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.
Ride the Storm: Navigating Through Unstable Periods / Katerina Rudko (Belka G...
Identities in continuum, how players perceive the games they are playing
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