Identities in continuum, how players perceive the games they are playing
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Identities in continuum, how players perceive the games they are playing

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Taking into account the project Infomedia, Information Acquisition in New Media, the presentation will explore complex relations between the player and the cybernetic system through gameplay, the......

Taking into account the project Infomedia, Information Acquisition in New Media, the presentation will explore complex relations between the player and the cybernetic system through gameplay, the application of tactics and strategies used by participants. Player?s bodily and spatial experience can be useful to our understanding of simulation experiences. Regular players may suffer from tendinitis, muscle and skin problems but they will persist playing their stories in a continuum of experimental, fluid and mutant identity.

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  • 1. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING MOBILE CELLS, JORNADAS CON CREADORES DE JUEGOS PARA MÓVILES E IDENTIDAD DIGITAL_ CITILAB CORNELLÀ 09 PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 2. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 3. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING _PLAYABLE MEDIA, CROSS NARRATIVES AND PERSISTENTE GAMES; _ALTERNATE REALITY GAMES (ARG’S); _INFOMEDIA, INFORMATION ACQUISITION IN NEW MEDIA: AUGMENTED REALITY, MOCAP AND COMPUTER GRAPHICS ANIMATION; PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 4. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 5. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING “Gaming activities are not neutral or isolated acts, but involve a person’s becoming and acting in the world as part of the construction of a complex identity.” (Kafai e al, 2008: xx) PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 6. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 7. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 8. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 9. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 10. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING “(…) in game worlds, social relations exist among avatars, among players, and between avatars and players”. (Lin, 2008: 67) PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 11. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING “THE AVATAR IS A SELF-PORTRAIT” (Mark Stephen Meadows, 2008: 106) PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 12. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING VHIL / VIRTUAL HUMAN INTERACTION LAB / DEPARTMENT OF COMMUNICATION / STANFORD UNIVERSITY PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 13. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 14. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING “Gender is a continuum rather than a set of binary oppositions”, “gender Identity is complex, contradictory, fluid, and socially constructed” (Jenkins & Cassel, 2008: 10) PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 15. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 16. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING “But every once in a while, I seem to meet someone who wants to violently deny that I am who I am. And how am I supposed to respond to a charge of “You are not a girl!” – I can’t exactly flash ID or body parts to prove it.” (World of Warcraft, female, 36, coated in Yee, 2008: 93) PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 17. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 18. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING “WHEN GIRLS AND BOYS PLAYED TOGETHER, GIRLS ENDED UP IN SUPPORT ROLES.” (Kafai e al, 2008: 195) PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 19. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 20. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING “When I played I was so sick and tired of being treated like a moron (…) that I made a male character. (…) I had immediate respect. When on a female char, men think you don’t know how to play, cant be hardcore, and try to give you things to hit on you. Its annoying to say the least.” (World of Warcraft, female, 35, coated in Yee, 2008: 93) PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 21. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 22. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING PARTICIPATORY CULTURE / PLAYER MADE CONTENT “(…) the social dynamics that emerged as players created their own identities and communities within massively multiplayer online games. (…) players were modifying existing games to serve alternative purposes.” (Jenkins & Cassel, 2008: 13) PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 23. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 24. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING “Today’s gamers grew up in an era of consumer-produced content all around – web pages, blogs, and music sampling and mashing. If the game industry would not produce the kinds of games women wanted to play, women would simply make their own.” (Jenkins & Cassel,2008: 13) women would simply make their own.” (Jenkins & Cassel, 2008: 13) PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 25. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 26. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING “To appeal to both genders, game play can involve solving complex puzzles, navigating tricky situations, and making risky choices, but successful use of tools, in these scenarios, comes as a result of creative thinking or clever guessing rather than from force, speed, or dexterity.” (Brunner, 2008: 42) PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 27. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 28. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING “Make visible an identity typically hidden: woman as gamer.” (Brunner, 2008: 61) PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 29. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 30. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING “(…) we and our participants are always – even at the very moment of trying to understanding it – performing and enacting for one another particular identities that shape our understanding of the playful life.” (Brunner, 2008: 63) PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 31. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 32. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING “Online game players interact within a minimum of three observable networks: social relations among game-world avatars, off-line social circles consisting of fellow players and family members, and off-line interactions among players who originally meet online.” (Lin, 2008: 70). LAN HOUSES IN KOREA PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 33. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 34. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING “Incorporating a diversity of play-style opportunities within a game allows male and female players to choose where on the gender continuum and other continuums they want to focus their play at any given time.” (Lazzaro, 2008: 211) PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 35. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 36. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING “Describing his avatar, one boy said, “I want to get a haircut like that but my mom won’t let me.” Similarly, a girl remarked while discussing her avatar, “I wish I had black hair … [and] I don’t have really pretty lips like she does.” (Kafai, 2008: 121) PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 37. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 38. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING JAPANESE MEDIA MIX_ ANIME (japonese animation), MANGA (comic art and graphic novels), card games, toys and character merchandise. PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 39. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING JAPANESE MEDIA MIX_ GIRL CULTURE_ KAWAII, kowa-kawa (scary-cute) or kimo-kawa (gross-cute), BOY CULTURE_KAKKOII (cool super heroes, war games and robots) OTAKU (media geek) DOUJINSHI (amateur manga) e COSPLAY (costume play). (Ito, 2008: 98-99). PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 40. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING “GEEKS”, “HARDCORE GAMERS”, “GROUPIES”, “TECHNO GURUS”, “HACKERS”, “ANDROGYNOUS” PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 41. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING “EMO (EMOTIONAL HARDCORE)”, “NEW WAVE” , “ECOLOGISTS”, “MYSTICAL”, “MEDITATIVE”, “ACTIVISTS” PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 42. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING “REBELS”, “MILITANTS OF NEW FORMS OF SOCIABILITY”, “FANS OF MANGA”, “SCHOLARS”, “STUDENTS” “EMO (EMOTIONAL HARDCORE)”, “NEW WAVE” , PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 43. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING “(…) there are several prominent female alternative-reality game (ARGs) developers as well as greater gender diversity in the ARG development community, and the player base for ARGs is gender balanced as well. (Phillips 2005, coated in Consalvo, 2008: 177) PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 44. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING “(…) there are several prominent female alternative-reality game (ARGs) developers as well as greater gender diversity in the ARG development community, and the player base for ARGs is gender balanced as well. (Phillips 2005, coated in Consalvo, 2008: 177) GAME MASTERS AND PUPPET MASTERS PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 45. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING “(…) there are several prominent female alternative-reality game (ARGs) developers as well as greater gender diversity in the ARG development community, and the player base for ARGs is gender balanced as well. (Phillips 2005, coated in Consalvo, 2008: 177) GAME MASTERS AND PUPPET MASTERS “(…) there are several prominent female alternative-reality game (ARGs) developers as well as greater gender diversity in the ARG development community, and the player base for ARGs is gender balanced as well”. (Phillips 2005, coated in Consalvo, 2008: 177) PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 46. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING _”IAM TRYING TO BELIEVE” NINE INCH NAILS “YEAR ZERO” 42 ENTERTAINMENT PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 47. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING NINE INCH NAILS, LISBOA 2007 “YEAR ZERO,” TRENT REZNOR + 42 ENTERTAINMENT PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 48. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING NINE INCH NAILS, LISBOA 2007 “YEAR ZERO,” TRENT REZNOR PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 49. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING IAM TRYING TO BELIEVE / NINE INCH NAILS, 2007 “YEAR ZERO,” TRENT REZNOR + 42 ENTERTAINMENT PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 50. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING IAM TRYING TO BELIEVE / NINE INCH NAILS, 2007 IN 2009, L.A. IS ATTACKED WITH DIRTY BOMBS (…) AFTER U.S. NUCLEAR STRIKES ON IRAN AND NORTH KOREA, MUSLIM NATIONS UNITE AGAINST AMERICA, WHICH SOON IMPOSES EMERGENCY MEASURES AT HOME TO QUELL DISSENT. PROTESTERS ARE JAILED AND EXECUTED. THE POPULATION IS PACIFIED WITH DRUGS SLIPPED INTO TAP WATER. (…) BY 2018, FREE ELECTIONS END. SEATTLE SUFFERS A BIOTERRORISM ATTACK IN 2019. WAS IT STAGED BY THE GOVERNMENT? IN 2022, A NEW CALENDAR EXISTS. AMERICA IS "BORN AGAIN“ IN YEAR ZERO. “YEAR ZERO,” TRENT REZNOR + 42 ENTERTAINMENT PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 51. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING CEDOCORE / NINE INCH NAILS, 2007 “YEAR ZERO,” TRENT REZNOR + 42 ENTERTAINMENT PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 52. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING CEDOCORE / NINE INCH NAILS, 2007 “YEAR ZERO,” TRENT REZNOR + 42 ENTERTAINMENT PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 53. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING CONSOLIDATED MAIL SYSTEMS / NINE INCH NAILS, 2007 “YEAR ZERO,” TRENT REZNOR + 42 ENTERTAINMENT PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 54. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING ANOTHER VERSION OF THE TRUTH / NINE INCH NAILS, 2007 “YEAR ZERO,” TRENT REZNOR + 42 ENTERTAINMENT PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 55. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING HOLLYWOOD IN MEMORIAM / NINE INCH NAILS, 2007 “YEAR ZERO,” TRENT REZNOR + 42 ENTERTAINMENT PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 56. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING HOLLYWOOD IN MEMORIAM / NINE INCH NAILS, 2007 “YEAR ZERO,” TRENT REZNOR + 42 ENTERTAINMENT PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 57. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING THE WATER TURN TO BLOOD / NINE INCH NAILS, 2007 “YEAR ZERO,” TRENT REZNOR + 42 ENTERTAINMENT PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 58. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING U. S. WIRETAP / NINE INCH NAILS, 2007 “YEAR ZERO,” TRENT REZNOR + 42 ENTERTAINMENT PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 59. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING BE THE HAMMER / NINE INCH NAILS, 2007 “YEAR ZERO,” TRENT REZNOR + 42 ENTERTAINMENT PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 60. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING BE THE HAMMER / NINE INCH NAILS, 2007 “YEAR ZERO,” TRENT REZNOR + 42 ENTERTAINMENT PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 61. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING ARTIS RESISTANCE / NINE INCH NAILS, 2007 “YEAR ZERO,” TRENT REZNOR + 42 ENTERTAINMENT PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 62. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING ARTIS RESISTANCE / NINE INCH NAILS, 2007 “YEAR ZERO,” TRENT REZNOR + 42 ENTERTAINMENT PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 63. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING CHURCH OF PLANO / NINE INCH NAILS, 2007 “YEAR ZERO,” TRENT REZNOR + 42 ENTERTAINMENT PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 64. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING OPEN SOURCE RESISTANCE / NINE INCH NAILS, 2007 “YEAR ZERO,” TRENT REZNOR + 42 ENTERTAINMENT PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 65. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING RESISTANCE KIT / NINE INCH NAILS, 2007 “YEAR ZERO,” TRENT REZNOR + 42 ENTERTAINMENT PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 66. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING ART IS RESISTANCE + WE ARE IN THIS TOGETHER / NINE INCH NAILS, 2007 “YEAR ZERO,” TRENT REZNOR + 42 ENTERTAINMENT PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 67. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING _”WHY SO SERIOUS?” “GOTHAN CITY_DARK KNIGHT” 42 ENTERTAINMENT / WARNER BROS_07/08 PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 68. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING WHYSOSERIOUS.COM _07/08 42 ENTERTAINMENT + WARNER BROS PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 69. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING WHYSOSERIOUS.COM _07/08 42 ENTERTAINMENT + WARNER BROS PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 70. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING IBELIEVEINHARVEYDENT.COM + GOTHAMCABLENEWS.COM _07/08 42 ENTERTAINMENT + WARNER BROS PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 71. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING IBELIEVEINHARVEYDENT.COM _MERCHANDISE AND AH AH CLOCK_07/08 42 ENTERTAINMENT + WARNER BROS PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 72. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING IBELIEVEINHARVEYDENT.COM _07/08 42 ENTERTAINMENT + WARNER BROS PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 73. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING CONCERNEDCITIZENSFORABETTERGOTHAM.COM + TRUSTGARCETTI.COM + DANAWORTHINGTON.COM_07/08 42 ENTERTAINMENT + WARNER BROS PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 74. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING THEGOTHAMTIMES.COM_THEHAHAHATIMES.COM_07/08 42 ENTERTAINMENT + WARNER BROS PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 75. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING RORY’SDEATHKISS.COM_07/08 42 ENTERTAINMENT + WARNER BROS PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 76. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING RORY’SDEATHKISS.COM_07/08 42 ENTERTAINMENT + WARNER BROS PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 77. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING RORY’SDEATHKISS.COM_07/08 42 ENTERTAINMENT + WARNER BROS PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 78. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING RORY’SDEATHKISS.COM_07/08 42 ENTERTAINMENT + WARNER BROS PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 79. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING CITIZENSFORBATMAN.COM_07/08 42 ENTERTAINMENT + WARNER BROS PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 80. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING GOTHAMVICTIMSADVOGATEFOUNDATION.COM + GOTHAMUNIFIEDSCHOOLDISTRICT.COM_07/08 42 ENTERTAINMENT + WARNER BROS PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 81. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING GOTHAMNATIONALBANK.COM + WEARETHEANSWER.COM_07/08 42 ENTERTAINMENT + WARNER BROSX PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 82. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING GOTHAMPOLICEMAJORCRIMESUNIT.COM_07/08 42 ENTERTAINMENT + WARNER BROS PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 83. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING ACMESECURITYSYSTEMS.COM_07/08 42 ENTERTAINMENT + WARNER BROS PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 84. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING GOTHAMFERRYSYSTEM_07/08 42 ENTERTAINMENT + WARNER BROS PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 85. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING ATASTEFORTHETHEATRICAL.COM + CLUES_07/08 42 ENTERTAINMENT + WARNER BROS PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 86. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING ATASTEFORTHETHEATRICAL.COM + CLUES_07/08 42 ENTERTAINMENT + WARNER BROS PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 87. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING WHYSOSERIOUS? IMAGES_07/08 42 ENTERTAINMENT + WARNER BROS PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 88. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING WHYSOSERIOUS? IMAGES_07/08 42 ENTERTAINMENT + WARNER BROS PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 89. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING WHYSOSERIOUS? GAMES_07/08 42 ENTERTAINMENT + WARNER BROS PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 90. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING WHYSOSERIOUS? GAMES_07/08 42 ENTERTAINMENT + WARNER BROS PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 91. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING WHYSOSERIOUS? IMAGES AND HAPPENINGS_07/08 42 ENTERTAINMENT + WARNER BROS PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 92. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING WHYSOSERIOUS? IMAGES + RENTACLOWN.COM_07/08 42 ENTERTAINMENT + WARNER BROS PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 93. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING GOTHAMCITYPIZZERIA.COM_07/08 42 ENTERTAINMENT + WARNER BROS PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 94. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING THEGOTHAMELECTIONBOARD.COM + GOTHAM CITY DRIVER LICENSE_07/08 42 ENTERTAINMENT + WARNER BROS PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 95. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING PASQUALE’SBISTRO.COM + ROSSI’SDELIANDGRILL.COM_07/08 42 ENTERTAINMENT + WARNER BROS PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 96. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING BETTY’SHOUSEOFPIES.COM + GOTHAMCAB.COM_07/08 42 ENTERTAINMENT + WARNER BROS PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 97. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING LAWSOFFICESOSJOSEPHCANDOLORO + SWITHUNSCHURCH_07/08 42 ENTERTAINMENT + WARNER BROS PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 98. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING INTERCONTINENTALHOTEL.COM + HINSLYTRAVEL.COM_07/08 42 ENTERTAINMENT + WARNER BROS PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 99. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING GOTHAMHISTORICTRUST.COM_07/08 42 ENTERTAINMENT + WARNER BROS PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 100. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING WHYSOSERIOUS? IMAGES WITH CLUES_07/08 42 ENTERTAINMENT + WARNER BROS PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 101. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING WHYSOSERIOUS? IMAGES WITH CLUES_07/08 42 ENTERTAINMENT + WARNER BROS PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 102. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING WHYSOSERIOUS? SOLVED PUZZLES_07/08 42 ENTERTAINMENT + WARNER BROS PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 103. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING _OTHER EXPERIMENTAL GAMES: PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 104. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING THE GO GAME / HTTP://WWW.THEGOGAME.COM/TEAM/INDEX.ASP_2002 THE GO GAME is a cutting-edge company that uses innovative, technology-driven team building games. PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 105. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING THE GO GAME / HTTP://WWW.THEGOGAME.COM/TEAM/INDEX.ASP_2002 MEANINGFUL INTERACTIONS: creativity, collaboration and above all, fun. PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 106. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING BLAST THEORY / HTTP://WWW.BLASTTHEORY.CO.UK/ BLAST THEORY: interactive performances, installations, video and mixed reality projects. PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 107. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING UNCLE ROY ALL AROUND YOU / HTTP://WWW.UNCLEROYALLAROUNDYOU.CO.UK/_2004 “A game that pitches ONLINE PLAYERS around the world alongside PLAYERS ON THE REAL STREETS of the city.” PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 108. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING UNCLE ROY ALL AROUND YOU / HTTP://WWW.UNCLEROYALLAROUNDYOU.CO.UK/_2004 “STREET PLAYERS search for uncle roy, guided by an interactive map and messages from online players.” PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 109. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING UNCLE ROY ALL AROUND YOU / HTTP://WWW.UNCLEROYALLAROUNDYOU.CO.UK/_2004 ONLINE PLAYERS use a virtual map to search for street players to help them find a secret destination. PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 110. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING UNCLE ROY ALL AROUND YOU / HTTP://WWW.UNCLEROYALLAROUNDYOU.CO.UK/_2004 Web cams, audio and text messages. Players must work together. They have 60 minutes to find uncle Roy. PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 111. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING B.U.G. / HTTP://WWW.DECISIONPROBLEM.COM/BUG/BUG2.HTML_KATIE SALEN ET AL_2003 THE BIG URBAN GAME_Design Institute of the University of Minnesota; twin cities design celebration (Minneapolis and St. Paul). PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 112. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING B.U.G. / HTTP://WWW.DECISIONPROBLEM.COM/BUG/BUG2.HTML_KATIE SALEN ET AL_2003 A RACE BETWEEN THREE TEAMS: move a high inflatable game piece in the shortest amount of time. PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 113. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING B.U.G. / HTTP://WWW.DECISIONPROBLEM.COM/BUG/BUG2.HTML_KATIE SALEN ET AL_2003 LOCAL NEWSPAPERS show the current locations of the pieces along with two possible routes to each piece’s next checkpoint. PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 114. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING UNEXCEPTIONAL / HTTP://UNEXCEPTIONAL.ARTS.UCI.EDU/HOOK.PHP_ROBERT NIDEFFER PERVASIVE MULTI-MODAL ACTION ADVENTURE RPG PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 115. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING UNEXCEPTIONAL / HTTP://UNEXCEPTIONAL.ARTS.UCI.EDU/HOOK.PHP_ROBERT NIDEFFER PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 116. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING UNEXCEPTIONAL / HTTP://UNEXCEPTIONAL.ARTS.UCI.EDU/HOOK.PHP_ROBERT NIDEFFER “CHECK OUT MY BLOG FOR MORE... it's where you can play along in a sick and twisted game to help me acheive enlightenment before my life completely unravels.“ PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 117. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING _INFOMEDIA, INFORMATION ACQUISITION IN NEW MEDIA: AUGMENTED REALITY, MOCAP AND COMPUTER GRAPHICS ANIMATION; MOVLAB / CICANT / ULHT PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 118. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING MOVLAB_07_ MOCAP ANIMATION PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 119. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING AUMENTED REALITY AND MOCAP / MOVLAB / LUSÓFONA _2008 PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 120. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING _INFOMEDIA Information Acquisition in New Media (ULHT/CICANT/MOVLAB); PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 121. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING AUMENTED REALITY AND MOCAP _2008 PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 122. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING _ MIXED REALITY is “anywhere between the extrema of the virtuality continuum” (MILGRAM & KISHINO, 1994); PAUL MILGRAM AND FUMIO KISHINO MIXED REALITY CONCEPT, 1994 PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 123. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING MYRON KRUEGER, VIDEOPLACE, 1974 IVAN SUTHERLAND, HMD THE SWORD OF DAMOCLES, 1965-68 PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 124. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING MYRON KRUEGER, VIDEOPLACE, 1974 PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 125. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING MORTON HEILIG, SENSORAMA, 1962 PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 126. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING MOCAP / MOVLAB PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 127. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING MOCAP / MOVLAB PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 128. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING INFOMEDIA PROJECT AT MOVLAB_08_10 MOCAP ANIMATION PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 129. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING _Demonstrate the potential use of AR, MOCAP and COMPUTER GRAPHICS ANIMATION (CGA) for visualising human movement; INFOMEDIA PROJECT AT MOVLAB_08_10 / HTTP://MOVLAB.ULUSOFONA.PT/INFOMEDIA/ PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 130. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING _Demonstrate the potential use of AR, MOCAP and COMPUTER GRAPHICS ANIMATION (CGA) for visualising human movement; INFOMEDIA PROJECT AT MOVLAB_08_10 / HTTP://MOVLAB.ULUSOFONA.PT/INFOMEDIA/ PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 131. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING _MOCAP and COMPUTER GRAPHICS ANIMATION (CGA); MOCAP ANIMATION CG ANIMATION PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 132. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING UNCANNY VALLEY, ENERGY ARTICLE, MASAHIRO MORI, 1970 PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 133. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING _3 degrees of REALISM: _ NARRATIVE REALISM (a consistent game engine and an engaged story); _ IMAGE REALISM (the level of image detail); _ ACTION OR MOVEMENT REALISM (the way digital creatures interact with their surroundings); MOVLAB_07_ / HTTP://MOVLAB.ULUSOFONA.PT PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 134. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING _REALISM OF ACTION! _”first-person camera” and “second-person narration” are two perspectives on the same category of simulated immediacy (DOUGLASS, 2007); MATRIX RELOAD THE GAME AND TEKKEN / PLAYSTATION PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 135. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING _DOOM players decrease image resolution in order to play faster with game engine; PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 136. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING _”I like COMBAT GAMES because of the stress they contain, your FINGERS GLUED TO THE HANDLE, pure reflexes, not a moment to think.” (Loic, 27, cited by Clais & Roustan, 2003: 41-42) _“There is truly a moment in which I reach a MAXIMUM LEVEL OF EXCITEMENT and where I feel that after that I'm going to feel anguish, so that if I continue I won't feel good.” (Alexandre, 23, cited by Clais & Roustan, 2003: 38). DOUGLAS COUPLAND JPOD CHARACTERS PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 137. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING _Observations with players in action show that from a certain level of game experience, there is a reduction in reflexive consciousness, the hands are mechanically activated beyond all deliberate control (Clais & Roustan, 2003: 41). PAINSTATION.DE PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 138. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING _Realism resides in the game’s tactility and the player’s real bodily experience. Realism is not understood in the sense of the representation’s resemblance on the screen but rather the capacity of the device to create real pleasures in the player’s physical body (Lahti, 2003). WIIFIT / NINTENDO + PONTO TXT / PORTUGUESE DANCE SHOW PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 139. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING EMILY O’BRIEN FACIAL IMAGE-METRICS FACIAL ANIMATION / SIGGRAPH 2008 INFOMEDIA PROJECT AT MOVLAB_08_10 / HTTP://MOVLAB.ULUSOFONA.PT/INFOMEDIA/ PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 140. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING EMILY O’BRIEN FACIAL IMAGE-METRICS FACIAL ANIMATION / SIGGRAPH 2008 PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 141. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING _blend the synthetic with the natural through augmented reality (AR); _generate a feel of presence by combining real toys or people with digital images; COLLABORATIVE AR GAMES / SHARED SPACE / MAGIC BOOK _ 2004 PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 142. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING COLLABORATIVE AR GAMES / SHARED SPACE / MOVLAB / LUSÓFONA _ 2008 PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 143. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING SOFTWARE CAVE 1992, MAGIC BOOK 2004, KONDO (NACIONAL SCIENCE MUSEUM, TÓQUIO) 2007 PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 144. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING _ “Creating a good player character within an interactive fiction world involves putting this character in a situation that is motivating for the interactor – but not given the interactor an actual dramatic script or a role to play” (MONTFORT, 2007); THE IMAGINARY HOTEL, ANDREA ZAPP, 2002 LITTLE SISTERS / ANDREA ZAPP, 2005 PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 145. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING _ digital simulations promote and explore complex relations between the player and the machine’s cybernetic system with which it relates through GAMEPLAY, that is, the real application of tactics and strategies used by participants as they play the game; LUDEA / TROY INNOCENT, 2005 PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 146. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING CONCLUSIONS: Gaming activities are not neutral but involve a PERSON’S BECOMING AND ACTING as part of the construction of a COMPLEX IDENTITY. GENDER IDENTITY IS A CONTINUUM, is complex, CONTRADICTORY, FLUID and socially constructed. Players were MODIFYING existing games to serve ALTERNATIVE PURPOSES. If the game industry would not produce GAMES PLAYERS WANT TO PLAY they would simply make THEIR OWN GAMES. TO APPEAL TO BOTH GENDERS GAMEPLAY can involve solving complex puzzles, navigating tricky situations, and making risky choices. PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 147. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING REALISM in digital games mainly relates to the bodily experience inherent to REPETITIVE ACTION. Image realism is a less important factor than realistic movement. The gaming device forces the player’s body to acquire automatisms, and the fictional experience on the board or magical space, which is the game, is essentially an INCORPORATED EXPERIENCE. The design of human-computer interaction should incorporate OPEN FICTIONS AND NARRATIVES in order to let the player build is own meaning and bodily incorporated experiences. Design platforms can stimulate COLLABORATIVE NETWORKS where players enact as actors in a digital drama. PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 148. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING MOUSELAND / HTTP://MOUSELAND.BLOGS.CA.UA.PT/_BLOG 06_07_08_09_ MOUSELAND: a space for the dissemination of digital culture, collaborative writing to construct interactive arguments. PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 149. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING PATRÍCIA AND MOUSELAND AVATARS PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL
  • 150. IDENTITIES IN CONTINUUM, HOW PLAYERS PERCEIVE THE GAMES THEY ARE PLAYING MOUSELAND@NETCABO.PT * HTTP://MOUSELAND.BLOGS.CA.UA.PT/ PATRÍCIA GOUVEIA / CICANT / UNIVERSIDADE LUSÓFONA / LISBON / PORTUGAL