2022
Karhulahti, Veli-Matti; Siutila, Miia; Vahlo, Jukka; Koskimaa, Raine
Phenomenological Strands for Gaming Disorder and Esports Play: A Qualitative Registered Report Journal Article
In: Collabra, vol. 8, iss. 1, 2022, ISSN: 2474-7394.
Abstract | Links | Tags: Addiction, Health, Phenomenology, Psychopathology, Video games
@article{Karhulahti2022e,
title = {Phenomenological Strands for Gaming Disorder and Esports Play: A Qualitative Registered Report},
author = {Veli-Matti Karhulahti and Miia Siutila and Jukka Vahlo and Raine Koskimaa},
url = {http://urn.fi/URN:NBN:fi:jyu-202211015042},
doi = {10.1525/collabra.38819},
issn = {2474-7394},
year = {2022},
date = {2022-10-24},
urldate = {2022-10-24},
journal = {Collabra},
volume = {8},
issue = {1},
abstract = {The recent inclusion of gaming disorder in the ICD-11 as a mental disorder has further increased the importance of researching the health spectrum related to gaming. A critical area in this regard is the lack of clarity concerning the differences between gaming disorder and intensive play, the latter of which often involves several gaming hours per day without related health problems. In this study, we approached the above question by interpretive phenomenological analysis with interviews in two groups of highly involved videogame players: those who seek or have sought clinical help for their problems with gaming (n=6), and those who play esports more than 4 hours per day without self-reported related health problems (n=10). The interviews were carried out by using a new Phenomenology of Play (POP) interview frame. These data were contextualized with interviews of medical experts (n=6) who have experience of working with the former group. The findings imply that experiences of disorder derive from gaming interfering with what one wants to be, do, and have throughout life, whereas the experiences of intensive esport play derive from gaming being integrated into self throughout life. To our knowledge, this was the first registered report using qualitative phenomenological methods—we encourage researchers to explore the utility of registered reports with other qualitative methods to further optimize scientific progress.},
keywords = {Addiction, Health, Phenomenology, Psychopathology, Video games},
pubstate = {published},
tppubtype = {article}
}
The recent inclusion of gaming disorder in the ICD-11 as a mental disorder has further increased the importance of researching the health spectrum related to gaming. A critical area in this regard is the lack of clarity concerning the differences between gaming disorder and intensive play, the latter of which often involves several gaming hours per day without related health problems. In this study, we approached the above question by interpretive phenomenological analysis with interviews in two groups of highly involved videogame players: those who seek or have sought clinical help for their problems with gaming (n=6), and those who play esports more than 4 hours per day without self-reported related health problems (n=10). The interviews were carried out by using a new Phenomenology of Play (POP) interview frame. These data were contextualized with interviews of medical experts (n=6) who have experience of working with the former group. The findings imply that experiences of disorder derive from gaming interfering with what one wants to be, do, and have throughout life, whereas the experiences of intensive esport play derive from gaming being integrated into self throughout life. To our knowledge, this was the first registered report using qualitative phenomenological methods—we encourage researchers to explore the utility of registered reports with other qualitative methods to further optimize scientific progress.
2019
Mäyrä, Frans
The Player as a Hybrid: Agency in Digital Game Cultures Journal Article
In: GAME: The Italian Journal of Game Studies, vol. 8, iss. 1, pp. 30-47, 2019, ISSN: 2280-7705.
Abstract | Links | Tags: Agency, Game controllers, Game culture, Phenomenology, Play, Power, Technology
@article{Mäyrä2019,
title = {The Player as a Hybrid: Agency in Digital Game Cultures},
author = {Frans Mäyrä},
url = {https://www.gamejournal.it/the-player-as-a-hybrid-agency-in-digital-game-cultures/},
issn = {2280-7705},
year = {2019},
date = {2019-01-01},
journal = {GAME: The Italian Journal of Game Studies},
volume = {8},
issue = {1},
pages = {30-47},
abstract = {This article studies the player as a hybrid: a particular compound version of subjectivity that emerges from involvement with the contents, cultures and technologies of games. Drawing from both cultural studies of technology and phenomenology of game play, the article aims to connect key historical works in cultural technology studies with game and play studies to open perspectives into the tensions and potential conflicts that underlie the empowerment and expansion of gaming self. While engaging in game play provides us with novel opportunities for experiencing alternate realities and developing our abilities, our connections with games are also power relations that shape our hybrid, cultural agency in ways that we are not necessarily always aware of. The increasing intermingling of technology and play has consequences for players’ agency that are revealed to be simultaneously empowering and limiting. The multiple identified areas of tension in the constitution of hybrid player agency also suggest a non-essentialist approach to understanding games, players and playing.},
keywords = {Agency, Game controllers, Game culture, Phenomenology, Play, Power, Technology},
pubstate = {published},
tppubtype = {article}
}
This article studies the player as a hybrid: a particular compound version of subjectivity that emerges from involvement with the contents, cultures and technologies of games. Drawing from both cultural studies of technology and phenomenology of game play, the article aims to connect key historical works in cultural technology studies with game and play studies to open perspectives into the tensions and potential conflicts that underlie the empowerment and expansion of gaming self. While engaging in game play provides us with novel opportunities for experiencing alternate realities and developing our abilities, our connections with games are also power relations that shape our hybrid, cultural agency in ways that we are not necessarily always aware of. The increasing intermingling of technology and play has consequences for players’ agency that are revealed to be simultaneously empowering and limiting. The multiple identified areas of tension in the constitution of hybrid player agency also suggest a non-essentialist approach to understanding games, players and playing.
2018
Vahlo, Jukka
In Gameplay: The Invariant Structures and Varieties of the Video Game Gameplay Experience PhD Thesis
2018, ISBN: 978-951-29-7168-8.
Abstract | Links | Tags: Agency, Cognition, Emotions, Experience narrative, Factor analysis, Motivations, Performativity, Phenomenology, Storytelling, Variation, Video games
@phdthesis{Vahlo2018d,
title = {In Gameplay: The Invariant Structures and Varieties of the Video Game Gameplay Experience},
author = {Jukka Vahlo},
url = {https://urn.fi/URN:ISBN:978-951-29-7169-5},
isbn = {978-951-29-7168-8},
year = {2018},
date = {2018-04-14},
urldate = {2018-04-14},
abstract = {This dissertation is a multidisciplinary study on video game gameplay as an autonomous form of vernacular experience. Plays and games are traditional research subjects in folkloristics, but commercial video games have not been studied yet. For this reason, methods and concepts of the folkloristic research tradition have remained unknown in contemporary games studies. This thesis combines folkloristics, game studies and phenomenological enactive cognitive science in its investigations into player–game interaction and the video game gameplay experience at large.
In this dissertation, three representative survey samples (N=2,594, N=845, N=1,053) on “Rewarding gameplay experience” are analyzed using statistical analysis methods. The samples were collected in 2014–2017 from Finnish and Danish adult populations. This dissertation also analyzes data from 32 interviews, through which the survey respondents’ gameplay preferences, gaming memories, and motivations to play were further investigated. By combining statistical and qualitative data analyses, this work puts forward a mixed-methods research strategy and discusses how the findings relate to prior game research from several disciplines and schools of thought.
Based on theoretical discussions, this dissertation argues that the video game gameplay experience as a cultural phenomenon consists of eight invariants in relation to which each individual gameplay experience can be interpreted: The player must demonstrate a lusory attitude (i), and a motivation to play (ii). The gameplay experience consists of explorative and coordinative practices (iii), which engender a change in the player’s self-experience (iv). This change renders the gameplay experience inherently emotional (v) and performative (vi) in relation to the gameworld (vii). The gameplay experience has the dramatic structure of a prototypical narrative (viii) although a game as an object cannot be regarded a narrative in itself.
As a key result of factor analytical studies and qualitative interview analyses, a novel approach to understanding player–game interaction is put forward. An original gameplay preference research tool and a player typology are introduced. This work argues, that, although video games as commercial products would not be intuitive research subjects for folkloristics, video game gameplay, player–game interaction, and the traditions in experiencing and narrating gameplay do not differ drastically from those of traditional social games. In contrast to this, all forms of gameplay are argued to be manifestations of the same vernacular phenomenon. Indeed, folkloristic research could pay more attention to how culture is experienced, modified, varied and expressed, regardless of whether the research subject is a commercial product or not.},
keywords = {Agency, Cognition, Emotions, Experience narrative, Factor analysis, Motivations, Performativity, Phenomenology, Storytelling, Variation, Video games},
pubstate = {published},
tppubtype = {phdthesis}
}
This dissertation is a multidisciplinary study on video game gameplay as an autonomous form of vernacular experience. Plays and games are traditional research subjects in folkloristics, but commercial video games have not been studied yet. For this reason, methods and concepts of the folkloristic research tradition have remained unknown in contemporary games studies. This thesis combines folkloristics, game studies and phenomenological enactive cognitive science in its investigations into player–game interaction and the video game gameplay experience at large.
In this dissertation, three representative survey samples (N=2,594, N=845, N=1,053) on “Rewarding gameplay experience” are analyzed using statistical analysis methods. The samples were collected in 2014–2017 from Finnish and Danish adult populations. This dissertation also analyzes data from 32 interviews, through which the survey respondents’ gameplay preferences, gaming memories, and motivations to play were further investigated. By combining statistical and qualitative data analyses, this work puts forward a mixed-methods research strategy and discusses how the findings relate to prior game research from several disciplines and schools of thought.
Based on theoretical discussions, this dissertation argues that the video game gameplay experience as a cultural phenomenon consists of eight invariants in relation to which each individual gameplay experience can be interpreted: The player must demonstrate a lusory attitude (i), and a motivation to play (ii). The gameplay experience consists of explorative and coordinative practices (iii), which engender a change in the player’s self-experience (iv). This change renders the gameplay experience inherently emotional (v) and performative (vi) in relation to the gameworld (vii). The gameplay experience has the dramatic structure of a prototypical narrative (viii) although a game as an object cannot be regarded a narrative in itself.
As a key result of factor analytical studies and qualitative interview analyses, a novel approach to understanding player–game interaction is put forward. An original gameplay preference research tool and a player typology are introduced. This work argues, that, although video games as commercial products would not be intuitive research subjects for folkloristics, video game gameplay, player–game interaction, and the traditions in experiencing and narrating gameplay do not differ drastically from those of traditional social games. In contrast to this, all forms of gameplay are argued to be manifestations of the same vernacular phenomenon. Indeed, folkloristic research could pay more attention to how culture is experienced, modified, varied and expressed, regardless of whether the research subject is a commercial product or not.
In this dissertation, three representative survey samples (N=2,594, N=845, N=1,053) on “Rewarding gameplay experience” are analyzed using statistical analysis methods. The samples were collected in 2014–2017 from Finnish and Danish adult populations. This dissertation also analyzes data from 32 interviews, through which the survey respondents’ gameplay preferences, gaming memories, and motivations to play were further investigated. By combining statistical and qualitative data analyses, this work puts forward a mixed-methods research strategy and discusses how the findings relate to prior game research from several disciplines and schools of thought.
Based on theoretical discussions, this dissertation argues that the video game gameplay experience as a cultural phenomenon consists of eight invariants in relation to which each individual gameplay experience can be interpreted: The player must demonstrate a lusory attitude (i), and a motivation to play (ii). The gameplay experience consists of explorative and coordinative practices (iii), which engender a change in the player’s self-experience (iv). This change renders the gameplay experience inherently emotional (v) and performative (vi) in relation to the gameworld (vii). The gameplay experience has the dramatic structure of a prototypical narrative (viii) although a game as an object cannot be regarded a narrative in itself.
As a key result of factor analytical studies and qualitative interview analyses, a novel approach to understanding player–game interaction is put forward. An original gameplay preference research tool and a player typology are introduced. This work argues, that, although video games as commercial products would not be intuitive research subjects for folkloristics, video game gameplay, player–game interaction, and the traditions in experiencing and narrating gameplay do not differ drastically from those of traditional social games. In contrast to this, all forms of gameplay are argued to be manifestations of the same vernacular phenomenon. Indeed, folkloristic research could pay more attention to how culture is experienced, modified, varied and expressed, regardless of whether the research subject is a commercial product or not.