This dissertation conducts a phenomenological analysis of Massively Multiplayer Online Games (MMOGs) – networked computer applications that thousands of people play simultaneously using avatars to interact with one another and with computer-controlled entities within a game-world typically rendered in 3D. Part 1 argues that existing studies of MMOGs often utilize concepts that, while presumed to be well understood, are often problematic in ways that conflict with the actual claims of the studies in which they play a central role. Three issues in particular are highlighted. It is argued, first, that common conceptions of virtual should not influence understanding of MMOGs; second, that there are prima facie problems with how existing studies frame the subject of avatars; and, third, that there are substantive problems with accounts of avatars that involve notions of representation or embodiment. Part 2 develops an interpretation of MMOGs that both extends understanding of these games, and reflexively unsettles the traditional phenomenological perspective that orients this interpretation itself. The analysis begins by arguing that MMOGs are worlds – understood as places of meaningful, fallen, thrown, collective conduct – and introduces the idea of conjuncture to account for how Dasein and avatars function together at an existential-ontological level. In so doing, the dissertation puts pressure on the fundamental-ontological distinction between Dasein and entities other than Dasein, the idea that Dasein alone discloses world, and the notion that whatever Dasein uses in its environment only obtains a place because of the de-severing and directionality of Dasein. By interpreting the virtuality of MMOGs as the creative repetition of ontological structures of existence, the dissertation provides insight into the phenomena of virtual death and time. This in turn draws into question the idea that quantifying time blocks access to original human temporality, and that the transcendence of Dasein uniquely involves self-overcoming.

This dissertation conducts a phenomenological analysis of Massively Multiplayer Online Games (MMOGs) – networked computer applications that thousands of people play simultaneously using avatars to interact with one another and with computer-controlled entities within a game-world typically rendered in 3D. Part 1 argues that existing studies of MMOGs often utilize concepts that, while presumed to be well understood, are often problematic in ways that conflict with the actual claims of the studies in which they play a central role. Three issues in particular are highlighted. It is argued, first, that common conceptions of virtual should not influence understanding of MMOGs; second, that there are prima facie problems with how existing studies frame the subject of avatars; and, third, that there are substantive problems with accounts of avatars that involve notions of representation or embodiment. Part 2 develops an interpretation of MMOGs that both extends understanding of these games, and reflexively unsettles the traditional phenomenological perspective that orients this interpretation itself. The analysis begins by arguing that MMOGs are worlds – understood as places of meaningful, fallen, thrown, collective conduct – and introduces the idea of conjuncture to account for how Dasein and avatars function together at an existential-ontological level. In so doing, the dissertation puts pressure on the fundamental-ontological distinction between Dasein and entities other than Dasein, the idea that Dasein alone discloses world, and the notion that whatever Dasein uses in its environment only obtains a place because of the de-severing and directionality of Dasein. By interpreting the virtuality of MMOGs as the creative repetition of ontological structures of existence, the dissertation provides insight into the phenomena of virtual death and time. This in turn draws into question the idea that quantifying time blocks access to original human temporality, and that the transcendence of Dasein uniquely involves self-overcoming.

Thesis (Ed.D.)--University of Delaware, 2005. / Principal faculty adviser: Christopher M. Clark, School of Education. Includes bibliographical references.

Orientador: Milton Terumitsu Sogabe / Resumo: Nesta pesquisa de caráter teórico-pratica, procuramos discutir os processos do desenvolvimento de games, mais especificamente aqueles que existem em paralelo da grande indústria de games. Para contextualizar sua linguagem construímos um breve panorama da sua história e suas manifestações no campo da Arte. Refletimos sobre processos utilizados na produção de games alternativos através da modificação, subversão e apropriação de ferramentas, valores e tecnologias dos games comerciais, através de exemplos e reflexões sobre a Game Art e games independentes. Nossa prática utiliza esses processos e abordagens para desenvolver uma produção de games experimentais. Foram produzidos 4 jogos, entre 2 projetos individuais e 2 coletivos. / Abstract: In this theoretical-practical research, we seek to discuss the processes of game development, more specifically those that exist in parallel to the game industry. To contextualize its language we build a brief overview of its history and its manifestations in the field of Art. We reflect on processes used in the production of alternative games through modification, subversion, and appropriation of commercial game tools, values and technologies in tandem with examples and reflection on Game Art and independent games. Our practice uses these processes and approaches to develop an experimental game production. Four games were made, between 2 individual and 2 collaborative projects. / Mestre

Boston University. University Professors Program Senior theses. / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-02

Thesis (M.S. in computer science)--Washington State University, December 2007. / Includes bibliographical references (p. 77-79).

Thesis (Ph. D.)--University of Washington, 2006. / Vita. Includes bibliographical references (leaves 167-172).

This article focuses on digital role-playing games produced by BioWare in which the decisions made by players can have a profound impact on the narrative of each game. My approach relies heavily upon the dissection of examples from Dragon Age: Origins, Mass Effect, and Mass Effect 2 as I found that scholarship about video games focused heavily on theory rather than analysis of in-game content, at least compared to the size and popularity of the genre. I work with key concepts such as narrative, simulation, and sideshadowing in order to analyse the dialogue options and scenarios presented to the player in these games. I claim that we can compare decision-making in real life and decision-making in role-playing games in order to examine the emotions and thoughts that go into the decision-making process. I task myself with discussing the implications of choosing ones own narrative and analysing the mechanics of these games that urge players to make morality-based choices. I consider the ideas of Gary Saul Morson and Mikhail Bahktin as a way of using literary theory to deconstruct the complexities of navigating through these unique game worlds. My aim is to show that the multi-linear structures of modern, digital role-playing games represent simulators through which players can explore their own decision-making processes. BioWare constructs emotional and intellectual decision-making opportunities that entice players to consider their own morality in the face of life or death decisions. I argue that these role-playing games urge us to consider the ways we make decisions in our everyday lives and allow us to simulate how we might act given the chance to play hero or villain.

Detta arbete har som syfte att undersöka om emotionell inlärning har någon effekt på faktainlärning i ett informativt dataspel om Röda Korsets vattendistribution i DR Kongo. Det föreslås i arbetet att dataspel kan dra nytta av emotionella företeelser såsom fotografier, ansiktsuttryck och dylikt för att förstärka och ge en bättre bestående faktainlärning. En spelprototyp om Röda Korsets vattendistribution produceras i två versioner, en med emotionella och en med neutrala företeelser och testas sedan på varsin grupp med 10 andraringselever i varje. Eleverna får besvara ett frågeformulär direkt efter spelandet och en gång till två veckor senare för att undersöka hur hög inlärningen varit. Inget slutgiltigt resultat kunde utvinnas ur undersökningen, då skillnaderna mellan de två grupperna av elever samt storleken på grupperna (10) var för små för att ge några statistiskt signifikanta resultat. Dock hävdas det att skillnaden till den emotionella versionens fördel, ändå ger en indikation som motiverar en större studie för att slutgiltigt fastställa ett resultat.

This article focuses on digital role-playing games produced by BioWare in which the decisions made by players can have a profound impact on the narrative of each game. My approach relies heavily upon the dissection of examples from Dragon Age: Origins, Mass Effect, and Mass Effect 2 as I found that scholarship about video games focused heavily on theory rather than analysis of in-game content, at least compared to the size and popularity of the genre. I work with key concepts such as narrative, simulation, and sideshadowing in order to analyse the dialogue options and scenarios presented to the player in these games. I claim that we can compare decision-making in real life and decision-making in role-playing games in order to examine the emotions and thoughts that go into the decision-making process. I task myself with discussing the implications of choosing ones own narrative and analysing the mechanics of these games that urge players to make morality-based choices. I consider the ideas of Gary Saul Morson and Mikhail Bahktin as a way of using literary theory to deconstruct the complexities of navigating through these unique game worlds. My aim is to show that the multi-linear structures of modern, digital role-playing games represent simulators through which players can explore their own decision-making processes. BioWare constructs emotional and intellectual decision-making opportunities that entice players to consider their own morality in the face of life or death decisions. I argue that these role-playing games urge us to consider the ways we make decisions in our everyday lives and allow us to simulate how we might act given the chance to play hero or villain.