The Carbon Footprint of Games Distribution

Abraham, Benjamin J.

doi:10.1007/978-3-030-91705-0_5

Cited by 1 publication

(5 citation statements)

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“…200-205, here p. 201. as well as motion platforms, electronic control and automation of visual and acoustic effects. 61 To that extent, the theme park was a child of cinema, though a rebellious one that broke media boundaries with its turn to three-dimensionality. The second parent, however, was television with its principle of programming.…”

Section: Framing Las Vegas: Disney and Digitalmentioning

confidence: 99%

“…The new medium of theme park entertainment thus occupied an intermediate position between analog audiovisuality (theater, cinema, television) and digital audiovisuality (digital film, digital games, augmented and virtual reality). 61 Cf. e.g.…”

Section: Framing Las Vegas: Disney and Digitalmentioning

confidence: 99%

“…or 'overload' the body with commands that it was simply not equipped to respond to coherently." 59 Thus, game research that is based on the theoretical implications of Disability Studies favoring a technodeterministic perspective or the "social model of disability" argues that "game interfaces embody and express ableist norms of bodily, sensory, and cognitive functioning" 60 and demand for alternative "solutions," 61 designs, or adaptive technologies to grant access to digital gaming to any type of body, subject, or player respectively. Game controllers then are mainly framed as technical objects, "hard-coded with ableist assumptions," 62 requiring optimization with regards to their usability, accessible properties, and inclusive design.…”

Section: Controller Research: From Problematic a Prioris To En-/disab...mentioning

confidence: 99%

“…There is a gap between game studies, in which games are generally synonymous with digital games, and analog game research, which, as mentioned at the beginning, is less visible and, moreover, characterized by conceptual and theoretical ambiguity. However, both research directions could be set into productive dialogue with each other if one were to draw on a holistic concept of games, which understands them as nomadic media 61 that can manifest in a wide variety of forms and which also approaches the specific elements of digital and analog games in equal measure.…”

Section: Conclusion: Why Not Analog and Digital Game Figures?mentioning

confidence: 99%

“…Lastly, digital distribution has the potential to be more eco-friendly since it makes the resource-intensive creation of physical storage unnecessary and thereby reduces waste. 61 However, digitalization is a double-edged sword. Privacy issues are one challenging aspect, as is guaranteeing format compatibility over long periods of time so that data remains readable even when storage systems change, while digital storage cannot always ensure the same longevity as paper archives.…”

Section: The Infocom Era Of "Feelies"mentioning

confidence: 99%

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Playful Materialities

2022

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HANNS CHRISTIAN SCHMIDT/RAVEN RUSCHSince the beginnings of human civilization, game culture and material culture have been closely linked. In the act of free play-paidia, according to Caillois 1 -children, as well as adults, transform simple objects into multifaceted toys in an almost magical way. Analog forms of rule-based play-ludus 2 -would hardly be conceivable without dice, cards, and game boards. Digital play is no less suffused with materiality: Games are not only mediated by technical interfaces, which we access via hardware and tangible peripherals. They are also subject to material hybridization, paratextual framing, and attempts of dematerialization and rematerialization. Of course, these contentious processes do not only affect digital games. For over three decades, they have marked the marginalization of industrial methods and modes in favor of digital ones, in production and consumption, in work and culture-via buzzwords and practices such as 'ubiquitous computing,' 'augmented reality,' and more recently, to an increasing extent, 'metaverse.' 3 1 Caillois, Roger: Man, Play and Games, Urbana: University of Illinois Press 2001 (*1958), p. 13. 2 Ibid. 3 All three concepts originated in the pioneering days of digital networking, around 1990, which also saw the emergence of the World Wide Web. Mark Weiser coined the term 'ubiquitous computing' that today we associate with the 'Internet of Things' (IoT) already in 1988. Four years later, Thomas Caudell, for the first time, described the fusion of the real and the virtual as 'augmented reality.' In the same year, 1992, Neal Stephenson published his novel Snow Crash, in which he evoked a virtual reality variant of such a fusion as the 'metaverse.'-For 'ubiquitous computing' see Weiser,

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Section: Framing Las Vegas: Disney and Digitalmentioning

confidence: 99%

Section: Framing Las Vegas: Disney and Digitalmentioning

confidence: 99%

Section: Controller Research: From Problematic a Prioris To En-/disab...mentioning

confidence: 99%

Section: Conclusion: Why Not Analog and Digital Game Figures?mentioning

confidence: 99%

Section: The Infocom Era Of "Feelies"mentioning

confidence: 99%

See 3 more Smart Citations