Provides new insights into the complexity and pleasures of player experiences of violence in video games.

Violence in video games has been a controversial object of public discourse for several decades. The question of what kind of emotional experiences players enact when playing with representations of physical violence in games has been largely ignored however. Building upon an extensive ethnographic study of players' emotional practices in video games, including participant observation in online games, qualitative interviews, an analysis of YouTube videos and gaming magazines since the 1980s, this Element provides new insights into the complexity and diversity of player experiences and the pleasures of playful virtual violence. Instead of either defending or condemning the players, it contributes foundational, unprejudiced knowledge for a societal and academic debate on a critical aspect of video gaming. This title is also available as Open Access on Cambridge Core.

The principal aim of this book is to discuss the role of video games in socialization of children and young people. The development of video games is a sign of and a factor in the democratization of modern societies.

An examination of subversive games like The Sims—games designed for political, aesthetic, and social critique. For many players, games are entertainment, diversion, relaxation, fantasy. But what if certain games were something more than this, providing not only outlets for entertainment but a means for creative expression, instruments for conceptual thinking, or tools for social change? In Critical Play, artist and game designer Mary Flanagan examines alternative games—games that challenge the accepted norms embedded within the gaming industry—and argues that games designed by artists and activists are reshaping everyday game culture. Flanagan provides a lively historical context for critical play through twentieth-century art movements, connecting subversive game design to subversive art: her examples of “playing house” include Dadaist puppet shows and The Sims. She looks at artists’ alternative computer-based games and explores games for change, considering the way activist concerns—including worldwide poverty and AIDS—can be incorporated into game design. Arguing that this kind of conscious practice—which now constitutes the avant-garde of the computer game medium—can inspire new working methods for designers, Flanagan offers a model for designing that will encourage the subversion of popular gaming tropes through new styles of game making, and proposes a theory of alternate game design that focuses on the reworking of contemporary popular game practices.

The fusion between virtuality and reality has created a new quality of experience establishing metaverses and virtual worlds. Second Life, Twinity, Entropia Universe or Fregger have experienced rapid growth in recent years and show no signs of slowing down. Not only have countless companies discovered these “virtureal worlds” as marketplaces, but so have fraudsters and other criminals. In this book, European experts from different academic disciplines show how to meet the new challenges arising from virtual worlds. They discuss the reasons for and the impacts of these new forms of criminality as well as the necessity and means of combating them. Moreover, other fundamental issues are examined, such as the addictive potential of virtual-world use, media violence, and conflict resolution problems arising in the context of virtual worlds.

Games allow players to experiment and play with subject positions, values and moral choice. In game worlds players can take on the role of antagonists; they allow us to play with behaviour that would be offensive, illegal or immoral if it happened outside of the game sphere. While contemporary games have always handled certain problematic topics, such as war, disasters, human decay, post-apocalyptic futures, cruelty and betrayal, lately even the most playful of genres are introducing situations in which players are presented with difficult ethical and moral dilemmas. This volume is an investigation of "dark play" in video games, or game play with controversial themes as well as controversial play behaviour. It covers such questions as: Why do some games stir up political controversies? How do games invite, or even push players towards dark play through their design? Where are the boundaries for what can be presented in a games? Are these boundaries different from other media such as film and books, and if so why? What is the allure of dark play and why do players engage in these practices?

In this Element, the authors focus on the translational dimension of 'on-screen language' (OSL). They analyse a data set covering the Polish localisations of Tom Clancy's The Division 2 and Shadow Warrior 2, from which over 1000 cases of unique and meaningful OSL were extracted, almost exclusively in languages other than Polish. Close to 100 representative examples are examined in this Element to map out a comprehensive typological account of OSL. First, visual-verbal stimuli are categorised by their prominence in the 3D environment. The second typology focuses on the identified OSL functions. A supplementary typological distinction is proposed based on the technical (static vs. dynamic) implementation of OSL. The discussion of findings and implications notably comprises input from an interview that the authors conduced with a lead level developer behind Shadow Warrior 2 to provide a complementary professional perspective on OSL and its translation.