Game studies

Game studies, also known as ludology (from ludus, "game", and -logia, "study", "research"), 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 was rooted primarily in anthropology.[1] However, with the
development and spread of video games, games studies has diversified methodologically, to
include approaches from sociology, psychology, and other fields.[2]

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.[3]

History

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,[4] 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."[5]

Social science

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.[6] 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.[7] 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.[8] 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.[9]

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.[10][11] 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).[12] Video games by being
complementary towards more traditional forms of cultural consumption, inhibit thus 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.[13]

For example, it has been suggested (Nina Fefferman) [14] that the very popular MMO World of
Warcraft could be used to study the dissemination of infectious diseases because of the
accidental spread of a plague-like disease in the gameworld.

"Ludology" vs "narratology"

A major focus in game studies is the debate surrounding narratology and ludology. Many
ludologists believe that the two are unable to exist together,[15] while others believe that the two
fields are similar but should be studied separately. Many narratologists believe that games
should be looked at for their stories, like movies or novels. The ludological perspective says that
games are not like these other mediums due to the fact that a player is actively taking part in the
experience and should therefore be understood on their own terms. The idea that a videogame is
"radically different to narratives as a cognitive and communicative structure"[16] has led the
development of new approaches to criticism that are focused on videogames as well as
adapting, repurposing and proposing new ways of studying and theorizing about
videogames.[17][18] A recent approach towards game studies starts with an analysis of interface
structures and challenges the keyboard-mouse paradigm with what is called a "ludic interface".

Academics across both fields provide scholarly insight into the different sides of this debate.
Gonzalo Frasca, a notable ludologist due to his many publications regarding game studies,
argues that while games share many similar elements with narrative stories, that should not
prevent games to be studied as games.[19] He seeks not "to replace the narratologic approach,
but to complement it."[19]

Jesper Juul, another notable ludologist, argues for a stricter separation of ludology and
narratology. Juul argues that games "for all practicality can not tell stories."[15] This argument
holds that narratology and ludology cannot exist together because they are inherently different.
Juul claims that the most significant difference between the two is that in a narrative, events
"have to" follow each other, whereas in a game the player has control over what happens.[15]

Garry Crawford and Victoria K. Gosling argue in favor of narratives being an essential part of
games as these will contribute to, and be informed by, a gamer's personal life and identity
narratives. As they write "it is impossible to isolate play from the social influences of everyday
life, and in turn, play will have both intended and unintended consequences for the individual and
society."[20]

Janet Murray, in support of the narratologist method of video game argues that "stories can be
participatory."[21] In this argument, Murray is linking the characteristics of video games to
narratives to further her point that video games should be analyzed through narratology.

Michalis Kokonis argues in favor of Gonzalo Frasca's article entitled "Ludologists love stories
too: notes from a debate that never took place," which aimed to list and explain the
misunderstandings, mistakes, and prejudices surrounding the narratology vs. ludology debate.[22]
Kokonis noted that "endorsing [Frasca's] constructivist spirit we will have to agree that the so-
called Narratology vs. Ludology Dilemma is a false one and that this debate will have to be
resolved, as it is of no help to the cause of establishing Computer Games Study as an
autonomous and independent academic field."[23]

Other areas of research

As is common with most academic disciplines, there are a number of more specialized areas or
sub-domains of study.

Video game pre-history

An emerging field of study looks at the "pre-history" of video games, suggesting that the origins
of modern digital games lie in: fairground attractions and sideshows such as shooting games;
early "Coney Island"-style pleasure parks with elements such as large roller-coasters and
"haunted house" simulations; nineteenth century landscape simulations such as dioramas,
panoramas, planetariums, and stereographs; and amusement arcades that had mechanical
game machines and also peep-show film machines.[24]

Games and aging

In light of population ageing, there has been an interest into the use of games to improve the
overall health and social connectedness of ageing players. For example, Adam Gazzaley and his
team have designed NeuroRacer (a game that improves cognitive tasks outside of the game
among its 60+ year old participants[25]), while the AARP has organized a game jam to improve
older people's social connections.[26] Researchers such as Sarah Mosberg Iversen have argued
that most of the academic work on games and ageing has been informed by notions of
economical productivity,[27] while Bob De Schutter and Vero Vanden Abeele have suggested a
game design approach that is not focused on age-related decline but instead is rooted in the
positive aspects of older age.[28]
Virtual economies in gaming

Massive multiplayer online games can give economists clues about the real world. Markets
based on digital information can be fully tracked as they are used by players, and thus real
problems in the economy, such as inflation, deflation and even recession. The solutions the
game designers come up with can therefore be studied with full information, and experiments
can be performed where the economy can be studied as a whole. These games allow the
economists to be omniscient, they can find every piece of information they need to study the
economy, while in the real world they have to work with presumptions.

Former Finance Minister of Greece and Valve's in-house economist Yanis Varoufakis studied EVE
Online as a measure for the Greek economic recovery and argued that video game communities
such as Neopets and Fortnite give economists a venue for experimenting and simulating the
economies of the future.[29][30] Edward Castronova has studied virtual economies within a variety
of games including Everquest and World of Warcraft.[31][32]

Cognitive benefits

The psychological research into games has yielded theories on how playing video games may be
advantageous for both children and for adults. Some theories claim that video games in fact
help improve cognitive abilities rather than impede their development. These improvement
theories include the improvement of visual contrast sensitivity.[33] Other developments include
the ability to locate something specific among various impediments. This is primarily done in
first-person shooter games where the protagonist must look at everything in a first person view
while playing. By doing this they increase their spatial attention due to having to locate
something among an area of diversions.[33] These games place the player in a high intensity
environment where the player must remain observant of their surroundings in order to achieve
their goal, e.g., shooting an enemy player, while impediments obstruct their gameplay in the
virtual world.[33]

Another cognitive enhancement provided by playing video games would be the improvement of
brain functioning speed. This happens as the player is immersed in an unendingly changing
environment where they are required to constantly think and problem solve while playing in order
to do well in the game. This constant problem solving forces the brain to constantly run and so
the speed of thought is sharpened greatly, because the need to think quickly is required to
succeed.[33] The attention span of the player is also benefited. High action video games, such as
fighting or racing games, require the user's constant attention and in the process the skill of
concentration is sharpened.
The overcoming of the condition known as dyslexia is also considered an improvement due to
the continuous utilization of controllers for the video games. This continuous process helps to
train the users to overcome their condition which impedes in their abilities of interpretation.[33]
The ability of hand-eye coordination is also improved thanks in part to video games, due to the
need to operate the controller and view the screen displaying the content all at the same time.[33]
The coordination of the player is enhanced due to the playing and continuous observation of a
video game since the game gives high mental stimulation and coordination is important and
therefore enhanced due to the constant visual and physical movement that is produced from the
playing of the video game.[33]

The playing of video games can also help increase a player's social skills. This is done by playing
online multiplayer games which can require constant communication, this leads to socialization
between players in order to achieve the goal within the game they may be playing. In addition it
can help the users to meet new friends over their online games and at the same time
communicate with friends they have already made in the past; those playing together online
would only strengthen their already established bond through constant cooperation. Some video
games are specifically designed to aid in learning, because of this another benefit of playing
video games could be the educational value provided with the entertainment. Some video games
present problem solving questions that the player must think on in order to properly solve, while
action orientated video games require strategy in order to successfully complete. This process
of being forced to think critically helps to sharpen the mind of the player.[33][34]

Game culture

One aspect of game studies is the study of gaming culture. People who play video games are a
subculture of their own. Gamers will often form communities with their own languages, attend
conventions where they will dress up as their favorite characters, and have gaming competitions.
One of these conventions, Gamescom 2018, had a record attendance with an estimated 370,000
attendees.[35]

Esports are making a significant impact in gaming culture. In 2018, Newzoo, a marketing
analytics company reported that 380 million people will watch esports that year.[36] Many
gamers seek to form communities to meet new people and share their love of games. In 2014,
Newzoo reported that 81% of gamers attend esport to be a part of the gaming community. "61%
of gamers attend live events and tournaments to connect with friends that they've met and
played with online."[37]

Throughout the years, there has been much research on the topic of game culture, specifically
focusing on video games in relation to thinking, learning, gender, children, and war. When looking
at game culture, particularly for early studies, multiplayer online games were usually the basis for
research.[38] However, more recent and wider ranging research has sought to understand not just
gaming cultures, but in turn, how video games provide important insights into the modern nature
of digital and participatory culture, patterns of consumption and identity formation, later
modernity and contemporary political rationalities.[39]

Demographics of gamers (in the US)

75% of households have a gamer.

65% of adults play video games.

60% of adults play on smartphones, 52% play on a personal computer, and 49% play on a
dedicated game console.

32 is the average age of male gamers.

34 is the average age of female gamers.

54% of gamers are men. 46% are women.[40]

See also

Art game

Video game art

Video games as an art form

Ludonarrative dissonance

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Further reading
Aarseth, Espen J. (1997). Cybertext: Perspectives on Ergodic Literature. Johns Hopkins University Press.
ISBN 978-0-8018-5579-5.

Barr, Matthew (2017). "Video games can develop graduate skills in higher education students: A
randomised trial" (https://doi.org/10.1016%2Fj.compedu.2017.05.016) . Computers & Education. 113:
86–97. doi:10.1016/j.compedu.2017.05.016 (https://doi.org/10.1016%2Fj.compedu.2017.05.016) .
Balkin, Jack M.; Beth Simone Noveck (2006). The State of Play: Law, Games, and Virtual Worlds (https://ar
chive.org/details/stateofplaylawga0000unse) . New York: New York University Press. ISBN 978-0-8147-
9971-0.

Bandura, A (1986). Social Foundations of Thought and Action. Englewood Cliffs, NJ: Prentice-Hall.
ISBN 978-0-13-815614-5.

Bissel, Tom (2011). Extra Lives: Why Video Games Matter. Vintage. ISBN 978-0-307-47431-5.

Bogost, Ian (2006). Unit Operations: an Approach to Videogame Criticism. MIT Press. ISBN 978-0-262-
02599-7.

Bolter, Jay David; Richard Grusin (2000). Remediation: Understanding New Media. MIT Press. ISBN 978-0-
262-52279-3.

Clune, Michael W. (2015). Gamelife: A Memoir. Farrar, Straus and Giroux. ISBN 978-0-865-47828-2.

Crawford, Garry (2012). Video Gamers. Routledge. ISBN 978-0-415-55620-0.

De Schutter, Bob; Vanden Abeele, Vero (2015). "Towards a Gerontoludic Manifesto" (https://doi.org/10.51
95%2Faa.2015.104) . Anthropology & Aging. 36 (2): 112–120. doi:10.5195/aa.2015.104 (https://doi.org/
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External links

Digital Games Research Association (DiGRA) (http://www.digra.org/)

"David Parlett’s Introduction to The International Board Game Studies Association" (http://ww
w.parlettgames.uk/games/bgs.html)

Tiltfactor Lab