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Game studies
Game studies, also known as ludology (from ludus, "game", and -logia, "study", "research") or gaming theory, is the study of games, the act of playing them, and the players and cultures surrounding them. It is a field of cultural studies that deals with all types of games throughout history. This field of research utilizes the tactics of, at least, folkloristics and cultural heritage, sociology and psychology, while examining aspects of the design of the game, the players in the game, and the role the game plays in its society or culture. Game studies is oftentimes confused with the study of video games, but this is only one area of focus; in reality game studies encompasses all types of gaming, including sports, board games, etc.
Before video games, game studies were rooted primarily in anthropology. However, with the development and spread of video games, games studies has diversified methodologically, to include approaches from sociology, psychology, and other fields.
There are now a number of strands within game studies: "social science" approaches explore how games function in society, and their interactions with human psychology, often using empirical methods such as surveys and controlled lab experiments. "Humanities-based" approaches emphasise how games generate meanings and reflect or subvert wider social and cultural discourses. These often use more interpretative methods, such as close reading, textual analysis, and audience theory, methods shared with other media disciplines such as television and film studies. Social sciences and humanities approaches can cross over, for example in the case of ethnographic or folkloristic studies, where fieldwork may involve patiently observing games to try to understand their social and cultural meanings. "Game design" approaches are closely related to creative practice, analysing game mechanics and aesthetics in order to inform the development of new games. Finally, "industrial" and "engineering" approaches apply mostly to video games and less to games in general, and examine things such as computer graphics, artificial intelligence, and networking.
It was not until Irving Finkel organized a colloquium in 1990 that grew into the International Board Game Studies Association, Gonzalo Frasca popularized the term "ludology" (from the Latin word for game, ludus) in 1999, the publication of the first issues of academic journals like Board Game Studies in 1998 and Game Studies in 2001, and the creation of the Digital Games Research Association in 2003, that scholars began to get the sense that the study of games could (and should) be considered a field in its own right. As a young field, it gathers scholars from different disciplines that had been broadly studying games, such as psychology, anthropology, economy, education, and sociology. The earliest known use of the term "ludology" occurred in 1982, in Mihaly Csikszentmihalyi's "Does Being Human Matter – On Some Interpretive Problems of Comparative Ludology."
One of the earliest social science theories (1971) about the role of video games in society involved violence in video games, later becoming known as the catharsis theory. The theory suggests that playing video games in which you perform violent acts might actually channel latent aggression, resulting in less aggression in the players real lives. However, a meta-study performed by Craig A. Anderson and Brad J. Bushman, in 2001, examined data starting from the 1980s up until the article was published. The purpose of this study was to examine whether or not playing violent video games led to an increase in aggressive behaviors. They concluded that exposure to violence in video games did indeed cause an increase in aggression. However, it has been pointed out, and even stressed, by psychologist Jonathan Freedman that this research was very limited and even problematic since overly strong claims were made and the authors themselves seemed extremely biased in their writings. More recent studies, such as the one performed by Christopher J. Ferguson at Texas A&M International University have come to drastically different conclusions. In this study, individuals were either randomly assigned a game, or allowed to choose a game, in both the randomized and the choice conditions exposure to violent video games caused no difference in aggression. A later study (performed by the same people) looked for correlations between trait aggression, violent crimes, and exposure to both real life violence and violence in video games, this study suggests that while family violence and trait aggression are highly correlated with violent crime, exposure to video game violence was not a good predictor of violent crime, having little to no correlation, unless also paired with the above traits that had a much higher correlation. Over the past 15 years, a large number of meta-studies have been applied to this issue, each coming to its own conclusion, resulting in little consensus in the ludology community. It is also thought that even nonviolent video games may lead to aggressive and violent behaviour. Anderson and Dill seem to believe that it may be due to the frustration of playing video games that could in turn result in violent, aggressive behaviour.
Game designers Amy Jo Kim and Jane McGonigal have suggested that platforms which leverage the powerful qualities of video games in non-game contexts can maximize learning. Known as the gamification of learning, using game elements in non-game contexts extracts the properties of games from within the game context, and applies them to a learning context such as the classroom.
Another positive aspect of video games is its conducive character towards the involvement of a person in other cultural activities. The probability of game playing increases with the consumption of other cultural goods (e.g., listening to music or watching television) or active involvement in artistic activities (e.g., writing or visual arts production). Video games, by being complementary to more traditional forms of cultural consumption, exhibit value from a cultural perspective.
More sociologically-informed research has sought to move away from simplistic ideas of gaming as either 'negative' or 'positive', but rather seeking to understand its role and location in the complexities of everyday life.
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Game studies
Game studies, also known as ludology (from ludus, "game", and -logia, "study", "research") or gaming theory, is the study of games, the act of playing them, and the players and cultures surrounding them. It is a field of cultural studies that deals with all types of games throughout history. This field of research utilizes the tactics of, at least, folkloristics and cultural heritage, sociology and psychology, while examining aspects of the design of the game, the players in the game, and the role the game plays in its society or culture. Game studies is oftentimes confused with the study of video games, but this is only one area of focus; in reality game studies encompasses all types of gaming, including sports, board games, etc.
Before video games, game studies were rooted primarily in anthropology. However, with the development and spread of video games, games studies has diversified methodologically, to include approaches from sociology, psychology, and other fields.
There are now a number of strands within game studies: "social science" approaches explore how games function in society, and their interactions with human psychology, often using empirical methods such as surveys and controlled lab experiments. "Humanities-based" approaches emphasise how games generate meanings and reflect or subvert wider social and cultural discourses. These often use more interpretative methods, such as close reading, textual analysis, and audience theory, methods shared with other media disciplines such as television and film studies. Social sciences and humanities approaches can cross over, for example in the case of ethnographic or folkloristic studies, where fieldwork may involve patiently observing games to try to understand their social and cultural meanings. "Game design" approaches are closely related to creative practice, analysing game mechanics and aesthetics in order to inform the development of new games. Finally, "industrial" and "engineering" approaches apply mostly to video games and less to games in general, and examine things such as computer graphics, artificial intelligence, and networking.
It was not until Irving Finkel organized a colloquium in 1990 that grew into the International Board Game Studies Association, Gonzalo Frasca popularized the term "ludology" (from the Latin word for game, ludus) in 1999, the publication of the first issues of academic journals like Board Game Studies in 1998 and Game Studies in 2001, and the creation of the Digital Games Research Association in 2003, that scholars began to get the sense that the study of games could (and should) be considered a field in its own right. As a young field, it gathers scholars from different disciplines that had been broadly studying games, such as psychology, anthropology, economy, education, and sociology. The earliest known use of the term "ludology" occurred in 1982, in Mihaly Csikszentmihalyi's "Does Being Human Matter – On Some Interpretive Problems of Comparative Ludology."
One of the earliest social science theories (1971) about the role of video games in society involved violence in video games, later becoming known as the catharsis theory. The theory suggests that playing video games in which you perform violent acts might actually channel latent aggression, resulting in less aggression in the players real lives. However, a meta-study performed by Craig A. Anderson and Brad J. Bushman, in 2001, examined data starting from the 1980s up until the article was published. The purpose of this study was to examine whether or not playing violent video games led to an increase in aggressive behaviors. They concluded that exposure to violence in video games did indeed cause an increase in aggression. However, it has been pointed out, and even stressed, by psychologist Jonathan Freedman that this research was very limited and even problematic since overly strong claims were made and the authors themselves seemed extremely biased in their writings. More recent studies, such as the one performed by Christopher J. Ferguson at Texas A&M International University have come to drastically different conclusions. In this study, individuals were either randomly assigned a game, or allowed to choose a game, in both the randomized and the choice conditions exposure to violent video games caused no difference in aggression. A later study (performed by the same people) looked for correlations between trait aggression, violent crimes, and exposure to both real life violence and violence in video games, this study suggests that while family violence and trait aggression are highly correlated with violent crime, exposure to video game violence was not a good predictor of violent crime, having little to no correlation, unless also paired with the above traits that had a much higher correlation. Over the past 15 years, a large number of meta-studies have been applied to this issue, each coming to its own conclusion, resulting in little consensus in the ludology community. It is also thought that even nonviolent video games may lead to aggressive and violent behaviour. Anderson and Dill seem to believe that it may be due to the frustration of playing video games that could in turn result in violent, aggressive behaviour.
Game designers Amy Jo Kim and Jane McGonigal have suggested that platforms which leverage the powerful qualities of video games in non-game contexts can maximize learning. Known as the gamification of learning, using game elements in non-game contexts extracts the properties of games from within the game context, and applies them to a learning context such as the classroom.
Another positive aspect of video games is its conducive character towards the involvement of a person in other cultural activities. The probability of game playing increases with the consumption of other cultural goods (e.g., listening to music or watching television) or active involvement in artistic activities (e.g., writing or visual arts production). Video games, by being complementary to more traditional forms of cultural consumption, exhibit value from a cultural perspective.
More sociologically-informed research has sought to move away from simplistic ideas of gaming as either 'negative' or 'positive', but rather seeking to understand its role and location in the complexities of everyday life.