This work aims to improve our knowledge about Swedish video game journalists, a new occupation in a quickly expanding business. Through a survey sent out to over 50 Swedish video game journalists, the result indicate some unexpected facts. Men largely dominate the profession; just 10 % of the work forces are females. This relation was notable in our survey, as well as in earlier studies. Video game journalists between 26 and 35 years old seems to be the largest age group, which we think is a bit surprising considering how new this form of journalism is, and the fact the internet provides opportunities for every enthusiastic video game writer. The professionalism of video game journalists has been debated over a long time, with many people arguing that this type of work has little to do with traditional journalism. In our survey, a large part of the respondents made clear that they consider themselves to be writers rather than journalists. The majority of the Swedish video game journalists don't have a journalistic education, whether it's from high school or university. Most of them don't value education as much as writing skill, talent, passion and knowledge about video games. The minority arguing about the importance of education motivates their standpoint with arguments of classical journalistic ethics and values. One respondent told us that the whole industry would benefit from more highly educated journalists, another one pointed out that a lot of ground has been covered in the last 5-6 years, although there ́s still a great distance compared to traditional journalism.

Thesis (M.Sc.)--York University, 2008. Graduate Programme in Computer Science. / Typescript. Includes bibliographical references (leaves 75-77). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR45953

Thesis (M.S.)--University of North Texas, May, 2009. / Title from title page display. Includes bibliographical references.

Thesis (M.Ed.)--York University, 2008. Graduate Programme in Education. / Typescript. Includes bibliographical references (leaves 138-147). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL:http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR45929

Thesis (Ph.D.)--University of Central Florida, 2009. / Advisers: Atsusi Hirumi, Lea Witta. Includes bibliographical references (p. 211-217).

This paper provides an account of how a normative male gaze is produced and upheld even in a video game famed for its inclusive nature, Dragon Age: Inquisition. The analysis originates in content studies concerning the portrayal of gender in video games in relation to in-game physical gender portrayal. It is followed by a contextualization of specific video sequences and certain game mechanics in relation to Laura Mulvey’s feminist film theory about the Male Gaze. Mulvey’s film theory approach, while useful as an intellectual tool, is not developed to be applied to video games and thus it is also necessary to consider any implications related to the interactivity of the game. As characters are subjected to a gendered male gaze in relation to both their physical appearance and attributes they are made to uphold the normative status quo. The Gaze is evident in how characters are portrayed, how the main character becomes a default male character regardless of actual gender and in the construction of women as something other. But most importantly, in the actual game mechanics through which all characters become objects for the player to use either in combat or to own in the guise of offering romance to the narrative.

In this thesis we will discuss the subject of user participation in the development process of products, specifically video games, through a concept called User-generated content. Product development demands speed and flexibility in the development process and it has been suggested that managers should revise the process of product development to become more flexible and integrate the consumer in increasingly more steps of the process. Video games will often be modified after its release. In fact, it has been estimated that between 95% and 100% of the files in most software will be modified after its initial release. User participation, referring to behaviors and activities performed in a system development process, is a definite feature for websites that consider their content user-generated. Customers who participate in online video game UGC are actively changing games, modifying existing content and creating new content related to all aspects of the game bit by bit, while also contributing this content to others, usually over the internet through some sort of video game content sharing site.User participation is determined by a user’s ability to participate and his motivation to do so, the latter of which is the focus of this thesis. Two major branches of study can be distinguished from motivational theory; intrinsic motivation and extrinsic motivation. The main purpose of this thesis is to examine the effects of motivational factors of intrinsic motivation, extrinsic motivation and toolkits that motivate customers to participate in UGC for video games. We examine what effects intrinsic motivational factors enjoyment, altruism and continuance commitment, as well as extrinsic motivational factors rewards, future rewards, personal need and reputation have on user participation. The toolkits approach to product development is a common user-oriented product development methods in the video game industry, which allows users to modify and create content for games. We will also study what effects the usefulness and ease of use of these toolkits have on user participation. Conducting a quantitative study, we presented a questionnaire to members of four online video game UGC communities; Steam Workshop, GameBanana, ModDB and MODSonline, in order to assess users’ attitudes of aforementioned concepts in relation to their user participation.We have not found any relevant research that examines both motivational factors’ and toolkits’ effects on user participation in video game UGC. With recent turbulent developments in the video game industry regarding monetary compensation for UGC, we decided to put great weight on this area in this thesis, both through our review of previous literature and regarding the results of our study.Our multiple regression analysis showed that toolkit ease of use, intrinsic motivational factors enjoyment and altruism, as well as extrinsic motivational factor reputation have significant positive effects on user participation, while toolkit usefulness showed a significant negative effect on user participation. We also find trends suggesting the positive effect of continuance commitment on user participation, and, finally, a trend suggesting the negative effect of rewards on user participation.

This thesis examines the activity of pleasure reading as conducted within three kinds of virtual environments: role-playing and adventure video games, Massively Multiplayer Online Games (MMOGs) such as World of Warcraft, and graphical online social worlds such as Second Life. I ask how and to what extent different types of virtual environments are able to provide immersive reading experiences. This analysis relies upon the concepts of telic (purpose-driven) and paratelic (pleasure-driven) modes of reading, and I examine how virtual environments provide affordances for one or the other mode. How they do so usually has to do with how their situate reading materials in relation to the environment’s diegetic world, as well as whether the diegetic world is coherent and bounded. I conclude that while paratelic reading is encouraged in all virtual environments, role-playing and adventure video games are conducive to partially telic reading experiences, with players reading in order to better understand the diegetic world in which they act. MMOGs feature largely immutable diegetic worlds lacking normal relations of causality, but they still manage to some degree to encourage telic reading by circumscribing and enriching the world with lore. Virtual social worlds are generally unable to provide this sort of telic reading experience due to their lack of coherent diegetic worlds, and their effectiveness for paratelic reading is currently hampered by unwieldy interfaces and lack of innovation in the format of virtual books. Although MMOGs and social virtual worlds both feature synchronous collaboration between players with the potential for emergent narratives, neither has been able to leverage this advantage for the creation of immersive reading experiences. Finally, all three forms of virtual environment have inspired innovative user-created narratives and interfaces, but they have done so outside the contexts of their diegetic game worlds, in the sphere of participant culture. / text

As the United States shifted toward a service-based economy and an increasingly digital media environment, American youth -- particularly young men and boys -- found an opportunity to play with these values in the then-novel video game arcade. The video game industry first came of age between the successful commercialization of Pong in 1972 and the U.S. gaming industry crash of 1983. In the interim, economic and play practices in the arcade itself and media representations of the arcade and its habitués shaped and responded to the economic and cultural upheavals of the period. Arcade machines were the first computers many Americans confronted. Through public discourse about gaming and gamers, Americans engaged in a critical debate about computerization, the move to digital media culture, the restructuring of the U.S. labor economy, and the competitiveness of American youth -- particularly boys -- in a Cold War culture conceived as both hostile and technologically oriented. This study demonstrates that video gaming was an arena in which Americans grappled with larger tensions about masculinity, globalization, labor, and digitalization. By analyzing gaming as a practice of everyday life, this work not only offers a cultural history of this period of gaming, but critical insights into the crystallization of masculine identity in a postindustrial, postmodern economy. / text

Not available / text