Game studies
Game studies, also known as ludology or gaming theory, is
an interdisciplinary academic field focused on the analysis of games, the act of playing them, players, and the sociocultural contexts surrounding these activities. It is a field of cultural studies that deals with all types of games throughout history. This field of research employes methodologies from folkloristics and cultural heritage, sociology and psychology, while examining aspects of the design of the game, the players within 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 were rooted primarily in anthropology. However, with the development and spread of video games, games studies has diversified methodologically, to include approaches from sociology, psychology, and other fields.
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.
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" in 1999, 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 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."Social science
One of the earliest social science theories 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. 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. 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 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. 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.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. 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 or active involvement in artistic activities. Video games, by being complementary to more traditional forms of cultural consumption, exhibit 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.
For example, it has been suggested 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, 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" 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. 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. He seeks not "to replace the narratologic approach, but to complement it."
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." 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.
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."
Janet Murray, in support of the narratologist method of video game argues that "stories can be participatory." 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. Kokonis noted that "endorsing 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."
Other areas of research
As is common with most academic disciplines, there are a number of more specialized areas or sub-domains of study.History of games
The study of the history of games can fall within the wider field of game studies, although it can also fall within and overlap with the field of history more generally.This includes, for example, the study of the "pre-history" of video games, examining the origins of modern digital games in other 19th-20th century popular entertainments: 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.