Bulletin of Science,Technology & Society

“Unraveling Braid” analyzes how unconventional, non-linear narrative fiction can help explain the ways in which video games signify. Specifically, this essay looks at the links between the semiotic features of Jonathan Blow’s 2008 puzzle-platform video game Braid and similar elements in Georges Perec’s 1978 novel Life A User’s Manual, as well as in other puzzle-themed literary precursors. Blow’s game design concepts “dynamical meaning” and “game play rhetoric” are explained in relation to a number of Braid levels; along side this analysis is a parallel examination of the relationship between puzzle-makers and puzzle-solvers in Life A User’s Manual, revealed from a close reading of textual and organizational elements of Perec’s novel. Ultimately, Braid and Life A User’s Manual are shown to draw upon the same signifying processes, which are understood by their authors to operate within an implicitly communicative model. “Unraveling Braid”develops this model by positing a theory of storytelling in the imperative mood, in which the representation and arrangement of objects in the visual/organizational space of the text or game world becomes a fundamental rhetorical technique and meaning-maker.This technique signal show the reader/player is meant to progress through the work and interpret it as narrative, telling the reader/player what to do (but not necessarily how to do it). An understanding of “imperative” storytelling, this essay concludes, allows for a discussion of games and other media that denies neither the importance of player interactivity nor that of authorial design.

There are several types of characters in video games: the main protagonist/hero, the countless non-player characters (NPCs), and persistent non-player characters (PNPCs). While there is a substantial body of research about PNPCs from a game design point of view, they have been largely ignored by the academic community from a narrative perspective. The current essay aims to evaluate whether video game playing experience has an impact on a player’s reliance on the guidance of PNPCs in game play and if a higher degree of experience enables a player to have a better appreciation for the narrative qualities of PNPCs as well as their complexity as characters.

Predation games—games in which the player is actively encouraged and often required to hunt and kill in order to survive—have historically been the purview of male players. Females, though now much more involved in digital games than before, generally play games that stress traditionally feminine values such as socializing with others, shopping, and nurturing. This article argues that playing games that virtually simulate predation has many benefits for female players. Predation play teaches participants how to survive and succeed in stressful, competitive, aggressive environments. To remain in the game, players have to understand and enjoy the acquisition and negotiation of power, learn to face fear, willingly accept challenges, and accept the inevitability of failure without allowing it to deter future attempts. Through predation play, females can learn to excel in and enjoy high-risk high-reward environments. The author proposes that such play might help address gender disparities outside of play.

Video games have grown in number, variety, and consumer market penetration, encroaching more aggressively into the domestic realm. Within the home therefore, parents whose children play video games have to exercise mediation and supervision. As video games evolve, parental mediation strategies have also had to keep pace, albeit not always successfully. By transposing our appreciation of parental concerns over the historical development of video games, we propose an analytical framework identifying key affordances of video games, elucidating how their evolution has distinct implications for effective parental mediation. These affordances are portability, accessibility, interactivity, identity multiplicity, sociability, and perpetuity.

This article examines the response of minority gamers as they adopt new innovations in Xbox Live. Using diffusion of innovation theory, specific attention is given to gamers’ rate of adoption of the new Xbox Live environment, which was a recent update to the Xbox Live interface. By employing virtual ethnography, observations, and interviews reveal that gaming duration and gender are significant factors in identifying a gamer’s successful rate of adoption of the new innovation. Female participants reveal that Xbox Live intentionally targets males as the default gamer and enact changes based on their needs. The research concludes with a plea to Xbox Live to acknowledge minority gamers such as women to incorporate their needs within the decision-making process of new innovations.

The present study sought to examine the extent to which the cultural portrayal of online gamers, often in comical, caricatured, or sensational forms, has become transformed into sets of cognitive associations between the category and traits. A total of 342 participants completed an online survey in which they rated how applicable each of a list of traits was to the group of online gamers. Ratings were made for both personal beliefs (how participants themselves see gamers) and stereotypical beliefs (how most others see gamers). While these beliefs were highly consensual as stereotypes, personal beliefs varied, suggesting that the cultural portrayal of online gamers is beginning to shift into cognitive associations. The role of stereotypes in negotiating a group’s social position are discussed arguing that these stereotypes currently position online gamers as low in social status and socially peripheral. The function of the media in generating stereotypical representations of social groups and convincing the public of their validity is also discussed.

This article considers the configuration of modular and temporary organization designs. By drawing on two prominent developer firms, namely, Valve Inc. and Linden Lab, respectively, “cabals” and “studios” are explored. The results of interviews conducted with employees of these firms are used as evidence. The article demonstrates that, to various extents, these organization designs organize, facilitate, and maintain how work is accomplished and coordinated within the boundaries of a permanent firm. It extends our understanding of how these designs provide a structure to how tasks are constituted in conjunction with the nature of the product.

Over the past 3 years, the authors have pursued unique cross-college collaboration. They have hosted a National Endowment for the Humanities (NEH)–funded Humanities Gaming Institute and team-taught a cross-listed course that brought together students from the humanities and computer science. Currently, they are overseeing the development of an NEH-supported social history game called Desperate Fishwives. In the process, the authors have realized that “game” is not the most appropriate designator for the kind of projects they are pursuing. Instead, they propose critical interactives, a term that suggests projects that mobilize ludic methods in order to engage participants in socially and politically sensitive, indeed controversial, subject matter. Their most recent project, Ghosts of the Horseshoe, offers an initial look at how critical interactives are particularly apt at raising awareness about the relations among institutional policy, broader public policy, and the ways that people negotiate the public history of a particular place.

This article is a theoretical and empirical exploration of the meaning that accompanies contractual agreements, such as the End-User License Agreements (EULAs) that participants of online communities are required to sign as a condition of participation. As our study indicates, clicking “I agree” on the often lengthy conditions presented during the installation and updating process typically permits third parties (including researchers) to monitor the digitally-mediated actions of users. Through our small-scale study in which we asked participants which terms of EULAs they would find agreeable, the majority confirmed that they simply clicked through the terms presented to them without much knowledge about the terms to which they were agreeing. From a research ethics standpoint, we reflect upon whether or not informed consent is achieved in these cases and pose a challenge to the academic research community to attend to the socio-technical shift from informed consent to a more nebulous concept of contractual agreement, online and offline.