia characters and companions. Our understanding of game characters is based on our perception of charactersin other media. Although characters are understood as pieces of writing and human-like entities in Literary Studies, Game Studies has focused mainly on the playable figure, that is, the avatar and the player-character with little interest in other types of game characters. Currently, game characters are mainly discussed in two trends: as part of a global and transmedial network of characters over different texts, and as companion characters with which players can form a romantic emotional attachment.
Stenros, Jaakko
In: Grabarczyk, Paweł (Ed.): Encyclopedia of Ludic Terms, Spring 2022, 2022.
Publication for professional or general audience Open access
Abstract | Links | Tags: Cluster definition, Definition, Essential definition, Game, History, Language games, Nominal definition, Ostensive definition, Persuasive definition
@other{Stenros2022b,
title = {Game Definitions},
author = {Jaakko Stenros},
editor = {Paweł Grabarczyk},
url = {https://researchportal.tuni.fi/files/65429645/GameDefinition_Stenros.pdf
https://urn.fi/URN:NBN:fi:tuni-202206285860
https://eolt.org/articles/game-definition},
year = {2022},
date = {2022-04-21},
urldate = {2022-04-21},
booktitle = {Encyclopedia of Ludic Terms},
edition = {Spring 2022},
abstract = {Scholars and designers have defined the concept of 'game' in different ways over the decades. Are games an activity or an artifact, a form of art or a series of interesting choices, a mess or socio-material stabilizations? Is there something that all games share or is it all just family resemblances? This article considers different definitions proposed since the 1930s, as well as the idea that there is no special set of features or an essence that all games share.},
keywords = {Cluster definition, Definition, Essential definition, Game, History, Language games, Nominal definition, Ostensive definition, Persuasive definition},
pubstate = {published},
tppubtype = {other}
}
Scholars and designers have defined the concept of 'game' in different ways over the decades. Are games an activity or an artifact, a form of art or a series of interesting choices, a mess or socio-material stabilizations? Is there something that all games share or is it all just family resemblances? This article considers different definitions proposed since the 1930s, as well as the idea that there is no special set of features or an essence that all games share.
Karhulahti, Veli-Matti
In: Grabarczyk, Paweł (Ed.): Encyclopedia of Ludic Terms, Spring 2022, 2022.
Publication for professional or general audience Open access
Abstract | Links | Tags: Computer games, Concepts, Definitions, Digital games, Games, Video games
@other{Karhulahti2022g,
title = {Digital Games},
author = {Veli-Matti Karhulahti},
editor = {Paweł Grabarczyk},
url = {https://research.fi/en/results/publication/0392491322
https://eolt.org/articles/digital-games},
year = {2022},
date = {2022-04-21},
urldate = {2022-04-21},
booktitle = {Encyclopedia of Ludic Terms},
edition = {Spring 2022},
abstract = {This entry summarizes the history and current use of "digital games" and related terminology, such as "computer games", "electronic games", and "videogames". Despite their etymological variety, a few pragmatic differences between these competing terms exist, which has recently led researchers and practitioners to increasingly apply (even more) general concepts such as "gaming" and "esports". A recommendation is not to interpret and use such terms literally, but to choose related terminology based on context and consistency.},
keywords = {Computer games, Concepts, Definitions, Digital games, Games, Video games},
pubstate = {published},
tppubtype = {other}
}
This entry summarizes the history and current use of "digital games" and related terminology, such as "computer games", "electronic games", and "videogames". Despite their etymological variety, a few pragmatic differences between these competing terms exist, which has recently led researchers and practitioners to increasingly apply (even more) general concepts such as "gaming" and "esports". A recommendation is not to interpret and use such terms literally, but to choose related terminology based on context and consistency.
Macey, Joseph; Cantell, Mikko; Tossavainen, Tommi; Karjala, Antti; Castrén, Sari
In: Journal of Behavioral Addictions, vol. 11, iss. 2, pp. 256–66, 2022, ISSN: 2062-5871.
Journal article Open access
Abstract | Links | Tags: Convergence of gambling and gaming, Gambling, Harm minimisation, Loot boxes, Regulation, Video gaming
@article{Macey2022c,
title = {How Can the Potential Harms of Loot Boxes Be Minimised?: Proposals for Understanding and Addressing Issues at a National Level},
author = {Joseph Macey and Mikko Cantell and Tommi Tossavainen and Antti Karjala and Sari Castrén},
url = {https://urn.fi/URN:NBN:fi-fe2022081154134},
doi = {10.1556/2006.2022.00016},
issn = {2062-5871},
year = {2022},
date = {2022-04-20},
urldate = {2022-04-20},
journal = {Journal of Behavioral Addictions},
volume = {11},
issue = {2},
pages = {256–66},
abstract = {Background and aims
Loot boxes are in-game items which distribute rewards to players via random-number generation; many games require players to make in-game payments to access their contents. The combination of financial outlay and random rewards has raised concern about similarities to gambling. This debate paper presents a series of themes identified by an inter-institutional working group in Finland, alongside suggested actions, and are presented with the intention of stimulating debate among stakeholders.
Methods
This work uses an exploratory research approach to gather data from a range of sources, including state-of-the-art reports from several fields and qualitative content analysis of invited presentations from a range of stakeholders, including affected individuals, practitioners, and field-specific experts.
Results and Discussion
Several significant themes emerged from the work and are presented alongside a series of proposed action points. Based on this preliminary exploration we propose a series of, non-exhaustive, actions for both primary and secondary prevention. Furthermore, the group identified the potential for responsible gaming practices to be adopted which would help to minimize the harm from overspending in gaming activities. Finally, we identified the need for further research in the field, for example the use of player data and both longitudinal and qualitative studies.
Conclusions
The emergent themes are discussed in relation to both the views of the presenters and existing research in the field and are intended to promote discussion concerning the viability of context-specific approaches to an issue of global reach and significance.},
keywords = {Convergence of gambling and gaming, Gambling, Harm minimisation, Loot boxes, Regulation, Video gaming},
pubstate = {published},
tppubtype = {article}
}
Background and aims
Loot boxes are in-game items which distribute rewards to players via random-number generation; many games require players to make in-game payments to access their contents. The combination of financial outlay and random rewards has raised concern about similarities to gambling. This debate paper presents a series of themes identified by an inter-institutional working group in Finland, alongside suggested actions, and are presented with the intention of stimulating debate among stakeholders.
Methods
This work uses an exploratory research approach to gather data from a range of sources, including state-of-the-art reports from several fields and qualitative content analysis of invited presentations from a range of stakeholders, including affected individuals, practitioners, and field-specific experts.
Results and Discussion
Several significant themes emerged from the work and are presented alongside a series of proposed action points. Based on this preliminary exploration we propose a series of, non-exhaustive, actions for both primary and secondary prevention. Furthermore, the group identified the potential for responsible gaming practices to be adopted which would help to minimize the harm from overspending in gaming activities. Finally, we identified the need for further research in the field, for example the use of player data and both longitudinal and qualitative studies.
Conclusions
The emergent themes are discussed in relation to both the views of the presenters and existing research in the field and are intended to promote discussion concerning the viability of context-specific approaches to an issue of global reach and significance.
Loot boxes are in-game items which distribute rewards to players via random-number generation; many games require players to make in-game payments to access their contents. The combination of financial outlay and random rewards has raised concern about similarities to gambling. This debate paper presents a series of themes identified by an inter-institutional working group in Finland, alongside suggested actions, and are presented with the intention of stimulating debate among stakeholders.
Methods
This work uses an exploratory research approach to gather data from a range of sources, including state-of-the-art reports from several fields and qualitative content analysis of invited presentations from a range of stakeholders, including affected individuals, practitioners, and field-specific experts.
Results and Discussion
Several significant themes emerged from the work and are presented alongside a series of proposed action points. Based on this preliminary exploration we propose a series of, non-exhaustive, actions for both primary and secondary prevention. Furthermore, the group identified the potential for responsible gaming practices to be adopted which would help to minimize the harm from overspending in gaming activities. Finally, we identified the need for further research in the field, for example the use of player data and both longitudinal and qualitative studies.
Conclusions
The emergent themes are discussed in relation to both the views of the presenters and existing research in the field and are intended to promote discussion concerning the viability of context-specific approaches to an issue of global reach and significance.
Blom, Joleen
Challenging Linearity: Microstructures and Meaning Making in Trails of Cold Steel III
In: Hutchinson, Rachael; Pelletier-Gagnon, Jérémie (Ed.): Japanese Role-Playing Games: Genre, Representation, and Liminality in the JRPG, Lexington Books, 2022, ISBN: 978-1-7936-4355-1.
Book chapter
Abstract | Links | Tags: Character, Japanese role-playing games, JRPG
@incollection{Blom2022d,
title = {Challenging Linearity: Microstructures and Meaning Making in Trails of Cold Steel III},
author = {Joleen Blom},
editor = {Rachael Hutchinson and Jérémie Pelletier-Gagnon},
url = {https://rowman.com/ISBN/9781793643551/Japanese-Role-Playing-Games-Genre-Representation-and-Liminality-in-the-JRPG},
isbn = {978-1-7936-4355-1},
year = {2022},
date = {2022-04-15},
urldate = {2022-04-15},
booktitle = {Japanese Role-Playing Games: Genre, Representation, and Liminality in the JRPG},
publisher = {Lexington Books},
chapter = {4},
abstract = {Book abstract:
Japanese Role-playing Games: Genre, Representation, and Liminality in the JRPG examines the origins, boundaries, and transnational effects of the genre, addressing significant formal elements as well as narrative themes, character construction, and player involvement. Contributors from Japan, Europe, North America, and Australia employ a variety of theoretical approaches to analyze popular game series and individual titles, introducing an English-speaking audience to Japanese video game scholarship while also extending postcolonial and philosophical readings to the Japanese game text. In a three-pronged approach, the collection uses these analyses to look at genre, representation, and liminality, engaging with a multitude of concepts including stereotypes, intersectionality, and the political and social effects of JRPGs on players and industry conventions. Broadly, this collection considers JRPGs as networked systems, including evolved iterations of MMORPGs and card collecting “social games” for mobile devices. Scholars of media studies, game studies, Asian studies, and Japanese culture will find this book particularly useful.},
keywords = {Character, Japanese role-playing games, JRPG},
pubstate = {published},
tppubtype = {incollection}
}
Book abstract:
Japanese Role-playing Games: Genre, Representation, and Liminality in the JRPG examines the origins, boundaries, and transnational effects of the genre, addressing significant formal elements as well as narrative themes, character construction, and player involvement. Contributors from Japan, Europe, North America, and Australia employ a variety of theoretical approaches to analyze popular game series and individual titles, introducing an English-speaking audience to Japanese video game scholarship while also extending postcolonial and philosophical readings to the Japanese game text. In a three-pronged approach, the collection uses these analyses to look at genre, representation, and liminality, engaging with a multitude of concepts including stereotypes, intersectionality, and the political and social effects of JRPGs on players and industry conventions. Broadly, this collection considers JRPGs as networked systems, including evolved iterations of MMORPGs and card collecting “social games” for mobile devices. Scholars of media studies, game studies, Asian studies, and Japanese culture will find this book particularly useful.
Japanese Role-playing Games: Genre, Representation, and Liminality in the JRPG examines the origins, boundaries, and transnational effects of the genre, addressing significant formal elements as well as narrative themes, character construction, and player involvement. Contributors from Japan, Europe, North America, and Australia employ a variety of theoretical approaches to analyze popular game series and individual titles, introducing an English-speaking audience to Japanese video game scholarship while also extending postcolonial and philosophical readings to the Japanese game text. In a three-pronged approach, the collection uses these analyses to look at genre, representation, and liminality, engaging with a multitude of concepts including stereotypes, intersectionality, and the political and social effects of JRPGs on players and industry conventions. Broadly, this collection considers JRPGs as networked systems, including evolved iterations of MMORPGs and card collecting “social games” for mobile devices. Scholars of media studies, game studies, Asian studies, and Japanese culture will find this book particularly useful.
Karhulahti, Veli-Matti; Kauraoja, Valtteri; Ouninkorpi, Olli; Perttu, Soli; Perälä, Jussi; Toivanen, Vilma; Siutila, Miia
Multiverse Ethnography: A Qualitative Method for Gaming and Technology Use Research
In: Journal of Gaming and Virtual Worlds, vol. 14, iss. 1, pp. 85-110, 2022, ISSN: 1757-191X, (Embargoed until: 2023-04-01. Request copy from author.).
Journal article
Abstract | Links | Tags: Among Us, Anthropology, Big-team science, Cyberpunk 2077, Digital culture, Methodology, Qualitative research
@article{Karhulahti2022d,
title = {Multiverse Ethnography: A Qualitative Method for Gaming and Technology Use Research},
author = {Veli-Matti Karhulahti and Valtteri Kauraoja and Olli Ouninkorpi and Soli Perttu and Jussi Perälä and Vilma Toivanen and Miia Siutila},
url = {http://urn.fi/URN:NBN:fi:jyu-202210244959},
doi = {10.1386/jgvw_00053_1},
issn = {1757-191X},
year = {2022},
date = {2022-04-01},
urldate = {2022-04-01},
journal = {Journal of Gaming and Virtual Worlds},
volume = {14},
issue = {1},
pages = {85-110},
abstract = {This article introduces multiverse ethnography as a systematic team-based qualitative method for studying the mechanical, structural and experiential properties of video games and other technological artefacts. Instead of applying the ethnographic method to produce a single in-depth account, multiverse ethnography includes multiple researchers carrying out coordinated synergetic ethnographic work on the same research object, thus producing a multiverse of interpretations and perspectives. To test the method, 41 scholars carried out a multiverse ethnography on two video games, Cyberpunk 2077 and Among Us. Explorative thematic findings regarding both titles are reported and methodological implications of multiverse ethnography are discussed.},
note = {Embargoed until: 2023-04-01. Request copy from author.},
keywords = {Among Us, Anthropology, Big-team science, Cyberpunk 2077, Digital culture, Methodology, Qualitative research},
pubstate = {published},
tppubtype = {article}
}
This article introduces multiverse ethnography as a systematic team-based qualitative method for studying the mechanical, structural and experiential properties of video games and other technological artefacts. Instead of applying the ethnographic method to produce a single in-depth account, multiverse ethnography includes multiple researchers carrying out coordinated synergetic ethnographic work on the same research object, thus producing a multiverse of interpretations and perspectives. To test the method, 41 scholars carried out a multiverse ethnography on two video games, Cyberpunk 2077 and Among Us. Explorative thematic findings regarding both titles are reported and methodological implications of multiverse ethnography are discussed.
Friman, Usva; Arjoranta, Jonne; Kinnunen, Jani; Heljakka, Katriina; Stenros, Jaakko
Johdanto: Pelit kulttuurina ja kulttuurissa
In: Friman, Usva; Arjoranta, Jonne; Kinnunen, Jani; Heljakka, Katriina; Stenros, Jaakko (Ed.): Pelit kulttuurina, Vastapaino, 2022, ISBN: 978-951-768-965-6.
Book chapter Open access
@incollection{Friman2022b,
title = {Johdanto: Pelit kulttuurina ja kulttuurissa},
author = {Usva Friman and Jonne Arjoranta and Jani Kinnunen and Katriina Heljakka and Jaakko Stenros},
editor = {Usva Friman and Jonne Arjoranta and Jani Kinnunen and Katriina Heljakka and Jaakko Stenros},
url = {https://trepo.tuni.fi/handle/10024/146845},
isbn = {978-951-768-965-6},
year = {2022},
date = {2022-03-31},
urldate = {2022-03-31},
booktitle = {Pelit kulttuurina},
publisher = {Vastapaino},
keywords = {Culture, Games},
pubstate = {published},
tppubtype = {incollection}
}
Stenros, Jaakko
In: Friman, Usva; Arjoranta, Jonne; Kinnunen, Jani; Heljakka, Katriina; Stenros, Jaakko (Ed.): Pelit kulttuurina, Vastapaino, 2022, ISBN: 978-951-768-965-6.
Book chapter Open access
Links | Tags: Art, Culture, Games
@incollection{Stenros2022,
title = {Pelit kulttuurina ja taiteena},
author = {Jaakko Stenros},
editor = {Usva Friman and Jonne Arjoranta and Jani Kinnunen and Katriina Heljakka and Jaakko Stenros },
url = {https://trepo.tuni.fi/handle/10024/146874},
isbn = {978-951-768-965-6},
year = {2022},
date = {2022-03-31},
urldate = {2022-03-31},
booktitle = {Pelit kulttuurina},
publisher = {Vastapaino},
chapter = {3},
keywords = {Art, Culture, Games},
pubstate = {published},
tppubtype = {incollection}
}
Sotamaa, Olli
In: Friman, Usva; Arjoranta, Jonne; Kinnunen, Jani; Heljakka, Katriina; Stenros, Jaakko (Ed.): Pelit kulttuurina, Vastapaino, 2022, ISBN: 978-951-768-965-6.
Book chapter Open access
Links | Tags: Finnish game industry, Game industry, Games
@incollection{Sotamaa2022,
title = {Pelintekemisen kulttuurit},
author = {Olli Sotamaa},
editor = {Usva Friman and Jonne Arjoranta and Jani Kinnunen and Katriina Heljakka and Jaakko Stenros},
url = {https://trepo.tuni.fi/handle/10024/146847},
isbn = {978-951-768-965-6},
year = {2022},
date = {2022-03-31},
urldate = {2022-03-31},
booktitle = {Pelit kulttuurina},
publisher = {Vastapaino},
chapter = {4},
keywords = {Finnish game industry, Game industry, Games},
pubstate = {published},
tppubtype = {incollection}
}
Siitonen, Marko
Vuorovaikutus pelaajayhteisöissä
In: Friman, Usva; Arjoranta, Jonne; Kinnunen, Jani; Heljakka, Katriina; Stenros, Jaakko (Ed.): Pelit kulttuurina, Vastapaino, 2022, ISBN: 978-951-768-965-6.
Book chapter Open access
Links | Tags: Player community, Player interaction
@incollection{Siitonen2022b,
title = {Vuorovaikutus pelaajayhteisöissä},
author = {Marko Siitonen},
editor = {Usva Friman and Jonne Arjoranta and Jani Kinnunen and Katriina Heljakka and Jaakko Stenros},
url = {https://jyx.jyu.fi/handle/123456789/80858},
isbn = {978-951-768-965-6},
year = {2022},
date = {2022-03-31},
urldate = {2022-03-31},
booktitle = {Pelit kulttuurina},
publisher = {Vastapaino},
chapter = {5},
keywords = {Player community, Player interaction},
pubstate = {published},
tppubtype = {incollection}
}
Friman, Usva
Sukupuoli, pelaajaidentiteetti ja pelikulttuurinen osallisuus
In: Friman, Usva; Arjoranta, Jonne; Kinnunen, Jani; Heljakka, Katriina; Stenros, Jaakko (Ed.): Pelit kulttuurina, Vastapaino, 2022, ISBN: 978-951-768-965-6.
Book chapter Open access
Links | Tags: Gender, Participatory culture, Player identity
@incollection{Friman2022c,
title = {Sukupuoli, pelaajaidentiteetti ja pelikulttuurinen osallisuus},
author = {Usva Friman},
editor = {Usva Friman and Jonne Arjoranta and Jani Kinnunen and Katriina Heljakka and Jaakko Stenros},
url = {https://trepo.tuni.fi/handle/10024/146875},
isbn = {978-951-768-965-6},
year = {2022},
date = {2022-03-31},
urldate = {2022-03-31},
booktitle = {Pelit kulttuurina},
publisher = {Vastapaino},
chapter = {6},
keywords = {Gender, Participatory culture, Player identity},
pubstate = {published},
tppubtype = {incollection}
}
Suominen, Jaakko
Digitaalisen pelaamisen tiloja ja vaiheita
In: Friman, Usva; Arjoranta, Jonne; Kinnunen, Jani; Heljakka, Katriina; Stenros, Jaakko (Ed.): Pelit kulttuurina, Vastapaino, 2022, ISBN: 978-951-768-965-6.
Book chapter Open access
Links | Tags: Digital games, Digital gaming, Game history
@incollection{Suominen2022d,
title = {Digitaalisen pelaamisen tiloja ja vaiheita},
author = {Jaakko Suominen},
editor = {Usva Friman and Jonne Arjoranta and Jani Kinnunen and Katriina Heljakka and Jaakko Stenros},
url = {https://research.utu.fi/converis/portal/detail/Publication/174949638},
isbn = {978-951-768-965-6},
year = {2022},
date = {2022-03-31},
urldate = {2022-03-31},
booktitle = {Pelit kulttuurina},
publisher = {Vastapaino},
chapter = {7},
keywords = {Digital games, Digital gaming, Game history},
pubstate = {published},
tppubtype = {incollection}
}
Välisalo, Tanja; Koskimaa, Raine
In: Friman, Usva; Arjoranta, Jonne; Kinnunen, Jani; Heljakka, Katriina; Stenros, Jaakko (Ed.): Pelit kulttuurina, Vastapaino, 2022, ISBN: 978-951-768-965-6.
Book chapter Open access
Links | Tags: Games, Transmedia
@incollection{Välisalo2022c,
title = {Pelit ja transmediaalisuus},
author = {Tanja Välisalo and Raine Koskimaa},
editor = {Usva Friman and Jonne Arjoranta and Jani Kinnunen and Katriina Heljakka and Jaakko Stenros},
url = {https://jyx.jyu.fi/handle/123456789/80853},
isbn = {978-951-768-965-6},
year = {2022},
date = {2022-03-31},
urldate = {2022-03-31},
booktitle = {Pelit kulttuurina},
publisher = {Vastapaino},
chapter = {8},
keywords = {Games, Transmedia},
pubstate = {published},
tppubtype = {incollection}
}
Koskimaa, Raine; Välisalo, Tanja
Kulttuurin leikillistyminen ja pelillistyminen
In: Friman, Usva; Arjoranta, Jonne; Kinnunen, Jani; Heljakka, Katriina; Stenros, Jaakko (Ed.): Pelit kulttuurina, Vastapaino, 2022, ISBN: 978-951-768-965-6.
Book chapter Open access
Links | Tags: Culture, Gamification, Playification
@incollection{Koskimaa2022,
title = {Kulttuurin leikillistyminen ja pelillistyminen},
author = {Raine Koskimaa and Tanja Välisalo},
editor = {Usva Friman and Jonne Arjoranta and Jani Kinnunen and Katriina Heljakka and Jaakko Stenros},
url = {https://jyx.jyu.fi/handle/123456789/80855},
isbn = {978-951-768-965-6},
year = {2022},
date = {2022-03-31},
urldate = {2022-03-31},
booktitle = {Pelit kulttuurina},
publisher = {Vastapaino},
chapter = {11},
keywords = {Culture, Gamification, Playification},
pubstate = {published},
tppubtype = {incollection}
}
Turtiainen, Riikka
Liikunta, urheilu ja pelaaminen
In: Friman, Usva; Arjoranta, Jonne; Kinnunen, Jani; Heljakka, Katriina; Stenros, Jaakko (Ed.): Pelit kulttuurina, Vastapaino, 2022, ISBN: 978-951-768-965-6.
Book chapter Open access
Links | Tags: Exercise, Playing, Sports
@incollection{Turtiainen2022,
title = {Liikunta, urheilu ja pelaaminen},
author = {Riikka Turtiainen},
editor = {Usva Friman and Jonne Arjoranta and Jani Kinnunen and Katriina Heljakka and Jaakko Stenros},
url = {https://research.utu.fi/converis/portal/detail/Publication/175112766},
isbn = {978-951-768-965-6},
year = {2022},
date = {2022-03-31},
urldate = {2022-03-31},
booktitle = {Pelit kulttuurina},
publisher = {Vastapaino},
chapter = {9},
keywords = {Exercise, Playing, Sports},
pubstate = {published},
tppubtype = {incollection}
}
Kinnunen, Jani
In: Friman, Usva; Arjoranta, Jonne; Kinnunen, Jani; Heljakka, Katriina; Stenros, Jaakko (Ed.): Pelit kulttuurina, Vastapaino, 2022, ISBN: 978-951-768-965-6.
Book chapter Open access
Links | Tags: Gambling, Games, Money
@incollection{Kinnunen2022,
title = {Raha, pelit ja rahapelit},
author = {Jani Kinnunen},
editor = {Usva Friman and Jonne Arjoranta and Jani Kinnunen and Katriina Heljakka and Jaakko Stenros},
url = {https://trepo.tuni.fi/handle/10024/146848},
isbn = { 978-951-768-965-6},
year = {2022},
date = {2022-03-31},
urldate = {2022-03-31},
booktitle = {Pelit kulttuurina},
publisher = {Vastapaino},
chapter = {10},
keywords = {Gambling, Games, Money},
pubstate = {published},
tppubtype = {incollection}
}
Pasanen, Tero; Meriläinen, Mikko
Pelien yhteiskunnalliset uhkakuvat
In: Friman, Usva; Arjoranta, Jonne; Kinnunen, Jani; Heljakka, Katriina; Stenros, Jaakko (Ed.): Pelit kulttuurina, Vastapaino, 2022, ISBN: 978-951-768-965-6.
Book chapter Open access
Links | Tags: Games, Society, Threats
@incollection{Pasanen2022,
title = {Pelien yhteiskunnalliset uhkakuvat},
author = {Tero Pasanen and Mikko Meriläinen},
editor = {Usva Friman and Jonne Arjoranta and Jani Kinnunen and Katriina Heljakka and Jaakko Stenros},
url = {https://trepo.tuni.fi/handle/10024/146849},
isbn = {978-951-768-965-6},
year = {2022},
date = {2022-03-31},
urldate = {2022-03-31},
booktitle = {Pelit kulttuurina},
publisher = {Vastapaino},
chapter = {13},
keywords = {Games, Society, Threats},
pubstate = {published},
tppubtype = {incollection}
}
Arjoranta, Jonne
In: Friman, Usva; Arjoranta, Jonne; Kinnunen, Jani; Heljakka, Katriina; Stenros, Jaakko (Ed.): Pelit kulttuurina, Vastapaino, 2022, ISBN: 978-951-768-965-6.
Book chapter Open access
Links | Tags: Game culture, Games, Meaning
@incollection{Arjoranta2022b,
title = {Mitä pelit merkitsevät?},
author = {Jonne Arjoranta},
editor = {Usva Friman and Jonne Arjoranta and Jani Kinnunen and Katriina Heljakka and Jaakko Stenros},
url = {https://jyx.jyu.fi/handle/123456789/80852},
isbn = {978-951-768-965-6},
year = {2022},
date = {2022-03-31},
urldate = {2022-03-31},
booktitle = {Pelit kulttuurina},
publisher = {Vastapaino},
chapter = {14},
keywords = {Game culture, Games, Meaning},
pubstate = {published},
tppubtype = {incollection}
}
Friman, Usva; Arjoranta, Jonne; Kinnunen, Jani; Heljakka, Katriina; Stenros, Jaakko (Ed.)
Vastapaino, 2022, ISBN: 978-951-768-972-4.
Book Open access
Abstract | Links | Tags: Elektroninen urheilu, Kulttuurintutkimus, Lautapelit, Leikit, Pelaaminen, Pelit, Peliteollisuus, Pelitutkimus, Rahapelit, Urheilu, Viihde
@book{Friman2022e,
title = {Pelit kulttuurina},
editor = {Usva Friman and Jonne Arjoranta and Jani Kinnunen and Katriina Heljakka and Jaakko Stenros},
url = {https://www.pelitutkimus.fi/pelitutkimuskirjallisuus},
isbn = {978-951-768-972-4},
year = {2022},
date = {2022-03-31},
urldate = {2022-03-31},
publisher = {Vastapaino},
abstract = {Esittelyteksti:
Pelit ovat kulttuurimuoto, jolla on pitkät juuret ihmisen historiassa ja joka näkyy nykypäivänä kaikkialla arjessamme. Pelejä suunnitellaan ja kehitetään kaikenikäisille ja niitä pelataan lähes kaikissa ikäryhmissä, yksin ja yhdessä. Pelaamista harrastetaan vapaa-ajalla, harjoitetaan ammattina ja hyödynnetään niin oppimistilanteissa kuin työelämässä koko ajan enemmän.
Suomalaiset ovat pelikansaa. Melkein kaikki pelaavat Suomessa jotain, oli se sitten Lottoa, Mölkkyä, Returnalia tai Clash of Clansia. Suomi kuuluu myös pelinkehityksessä Euroopan kärkikastiin, ja suomalaiset kilpapelaajat niittävät menestystä maailmalla. Pelialan sankaritarinoiden siivittämänä peleihin kohdistuu myös monenlaisia yhteiskunnallisia toiveita ja huolia. Miten pelien Suomea pitäisi ymmärtää?
Kirjassa Pelit kulttuurina neljätoista Suomen eturivin pelitutkijaa kuvaa pelien kulttuurista ja yhteiskunnallista merkitystä Suomessa ja kansainvälisesti. Kirjoittajat kertovat, miten pelejä tehdään, pelataan ja tutkitaan, millaisia yhteisöjä niiden ympärille rakentuu, ja millaisiin yhteiskunnallisiin ilmiöihin ne liittyvät. Digitaalisten viihdepelien lisäksi kirja käsittelee urheilua, rahapelejä ja pelien suhdetta taiteeseen ja leikkiin. },
keywords = {Elektroninen urheilu, Kulttuurintutkimus, Lautapelit, Leikit, Pelaaminen, Pelit, Peliteollisuus, Pelitutkimus, Rahapelit, Urheilu, Viihde},
pubstate = {published},
tppubtype = {book}
}
Esittelyteksti:
Pelit ovat kulttuurimuoto, jolla on pitkät juuret ihmisen historiassa ja joka näkyy nykypäivänä kaikkialla arjessamme. Pelejä suunnitellaan ja kehitetään kaikenikäisille ja niitä pelataan lähes kaikissa ikäryhmissä, yksin ja yhdessä. Pelaamista harrastetaan vapaa-ajalla, harjoitetaan ammattina ja hyödynnetään niin oppimistilanteissa kuin työelämässä koko ajan enemmän.
Suomalaiset ovat pelikansaa. Melkein kaikki pelaavat Suomessa jotain, oli se sitten Lottoa, Mölkkyä, Returnalia tai Clash of Clansia. Suomi kuuluu myös pelinkehityksessä Euroopan kärkikastiin, ja suomalaiset kilpapelaajat niittävät menestystä maailmalla. Pelialan sankaritarinoiden siivittämänä peleihin kohdistuu myös monenlaisia yhteiskunnallisia toiveita ja huolia. Miten pelien Suomea pitäisi ymmärtää?
Kirjassa Pelit kulttuurina neljätoista Suomen eturivin pelitutkijaa kuvaa pelien kulttuurista ja yhteiskunnallista merkitystä Suomessa ja kansainvälisesti. Kirjoittajat kertovat, miten pelejä tehdään, pelataan ja tutkitaan, millaisia yhteisöjä niiden ympärille rakentuu, ja millaisiin yhteiskunnallisiin ilmiöihin ne liittyvät. Digitaalisten viihdepelien lisäksi kirja käsittelee urheilua, rahapelejä ja pelien suhdetta taiteeseen ja leikkiin.
Pelit ovat kulttuurimuoto, jolla on pitkät juuret ihmisen historiassa ja joka näkyy nykypäivänä kaikkialla arjessamme. Pelejä suunnitellaan ja kehitetään kaikenikäisille ja niitä pelataan lähes kaikissa ikäryhmissä, yksin ja yhdessä. Pelaamista harrastetaan vapaa-ajalla, harjoitetaan ammattina ja hyödynnetään niin oppimistilanteissa kuin työelämässä koko ajan enemmän.
Suomalaiset ovat pelikansaa. Melkein kaikki pelaavat Suomessa jotain, oli se sitten Lottoa, Mölkkyä, Returnalia tai Clash of Clansia. Suomi kuuluu myös pelinkehityksessä Euroopan kärkikastiin, ja suomalaiset kilpapelaajat niittävät menestystä maailmalla. Pelialan sankaritarinoiden siivittämänä peleihin kohdistuu myös monenlaisia yhteiskunnallisia toiveita ja huolia. Miten pelien Suomea pitäisi ymmärtää?
Kirjassa Pelit kulttuurina neljätoista Suomen eturivin pelitutkijaa kuvaa pelien kulttuurista ja yhteiskunnallista merkitystä Suomessa ja kansainvälisesti. Kirjoittajat kertovat, miten pelejä tehdään, pelataan ja tutkitaan, millaisia yhteisöjä niiden ympärille rakentuu, ja millaisiin yhteiskunnallisiin ilmiöihin ne liittyvät. Digitaalisten viihdepelien lisäksi kirja käsittelee urheilua, rahapelejä ja pelien suhdetta taiteeseen ja leikkiin.
Mäyrä, Frans
Pelikulttuurien tutkimuksen historiaa
In: Friman, Usva; Arjoranta, Jonne; Kinnunen, Jani; Heljakka, Katriina; Stenros, Jaakko (Ed.): Pelit kulttuurina, Vastapaino, 2022, ISBN: 978-951-768-972-4.
Book chapter Open access
Links | Tags: Game culture, History, Research
@incollection{Mäyrä2022,
title = {Pelikulttuurien tutkimuksen historiaa},
author = {Frans Mäyrä},
editor = {Usva Friman and Jonne Arjoranta and Jani Kinnunen and Katriina Heljakka and Jaakko Stenros},
url = {https://trepo.tuni.fi/handle/10024/146846
},
isbn = {978-951-768-972-4},
year = {2022},
date = {2022-03-31},
urldate = {2022-03-31},
booktitle = {Pelit kulttuurina},
publisher = {Vastapaino},
keywords = {Game culture, History, Research},
pubstate = {published},
tppubtype = {incollection}
}
Saarikoski, Petri; Lindfors, Antti; Suominen, Jaakko; Reunanen, Markku
The Illuminatus Space Game: From an April Fools’ Joke to Digital Cultural Heritage
In: Giappone, Krista Bonello Rutter; Majkowski, Tomasz Z.; Švelch, Jaroslav (Ed.): Video Games and Comedy, Palgrave Macmillan Cham, 2022, ISBN: 978-3-030-88338-6.
Book chapter
Abstract | Links | Tags: 1980s, April Fools' joke, Cultural memory, Digital culture, Game journalism, Home computers, Humour, Simulation games
@incollection{Saarikoski2022,
title = {The Illuminatus Space Game: From an April Fools’ Joke to Digital Cultural Heritage},
author = {Petri Saarikoski and Antti Lindfors and Jaakko Suominen and Markku Reunanen},
editor = {Krista Bonello Rutter Giappone and Tomasz Z. Majkowski and Jaroslav Švelch},
url = {https://link.springer.com/chapter/10.1007/978-3-030-88338-6_7},
doi = {http://dx.doi.org/10.1007/978-3-030-88338-6_7},
isbn = {978-3-030-88338-6},
year = {2022},
date = {2022-03-26},
urldate = {2022-03-26},
booktitle = {Video Games and Comedy},
publisher = {Palgrave Macmillan Cham},
series = {Palgrave Studies in Comedy},
abstract = {In April 1989, the leading Finnish computer hobbyist magazine MikroBitti published a glowing preview of a 3D space-faring game called Illuminatus. It was described as an epic space flight, trading, combat and empire building title that was more than a game, rather a way of life. In reality, the game did not exist at all, but the April Fools’ joke was taken seriously by many readers. In this chapter we analyse the cultural and historical context of the prank, its plausibility, and repercussions. The technological optimism of the decade is an important backdrop for the joke, and the journalist behind it cleverly evoked the hopes and expectations of the audience. Even after more than three decades, Illuminatus is still referenced and remembered within Finnish enthusiast circles. Interestingly, it appears that the (non-) existence of the game hardly matters at all in the long run, as it has become part of the shared cultural memory of a hobbyist generation, just as if it had been any popular game of the time. },
keywords = {1980s, April Fools' joke, Cultural memory, Digital culture, Game journalism, Home computers, Humour, Simulation games},
pubstate = {published},
tppubtype = {incollection}
}
In April 1989, the leading Finnish computer hobbyist magazine MikroBitti published a glowing preview of a 3D space-faring game called Illuminatus. It was described as an epic space flight, trading, combat and empire building title that was more than a game, rather a way of life. In reality, the game did not exist at all, but the April Fools’ joke was taken seriously by many readers. In this chapter we analyse the cultural and historical context of the prank, its plausibility, and repercussions. The technological optimism of the decade is an important backdrop for the joke, and the journalist behind it cleverly evoked the hopes and expectations of the audience. Even after more than three decades, Illuminatus is still referenced and remembered within Finnish enthusiast circles. Interestingly, it appears that the (non-) existence of the game hardly matters at all in the long run, as it has become part of the shared cultural memory of a hobbyist generation, just as if it had been any popular game of the time.
Macey, Joseph; Hamari, Juho
In: New Media & Society, vol. Pre-print, 2022, ISSN: 1461-4448.
Journal article Open access
Abstract | Links | Tags: Consumption, Convergence, Decision-making, Digital games, Digital media, Gamblification, Gambling, Gamification, Loot boxes, Video games
@article{Macey2022b,
title = {Gamblification: A Definition},
author = {Joseph Macey and Juho Hamari},
url = {https://journals.sagepub.com/doi/10.1177/14614448221083903},
doi = {https://doi.org/10.1177/14614448221083903},
issn = {1461-4448},
year = {2022},
date = {2022-03-17},
journal = {New Media & Society},
volume = {Pre-print},
abstract = {In recent years, gambling has become increasingly prominent in everyday life; the term ‘gamblification’ first emerged in the late 2000s and was used to describe the colonisation of sports and sporting cultures by the gambling industry. Since that time, gamblification has been used to describe a range of phenomena in increasingly diffuse contexts; it has been variously used as a proxy for the convergence of gaming and gambling, to describe specific monetisation practices, or as a means of motivating consumer behaviours. Conceptual clarity has been further muddied by the positioning of gamblification as a form of gamification. This work provides a definition of gamblification, which draws upon and consolidates existing uses of the term while also providing a lens through which the differing aspects of gamblification can be understood and appraised. By doing so, this work will establish a clear conceptual framework, which can structure in-depth discussions of this multi-dimensional phenomenon.},
keywords = {Consumption, Convergence, Decision-making, Digital games, Digital media, Gamblification, Gambling, Gamification, Loot boxes, Video games},
pubstate = {published},
tppubtype = {article}
}
In recent years, gambling has become increasingly prominent in everyday life; the term ‘gamblification’ first emerged in the late 2000s and was used to describe the colonisation of sports and sporting cultures by the gambling industry. Since that time, gamblification has been used to describe a range of phenomena in increasingly diffuse contexts; it has been variously used as a proxy for the convergence of gaming and gambling, to describe specific monetisation practices, or as a means of motivating consumer behaviours. Conceptual clarity has been further muddied by the positioning of gamblification as a form of gamification. This work provides a definition of gamblification, which draws upon and consolidates existing uses of the term while also providing a lens through which the differing aspects of gamblification can be understood and appraised. By doing so, this work will establish a clear conceptual framework, which can structure in-depth discussions of this multi-dimensional phenomenon.
Ruotsalainen, Maria; Törhönen, Maria; Karhulahti, Veli-Matti (Ed.)
Modes of Esports Engagement in Overwatch
Palgrave Macmillan, 2022, ISBN: 978-3030827663.
Book Open access
Abstract | Links | Tags: Digital culture, Digital media, Electronic sports, Game culture, Game development, Game studies, Overwatch
@book{Ruotsalainen2022,
title = {Modes of Esports Engagement in Overwatch},
editor = {Maria Ruotsalainen and Maria Törhönen and Veli-Matti Karhulahti
},
url = {https://link.springer.com/book/10.1007/978-3-030-82767-0},
doi = {https://doi.org/10.1007/978-3-030-82767-0},
isbn = {978-3030827663},
year = {2022},
date = {2022-03-10},
urldate = {2022-03-10},
publisher = {Palgrave Macmillan},
abstract = {This Open Access book provides a comprehensive review of the rapidly developing esport phenomenon by examining one of its contemporary flagship titles, Overwatch (Blizzard Entertainment 2016), through three central themes and from a rich variety of research methods and perspectives. As a game with more than 40 million individual players, an annual international World Cup, and a franchised professional league with teams from Canada, China, Europe, South Korea, and the US, Overwatch provides a multifaceted perspective to the cultural, social, and economic topics associated with the development of esports, which has begun to attract attention from both commercial and academic audiences.
A decade ago, it was still somewhat conventional to start a study by writing how “esports is a novel phenomenon.” As today more than a thousand studies have been published on esports, including several books and special issues, the need for more specific case studies keeps increasing. This multidisciplinary and multi-methodological book on Overwatch responds to that need. With 15 authors from various backgrounds, the book provides a far-reaching analysis of Overwatch and its modes of engagement. Ten chapters provide a foundation for understanding how a title like Overwatch operates both as an esport and a more general entertainment product at the same time.},
keywords = {Digital culture, Digital media, Electronic sports, Game culture, Game development, Game studies, Overwatch},
pubstate = {published},
tppubtype = {book}
}
This Open Access book provides a comprehensive review of the rapidly developing esport phenomenon by examining one of its contemporary flagship titles, Overwatch (Blizzard Entertainment 2016), through three central themes and from a rich variety of research methods and perspectives. As a game with more than 40 million individual players, an annual international World Cup, and a franchised professional league with teams from Canada, China, Europe, South Korea, and the US, Overwatch provides a multifaceted perspective to the cultural, social, and economic topics associated with the development of esports, which has begun to attract attention from both commercial and academic audiences.
A decade ago, it was still somewhat conventional to start a study by writing how “esports is a novel phenomenon.” As today more than a thousand studies have been published on esports, including several books and special issues, the need for more specific case studies keeps increasing. This multidisciplinary and multi-methodological book on Overwatch responds to that need. With 15 authors from various backgrounds, the book provides a far-reaching analysis of Overwatch and its modes of engagement. Ten chapters provide a foundation for understanding how a title like Overwatch operates both as an esport and a more general entertainment product at the same time.
A decade ago, it was still somewhat conventional to start a study by writing how “esports is a novel phenomenon.” As today more than a thousand studies have been published on esports, including several books and special issues, the need for more specific case studies keeps increasing. This multidisciplinary and multi-methodological book on Overwatch responds to that need. With 15 authors from various backgrounds, the book provides a far-reaching analysis of Overwatch and its modes of engagement. Ten chapters provide a foundation for understanding how a title like Overwatch operates both as an esport and a more general entertainment product at the same time.
Ruotsalainen, Maria; Törhönen, Maria; Karhulahti, Veli-Matti
In: Modes of Esports Engagement in Overwatch, pp. 1-7, Palgrave Macmillan, 2022, ISBN: 978-3-030-82766-3.
Book chapter Open access
Links | Tags: Digital culture, Digital media, Electronic sports, Game culture, Game development, Game studies, Overwatch
@incollection{Ruotsalainen2022b,
title = {Introduction},
author = {Maria Ruotsalainen and Maria Törhönen and Veli-Matti Karhulahti
},
url = {https://link.springer.com/book/10.1007/978-3-030-82767-0},
doi = {https://doi.org/10.1007/978-3-030-82767-0_1},
isbn = {978-3-030-82766-3},
year = {2022},
date = {2022-03-10},
urldate = {2022-03-10},
booktitle = {Modes of Esports Engagement in Overwatch},
pages = {1-7},
publisher = {Palgrave Macmillan},
keywords = {Digital culture, Digital media, Electronic sports, Game culture, Game development, Game studies, Overwatch},
pubstate = {published},
tppubtype = {incollection}
}
Vahlo, Jukka; Karhulahti, Veli-Matti
In: Ruotsalainen, Maria; Törhönen, Maria; Karhulahti, Veli-Matti (Ed.): Modes of Esports Engagement in Overwatch, pp. 11-30, Palgrave Macmillan, 2022, ISBN: 978-3-030-82766-3.
Book chapter Open access
Abstract | Links | Tags: Electronic sports, Overwatch, Player profiles
@incollection{Vahlo2022,
title = {Two Overwatch Player Profiles},
author = {Jukka Vahlo and Veli-Matti Karhulahti},
editor = {Maria Ruotsalainen and Maria Törhönen and Veli-Matti Karhulahti},
url = {https://link.springer.com/book/10.1007/978-3-030-82767-0},
doi = {https://doi.org/10.1007/978-3-030-82767-0},
isbn = {978-3-030-82766-3},
year = {2022},
date = {2022-03-10},
booktitle = {Modes of Esports Engagement in Overwatch},
pages = {11-30},
publisher = {Palgrave Macmillan},
abstract = {What are Overwatch players like? The goal of this chapter is to map out surface characteristics of those who play Overwatch in order to better understand the game and its players’ roles in the larger context of esports play and players. To do this, we employ relatively large-scale esports survey data and carry out game-specific cluster analysis: the surveyed players are divided into groups, which are identified based on the players’ gaming habits. Ultimately, our study will identify six esports player clusters, two of which include distinct Overwatch players. By comparing these two Overwatch player clusters with each other as well as with other esports player clusters, this chapter sets hypotheses that help interpreting the rest of this book’s chapters and, we hope, also the accumulating and diversifying literature on esports players more widely.},
keywords = {Electronic sports, Overwatch, Player profiles},
pubstate = {published},
tppubtype = {incollection}
}
What are Overwatch players like? The goal of this chapter is to map out surface characteristics of those who play Overwatch in order to better understand the game and its players’ roles in the larger context of esports play and players. To do this, we employ relatively large-scale esports survey data and carry out game-specific cluster analysis: the surveyed players are divided into groups, which are identified based on the players’ gaming habits. Ultimately, our study will identify six esports player clusters, two of which include distinct Overwatch players. By comparing these two Overwatch player clusters with each other as well as with other esports player clusters, this chapter sets hypotheses that help interpreting the rest of this book’s chapters and, we hope, also the accumulating and diversifying literature on esports players more widely.
Blom, Joleen
In: Ruotsalainen, Maria; Törhönen, Maria; Karhulahti, Veli-Matti (Ed.): Modes of Esports Engagement in Overwatch, pp. 49-66, Palgrave Macmillan, 2022, ISBN: 978-3-030-82766-3.
Book chapter Open access
Abstract | Links | Tags: Author, Game characters, Implied player, Overwatch, Participatory culture, Reader-response criticism, Transmedia
@incollection{Blom2022,
title = {The Player’s Interpretative Agency and the Developer’s Disruptive Powers: How Blizzard Enforces Authorial Intention in Overwatch},
author = {Joleen Blom},
editor = {Maria Ruotsalainen and Maria Törhönen and Veli-Matti Karhulahti},
url = {https://link.springer.com/book/10.1007/978-3-030-82767-0},
doi = {https://doi.org/10.1007/978-3-030-82767-0_4},
isbn = {978-3-030-82766-3},
year = {2022},
date = {2022-03-10},
urldate = {2022-03-10},
booktitle = {Modes of Esports Engagement in Overwatch},
pages = {49-66},
publisher = {Palgrave Macmillan},
abstract = {With the overhaul of Mercy, one of Overwatch’s healer characters, in August 2017, Blizzard Entertainment changed the healer’s ultimate ability to resurrect all allies at once to one where her abilities were only amplified in order to prevent Mercy players to hide until her ability was ready to be used. This change to the hero caused the player to not only adjust to how they engage with Mercy inside the Overwatch game, but also influenced how they perceive her as a fictional being—as a character, that is. According to Ebony Elizabeth Thomas (2019), in our participatory culture of the digital age, the meaning of media works is constantly negotiated as more people participate in writing, reading, playing, and watching different media for work and leisure. The players of games, like anyone who engages with media content, do not simply consume, but take an active part in the construction of the game to create their own unique version of the work (Mortensen 2003). However, more than ever before, games require constant internet connection to be played, which grants developers, such as Blizzard Entertainment, the possibility to alter their content rapidly and frequently based on fluctuating financial and other strategic needs. Overwatch (Blizzard Entertainment 2016b) represents one such product: being systematically altered by Blizzard Entertainment so that the players’ interpretative agency over their meaning-making— how they make sense of the game and play it—is heavily subjected to the developer’s evolving authorial intentions.},
keywords = {Author, Game characters, Implied player, Overwatch, Participatory culture, Reader-response criticism, Transmedia},
pubstate = {published},
tppubtype = {incollection}
}
With the overhaul of Mercy, one of Overwatch’s healer characters, in August 2017, Blizzard Entertainment changed the healer’s ultimate ability to resurrect all allies at once to one where her abilities were only amplified in order to prevent Mercy players to hide until her ability was ready to be used. This change to the hero caused the player to not only adjust to how they engage with Mercy inside the Overwatch game, but also influenced how they perceive her as a fictional being—as a character, that is. According to Ebony Elizabeth Thomas (2019), in our participatory culture of the digital age, the meaning of media works is constantly negotiated as more people participate in writing, reading, playing, and watching different media for work and leisure. The players of games, like anyone who engages with media content, do not simply consume, but take an active part in the construction of the game to create their own unique version of the work (Mortensen 2003). However, more than ever before, games require constant internet connection to be played, which grants developers, such as Blizzard Entertainment, the possibility to alter their content rapidly and frequently based on fluctuating financial and other strategic needs. Overwatch (Blizzard Entertainment 2016b) represents one such product: being systematically altered by Blizzard Entertainment so that the players’ interpretative agency over their meaning-making— how they make sense of the game and play it—is heavily subjected to the developer’s evolving authorial intentions.
Välisalo, Tanja; Ruotsalainen, Maria
Player Reception of Change and Stability in Character Mechanics
In: Ruotsalainen, Maria; Törhönen, Maria; Karhulahti, Veli-Matti (Ed.): Modes of Esports Engagement in Overwatch, pp. 67-86, Palgrave Macmillan, 2022, ISBN: 978-3-030-82766-3.
Book chapter Open access
Abstract | Links | Tags: Close reading, Game characters, Overwatch, Transmedia
@incollection{Välisalo2022,
title = {Player Reception of Change and Stability in Character Mechanics},
author = {Tanja Välisalo and Maria Ruotsalainen},
editor = {Maria Ruotsalainen and Maria Törhönen and Veli-Matti Karhulahti},
url = {https://link.springer.com/book/10.1007/978-3-030-82767-0},
doi = {https://doi.org/10.1007/978-3-030-82767-0_5},
isbn = {978-3-030-82766-3},
year = {2022},
date = {2022-03-10},
urldate = {2022-03-10},
booktitle = {Modes of Esports Engagement in Overwatch},
pages = {67-86},
publisher = {Palgrave Macmillan},
abstract = {Change is a constant element of online games, and Overwatch as well as its playable characters have been through multiple changes since the launch of the game in 2016. In this chapter, we examine the relationships players have with the playable characters of Overwatch and specifically the role that character mechanics have in these relationships. Changes to game characters are a topic of avid discussion in Overwatch communities and evoke articulations of the meaning of game characters for the players.},
keywords = {Close reading, Game characters, Overwatch, Transmedia},
pubstate = {published},
tppubtype = {incollection}
}
Change is a constant element of online games, and Overwatch as well as its playable characters have been through multiple changes since the launch of the game in 2016. In this chapter, we examine the relationships players have with the playable characters of Overwatch and specifically the role that character mechanics have in these relationships. Changes to game characters are a topic of avid discussion in Overwatch communities and evoke articulations of the meaning of game characters for the players.
Macey, Joseph; Bujić, Mila
The Talk of the Town: Community Perspectives on Loot Boxes
In: Ruotsalainen, Maria; Törhönen, Maria; Karhulahti, Veli-Matti (Ed.): Modes of Esports Engagement in Overwatch, pp. 199-223, Palgrave Macmillan, 2022, ISBN: 978-3-030-82766-3.
Book chapter Open access
Abstract | Links | Tags: Content analysis, Convergence, Gambling, Legal, Loot boxes, Overwatch
@incollection{Macey2022,
title = {The Talk of the Town: Community Perspectives on Loot Boxes},
author = {Joseph Macey and Mila Bujić
},
editor = {Maria Ruotsalainen and Maria Törhönen and Veli-Matti Karhulahti},
url = {https://link.springer.com/book/10.1007/978-3-030-82767-0},
doi = {https://doi.org/10.1007/978-3-030-82767-0_11},
isbn = {978-3-030-82766-3},
year = {2022},
date = {2022-03-10},
urldate = {2022-03-10},
booktitle = {Modes of Esports Engagement in Overwatch},
pages = {199-223},
publisher = {Palgrave Macmillan},
abstract = {Loot boxes are a common monetization mechanic in the contemporary games industry. However, an increasing number of regulatory bodies have been investigating loot boxes, with several having concluded that they constitute gambling. There is, however, a lack of consensus, with some authorities concentrating on the way loot boxes are obtained, while others consider the value of their contents. Overwatch is particularly affected by this disparity as it remains legal in some jurisdictions but not in others. In order to understand the role and function of loot boxes, an expert analysis must be complemented with consumer voices. This chapter utilizes content analysis to investigate discussions of loot boxes in Overwatch fan communities, identifying several prominent themes: monetization, effects, contents, gambling, regulation, alternatives, and their specifics in Overwatch.},
keywords = {Content analysis, Convergence, Gambling, Legal, Loot boxes, Overwatch},
pubstate = {published},
tppubtype = {incollection}
}
Loot boxes are a common monetization mechanic in the contemporary games industry. However, an increasing number of regulatory bodies have been investigating loot boxes, with several having concluded that they constitute gambling. There is, however, a lack of consensus, with some authorities concentrating on the way loot boxes are obtained, while others consider the value of their contents. Overwatch is particularly affected by this disparity as it remains legal in some jurisdictions but not in others. In order to understand the role and function of loot boxes, an expert analysis must be complemented with consumer voices. This chapter utilizes content analysis to investigate discussions of loot boxes in Overwatch fan communities, identifying several prominent themes: monetization, effects, contents, gambling, regulation, alternatives, and their specifics in Overwatch.
Siitonen, Marko; Ruotsalainen, Maria
In: Ruotsalainen, Maria; Törhönen, Maria; Karhulahti, Veli-Matti (Ed.): Modes of Esports Engagement in Overwatch, pp. 89-112, Palgrave Macmillan, 2022, ISBN: 978-3-030-82766-3.
Book chapter Open access
Abstract | Links | Tags: Discourse analysis, Nationalism, Overwatch, Overwatch World Cup, Positioning, Spectatorship
@incollection{Siitonen2022,
title = {“KKona where’s your sense of patriotism?”: Positioning Nationality in the Spectatorship of Competitive Overwatch Play},
author = {Marko Siitonen and Maria Ruotsalainen},
editor = {Maria Ruotsalainen and Maria Törhönen and Veli-Matti Karhulahti},
url = {https://link.springer.com/book/10.1007/978-3-030-82767-0},
doi = {https://doi.org/10.1007/978-3-030-82767-0_6},
isbn = {978-3-030-82766-3},
year = {2022},
date = {2022-03-10},
booktitle = {Modes of Esports Engagement in Overwatch},
pages = {89-112},
publisher = {Palgrave Macmillan},
abstract = {This chapter analyzes the discursive construction of nationality and ethnicity in the context of the Overwatch World Cup 2019 and especially among the discussions of the world cup’s spectators on the live-streaming platform Twitch. Drawing on the positioning theory and the concept of banal nationalism, our study demonstrates how esports fans are active negotiators and co-creators of the esports discourse. The analysis illustrates what kind of role nationality and ethnicity take in this environment, in other words what they come to mean for those participating in the discourses defining them.
},
keywords = {Discourse analysis, Nationalism, Overwatch, Overwatch World Cup, Positioning, Spectatorship},
pubstate = {published},
tppubtype = {incollection}
}
This chapter analyzes the discursive construction of nationality and ethnicity in the context of the Overwatch World Cup 2019 and especially among the discussions of the world cup’s spectators on the live-streaming platform Twitch. Drawing on the positioning theory and the concept of banal nationalism, our study demonstrates how esports fans are active negotiators and co-creators of the esports discourse. The analysis illustrates what kind of role nationality and ethnicity take in this environment, in other words what they come to mean for those participating in the discourses defining them.
Friman, Usva; Ruotsalainen, Maria
Gender and Toxic Meritocracy in Competitive Overwatch: Case “Ellie”
In: Ruotsalainen, Maria; Törhönen, Maria; Karhulahti, Veli-Matti (Ed.): Modes of Esports Engagement in Overwatch, pp. 135-154, Palgrave Macmillan, 2022, ISBN: 978-3-030-82766-3.
Book chapter Open access
Abstract | Links | Tags: Community, Competitive gaming, Gender, Overwatch, Toxic meritocracy, Women
@incollection{Friman2022,
title = {Gender and Toxic Meritocracy in Competitive Overwatch: Case “Ellie”},
author = {Usva Friman and Maria Ruotsalainen},
editor = {Maria Ruotsalainen and Maria Törhönen and Veli-Matti Karhulahti},
url = {https://link.springer.com/book/10.1007/978-3-030-82767-0},
doi = {https://doi.org/10.1007/978-3-030-82767-0_8},
isbn = {978-3-030-82766-3},
year = {2022},
date = {2022-03-10},
booktitle = {Modes of Esports Engagement in Overwatch},
pages = {135-154},
publisher = {Palgrave Macmillan},
abstract = {This chapter examines toxic meritocracy in relation to gender in competitive Overwatch, asking how gender affects a player’s opportunities for engagement in that scene. It analyzes online news stories and community discussions concerning “Ellie” – a fabricated competitive woman gamer created as a “social experiment” by a man player. The confluences between gender and toxic meritocracy become visible in the assumption there must be an experienced man gamer behind the battletag, the gender-based harassment targeted at Ellie, and the reflections on the importance of setting an example as the first team taking a woman player for Contenders. The analysis shows that despite a strong belief in meritocracy upheld within the community, there are many barriers limiting the participation of those entering competitive Overwatch as women.},
keywords = {Community, Competitive gaming, Gender, Overwatch, Toxic meritocracy, Women},
pubstate = {published},
tppubtype = {incollection}
}
This chapter examines toxic meritocracy in relation to gender in competitive Overwatch, asking how gender affects a player’s opportunities for engagement in that scene. It analyzes online news stories and community discussions concerning “Ellie” – a fabricated competitive woman gamer created as a “social experiment” by a man player. The confluences between gender and toxic meritocracy become visible in the assumption there must be an experienced man gamer behind the battletag, the gender-based harassment targeted at Ellie, and the reflections on the importance of setting an example as the first team taking a woman player for Contenders. The analysis shows that despite a strong belief in meritocracy upheld within the community, there are many barriers limiting the participation of those entering competitive Overwatch as women.
Apperley, Thomas H.
In: Ruotsalainen, Maria; Törhönen, Maria; Karhulahti, Veli-Matti (Ed.): Modes of Esports Engagement in Overwatch, pp. 179-197, Palgrave Macmillan, 2022, ISBN: 978-3-030-82766-3.
Book chapter Open access
Abstract | Links | Tags: Gender, Misogyny, NSFW, Overwatch, Pornification, Sexuality
@incollection{Apperley2022,
title = {Overwatch to Oversnatch: The Mutually Reinforcing Gendered Power Relations of Pornography, Streaming, and Esports},
author = {Thomas H. Apperley},
editor = {Maria Ruotsalainen and Maria Törhönen and Veli-Matti Karhulahti},
url = {https://link.springer.com/book/10.1007/978-3-030-82767-0},
doi = {https://doi.org/10.1007/978-3-030-82767-0_10},
isbn = {978-3-030-82766-3},
year = {2022},
date = {2022-03-10},
booktitle = {Modes of Esports Engagement in Overwatch},
pages = {179-197},
publisher = {Palgrave Macmillan},
abstract = {This chapter argues that the controversial policing of women’s bodies in esports and livestreaming is reflected in the pornification of Overwatch. This chapter makes three claims. First, mainstream heterosexual Overwatch pornography reinforces the assumed masculinity of esports. Second, the pornographic fantasies depicted reinforce everyday misogynistic attitudes to women in esports. Third, Overwatch porn also provides scope for more inclusive and diverse approaches to sexuality in emerging areas such as cosplay erotica. This chapter provides crucial insight into the porous boundaries between esports, mainstream pornography, and cosplay erotica which highlights how Overwatch pornography reinforces and reflects the discursive formations of heteronormative masculinity and misogyny in esports.
},
keywords = {Gender, Misogyny, NSFW, Overwatch, Pornification, Sexuality},
pubstate = {published},
tppubtype = {incollection}
}
This chapter argues that the controversial policing of women’s bodies in esports and livestreaming is reflected in the pornification of Overwatch. This chapter makes three claims. First, mainstream heterosexual Overwatch pornography reinforces the assumed masculinity of esports. Second, the pornographic fantasies depicted reinforce everyday misogynistic attitudes to women in esports. Third, Overwatch porn also provides scope for more inclusive and diverse approaches to sexuality in emerging areas such as cosplay erotica. This chapter provides crucial insight into the porous boundaries between esports, mainstream pornography, and cosplay erotica which highlights how Overwatch pornography reinforces and reflects the discursive formations of heteronormative masculinity and misogyny in esports.