中华电子游戏研究协会 2024-征稿

我们很高兴的宣布,第十届中华电子游戏研究协会研讨会将会于2024年9月28日以及29日在香港浸会大学举办。本年度的研讨会将会采取线上、线下两种形式举行。被接受的文章将通过在香港和线上进行传播报告。

征稿

今年的主题为“电子过去以及将来”。我们特别欢迎以下主题的论文:

  • 关于真实生活的电子游戏经历,比如电竞,LAN事件, AR,以及網吧/網咖相关。
  • 剧本杀、狼人杀、桌上游戏的现代的起源和没落。
  • 中国大陆游戏的进口与出口,包含山寨文化,本地化,全球化的中国游戏
  • 粉丝文化和游戏的定制化。
  • 中文区域内,平台化和其对游戏的影响。
  • 游戏公司相关:中文区域内的游戏孵化、展出。

我们邀请任何有关于中国电子游戏、电子游戏业界、电子游戏设计、电子游戏文化的投稿。我们尤其鼓励学生、位于研究生涯早期的研究者、游戏从业者进行投稿。

Submission Format

  • 投稿可为英文或中文。摘要将会被翻译为其他语言,录取与否取决于双向盲审。
  • 请提交字数不超过600词的英文摘要或不超过400字的中文摘要(不包括引用文献)。
  • 摘要为pdf格式,请依照此种模板
  • 在2024年7月7日之前提交到邮箱:ashleeip@hkbu.edu.hk
  • 请在邮件标题注明‘CDiGRA2024 Submission’字样。

摘要会依据其和本次研讨会的相关度以及学术严谨度进行盲审。如被接受,将会在2024年7月29日前进行通知。摘要被录取的作者将会有机会被邀请递交摘要进中华电子游戏研究协会电子图书部。同时,部分摘要将会被邀请提交全文进特刊。如有任何关于摘要递交、选题,或者研讨会的问题,请联系 ashleeip@hkbu.edu.hk 并在标题注明CDiGRA2024 Question。

重要日期

  • 7月7日:提交截止日
  • 7月29日:结果公布。选择在线上参加的研讨会的学者将会收到另外的信息告知他们如何录制和提交演讲视频(我们推荐带有音轨的PPT或者免费的软件OBS [Open Broadcast Software]
  • 8月1日:研讨会注册开始
  • 9月15日:我们邀请线上参与研讨会的参会者提交视频(或带有音轨的PPT)这些ppt和视频将对在研讨会开始前和研讨会进行时开放给其他参会人。
  • 9月27日和28日:研讨会

关于中华电子游戏研究协会

中华电子游戏研究协会(Chinese DiGRA)是电子游戏研究协会DiGRA (Digital Games Research Association) 的中华分部,致力于推进华语国家及周边地区的游戏研究。中华电子游戏研究协会旨在提升中文地区游戏研究的质量、数量及国际影响力。我们的工作包括建设游戏研究的学术网络、促进学界与业界的交流、支持华语区域内的游戏研究教育及博士生培养、以及向国际传播与宣传中国游戏研究的成果。您可以在我们的网站找到更多相关介绍,以及往年所有会议的摘要。

Games Symposium for Oceania and the Asia Pacific 

Chinese DiGRA in partnership DiGRA Australia, and Pride at Play present: the Games Symposium for Oceania and the Asia Pacific.

June 14-15, 2023 occurring in St Kilda, Australia as well as online.

Exploring new perspectives of videogame, boardgame, and tabletop roleplaying culture with game artists, makers, and researchers in the Asia Pacific and Oceania, we especially encourage researchers into Chinese game industries, cultures, and practices and to submit their work or to attend in-person or online. 

You can find out more about the event here:
English / 简体中文 / 繁體中文 

Call for nominations to Chinese DiGRA board, 2022-24

We will be holding an election for new board members this coming autumn. As a first step, we’d like to solicit nominations. Please go to the following anonymous form to make your nomination.

https://forms.office.com/r/3WspXbqedt

You can nominate yourself and/or someone else. We will contact all nominees in October and confirm all nominees by October 14th, when voting in the election starts. We’re particularly keen to invite new members onto the board. Please send in your nominations by 10th October 2022. If you are considering putting your own name forward but aren’t sure, or would like to find out more about what the board does, feel free to contact any of the current board members, who would be happy to discuss with you.

Here are the positions:

  • President
  • Vice President
  • Secretary
  • Treasurer
  • Student member (2 positions)
  • Industry member
  • Social media
  • Open seat (2 positions)

Review of Christopher B. Patterson, Open World Empire: Race, Erotics, and the Global Rise of Video Games

November 2020

Bjarke Liboriussen

University of Nottingham Ningbo China

 

Having your cake and eating it (off your naked partner): Review of Christopher B. Patterson, Open World Empire: Race, Erotics, and the Global Rise of Video Games. New York University Press, 2020.

In public and scholarly debates about video games, participants can find themselves in uncomfortable positions where they are forced to declare themselves either for or against video games. In Open World Empire: Race, Erotics, and the Global Rise of Video Games, Christopher B. Patterson offers a way to break free of such limited and limiting discursive options, and the thinking that gives rise to them, by “[understanding] games as players do – as mere playthings that afford new passions, pleasures, desires, and attachments, that place grave attention on our own positions in the world and make us conscious of our power over others” (p. 1). In short, the book offers ways of being simultaneously passionate about, and critical of, video games.

The term erotics is crucial for this project. As Patterson explains in the introduction, “Erotics is an art of conceiving how pleasure, desire, and the interactive work upon the body as a way to master ourselves and to recognize how our pleasures impact others” (p.  22). Patterson arrives at this understanding of erotics through the work of three “queer theorists” (p. 17), namely, Roland Barthes, Michel Foucault and Eve Kosofsky Sedgwick. Patterson engages with the three theorists throughout the book and pays special attention to the ways that the three thinkers towards the end of their lives increasingly fetishized Asia and drew on their “obscure queer identities” (p. 24). Patterson’s own identity as “a queer traveler of multiple racial genealogies who has lived in Korea, China, and Hong Kong” (p. 70) is relevant to appreciate the book’s style and intention. Although Patterson describes himself as a “matchmaker” (p. 17) between game studies and queer theorists – which perhaps makes him sound like someone who facilitates a meeting and then observes from a safe distance – many of the book’s observations draw on deeply personal experiences ranging from childhood memories to both sexual and non-sexual role play.

The book consists of an introduction, six chapters and a brief conclusion (or “Coda”, pp. 271-272). Chapter 1 covers “global games”, that is, games that distance themselves from, or even deny, their national origins. This strategy is well known from Japanese popular culture where it has been described as mukokuseki, odourless, by Koichi Iwabushi, but Patterson adds nuance by reading global games erotically. The chapter opens and closes with its main example, Overwatch (Blizzard Entertainment, 2016), but also an older game, Street Fighter II (Capcom, 1991), is examined in depth. Throughout the book, historical parallels often deepen understanding of contemporary examples (for example, e-sports and the rise of Twitch). Chapter 2 moves from games to makers of games and covers three types of developers: The invisible American developer, the Japanese auteur developer (appreciated by the “ludophile, the audience member who seeks intimate knowledge of a game” [p. 88]) and the Asian North American developer. Chapter 3 covers role play, an activity characterised by anonymity, impersonality and power play that embraces rather than denies that power relations are involved in play. Power play can be erotic in the true sense used here if it ethically cares for all (both seen and unseen) who are involved, but this ideal can be unobtainable when roles are played in an imperial setting. Here Patterson relies on Foucault’s writings on aphrodisiac and stresses how the erotic involves care, not just for the self but also for others.

A brief “Pause” (pp. 150-153) uses Sedgwick’s notion of “paranoid reading” to conclude that the first half of the book “used games as a utility to decipher empire” (p. 152), whereas the second half of the book will ask: “what can playing video games erotically do to us, rather than for us?” (p. 153; emphasis in the original).

Chapter 4 expands on Sedgwick’s writing on paranoid and “reparative” readings and applies them to bodily postures known from the playing of video games, particularly the playing of horror games; the chapter includes analysis of Alien: Isolation (Creative Assembly, 2014). Chapter 5 covers the Far Cry series (Crytek, 2004; Ubisoft, 2005-). Patterson simultaneously (and erotically) problematizes empire while appreciating the pleasures of doing the same things, such as shooting, over and over again (Barthes’ distinction between pleasure and bliss is at work here). Chapter 6 offers additional theoretical background for the book’s three main theorists. The chapter also reflects on the concept of, and study of, the transpacific. Main examples include the Civilization series (MicroProse, 1991-) and Google Earth VR (Google, 2016).

The book’s main contribution to the interdisciplinary academic field of contemporary game studies is its invitation to reconsider key concepts that the field has relied on for the past two decades, for example, immersion, player agency, interactivity and the magic circle. Some of the descriptions of these concepts and their application in game studies are quite blunt. Is it really true that “immersion” has been described as an experience of the mind rather than the body (p. 199)? Was “the magic circle” really “conceived as direct [refusal] of what [Patterson is] calling the erotic” (p. 13)? Answering these questions would only be worth time and energy if Patterson was actively trying to discredit existing game studies concepts and steer the field away from them, and that is not the intention underpinning the criticism. Instead, the book seems aimed at infusing existing game studies concepts with new meanings and pairing them together with concepts from Patterson’s three queer theorists in ways that can open new lines of enquiry for game studies.

My main quibble with the book has to do with its structure. Each chapter keeps a fine balance between theory and analysis, ensuring that the reader never experiences being introduced to a concept without also experiencing a fairly immediate analytical payoff. This makes for a comfortable read and avoids having the reader give up halfway through a lengthy description of the book’s analytical framework. However, I would personally have preferred having had a more substantial introduction to Barthes, Foucault and Sedgwick in the introduction – where such an introduction belongs – rather than in the last chapter (pp. 250-260). The price for smooth structure on the level of the individual chapter is paid for in uneven structure when zooming out to the book as a whole.

From a game studies perspective, Open World Empire might not be suitable for undergraduate students unless they are already attuned to some of the scholarly debates around video games. The most ambitious students, and game studies scholars in general, will enjoy having their favourite theorists and concepts played with in unthought – sometimes surprising, sometimes demanding – yet always caring ways.

 

《开放世界帝国:种族、情色和电子游戏的全球崛起》书评

 

比亚克·利布鲁森(Bjarke Liboriussen)

宁波诺丁汉大学

翻译:刘毅刚

上海大学

译校:郁仲莉

宁波诺丁汉大学

 

在电子游戏的公共讨论与学术争论中,参与者们可能会感到不自在,因为总是需要表态是支持还是反对电子游戏。在《开放世界帝国:种族、情色和电子游戏的全球崛起》(以下《开放世界帝国》)一书中,帕特森提出了一种打破这类局限的方法以及相关思考。他像游戏玩家一样将游戏看作为纯粹的消遣,游戏给人带来新的激情、愉悦、欲望和依恋。他认为这意味着关注点是在我们自身所处世界中的位置上,让我们意识到对他人的权力(p.1)。

“情色”是本书中的关键词。正如帕特森在开篇引言中所介绍的:“情色是一门艺术,它构想了快乐、欲望和交互作品是如何作用于身体的,以此来控制我们自己,并认识到我们的愉悦是如何影响他人的(p.22)。”帕特森对“情色”的理解来自于三位“酷儿理论家”的作品,即罗兰·巴特(Roland Barthes)、米歇尔·福柯(Michel Foucault)和伊芙·科索夫斯基·塞吉维克(Eve Kosofsky Sedgwick)。三位学者的身影贯穿全书,他尤其关注他们三人如何直到生命末期都还对亚洲越发迷恋、如何运用他们“模糊的酷儿身份” (p.24)。

要理解本书的风格与意图,就要先了解帕特森的身份,他是“一位曾经生活在韩国、中国和香港地区的混血酷儿旅行者”(p.70)。他自称是联结游戏研究与同性恋理论家的“媒人”(p.17),说得就好像是他促成了一场会面,而自己则呆在安全距离外进行观察似的。但是,书中的许多观察来自深刻的个人体验,从儿时的记忆, 到含有性爱元素和非性爱元素的角色扮演,凡此种种,应有尽有。

该书由引言、六个章节和一个简短的结论(或者说是“尾声”,pp.271-272)组成。第一章主要介绍了“全球的游戏”,这类游戏与民族起源保持距离,甚至加以否认。这种策略在日本流行文化中广为人知,它被日本学者岩渕功一(Koichi Iwabushi)描述成无味的“无国籍者”。但是帕特森从情色的视角来解读则给全球游戏添加了内涵。该章深入研究了两款游戏案例,并以它们开篇和收尾,即《守望先锋》(暴雪娱乐,2016年)和另一款较早的游戏《街霸2》(卡普空,1991年)。书中展示的历史上的相似案例进一步加深了人们对当代游戏案例的理解(例如电子竞技和游戏直播Twitch的兴起)。第二章将视线转向游戏制作者。它涵盖了三种类型的开发者:第一,隐身的美国开发者;第二,日本导演开发者(为“暴虐狂(ludophile)”游戏迷所喜欢,他们寻求更为私秘的游戏内容[p.88]);第三,亚裔北美开发者。第三章描述了角色扮演,一种以匿名性、去人格化和权力游戏为特征的活动。这种活动接受而不是否定这种游戏中的权力关系。如果游戏在道德上关照所有参与其中的人(无论是否可见),那么,权力游戏可以是真正意义上的情色游戏。但当角色扮演是在帝国情境的环境下时,这种理想的状态则无法实现。在这里,帕特森借用了福柯书中的“春药”的论述,并强调情色是如何涉及到关怀的,这种关怀不仅是为了自己,也是为了他人。

在 “暂停” 一节中,帕特森使用赛吉维克的“偏执阅读”的概念简要总结道,该书的前半部分“用游戏作为解码帝国的工具”(p.152),但对后半部分则提出了这样的疑问:“玩电子游戏真的是能我们产生什么情色影响,而不是我们带来什么情色影响吗?”(p.153;原著中强调)

第四章进一步拓展了赛吉维克书中关于偏执狂和“修复性”的解读,并用其分析玩电子游戏,尤其是玩恐怖游戏时的身体姿势。这一章分析了《异形:隔离》游戏(Creative Assembly,2014)。第五章则研究了《孤岛惊魂》系列(Crytek,2004;育碧,2005-至今)。帕特森对游戏中重复同样动作(如射击)带来的快感表示理解,同时也(从情色的角度)对帝国提出质疑(这里运用的是巴特关于愉悦和狂喜的区分法)。第六章对本书三位主要理论家的理论背景做了进一步的介绍。该章还对泛太平洋的概念和研究进行了反思,所举案例主要来自《文明》系列(MicroProse,1991-至今)和《谷歌地球VR》(谷歌,2016)。

这本书的主要贡献在于,在当代游戏研究的跨学科学术领域,它令人重新思考过去20年来该领域所依赖的核心概念,如沉浸感、玩家能动性、互动性和魔法圈。游戏研究对这些概念的描述和应用都很生硬。“沉浸”真的只是一种心灵的体验,而不是身体的体验吗(p.199)?人们过去真的以为“魔法圈”是“对‘帕特森’所谓的情色之直接的‘拒绝’”吗(p.13)?帕特森对这些概念的质疑并不是要游戏研究远离它们,这不是批评的目的。相反,本书旨在为现有的游戏研究概念注入新的含义,将它们与帕特森书中的三位酷儿理论家们的理论结合起来,为游戏研究开辟新的路径。

笔者认为,本书的主要问题在于其结构。该书的每一章都维持了理论阐释与案例分析的平衡,确保读者在面对理论概念时能通过案例分析直接体会其意思。这样让读者读起来舒服,避免读者因冗长的分析框架描述而半途而废。但是,笔者认为在开篇引言中就该对巴特、福柯和赛吉维克三位理论家给以充分介绍,而不是留到最后一章介绍(pp.250-260)。该书在单个章节里保持结构平衡,结果却导致了书的整体结构不够平衡。

从游戏研究的视角看,《开放世界帝国》也许不太适合本科学生阅读,除非他们已经熟知游戏研究的相关学术论争。但有雄心抱负的学生,以及大部分游戏研究者都会喜欢该书,因为书中有他们喜欢的理论家和理论概念,理论家们玩转概念的方式出人意料——时而令人惊奇,时而显得艰深——但总是用心至深,充满关怀。

 

参考文献:克里斯托弗·B.帕特森著:《开放世界帝国:种族、情爱和电子游戏的全球崛起》,纽约:纽约大学出版社,2020年版。

Chinese DiGRA Launches Book Reviews series!

A new series of book reviews that will be published on https://chinesedigra.org/ has been launched. The editors Paul Martin (University of Nottingham Ningbo China) and Yijin He (Beijing University of Technology) welcome proposals for relevant publications.

2020 Board Election

These are the bios for the proposed new Chinese DiGRA board, to serve from 2020 to 2022. We do not have multiple nominations for any position, so we will finalise the board on the 1st of October unless there are any objections from CDiGRA members between now and then. Thanks to everyone who took part in the nominations and to those who have put their name forward to serve this time.

President: Paul Martin
Paul Martin is an Associate Professor in Digital Media and Communications at the University of Nottingham Ningbo China. His research is mainly in the field of game studies, with three areas of particular focus. His work on meaning in digital games takes an approach based on hermeneutic phenomenology in order to understand how game interpretation takes place. His work on Chinese games and gaming focuses on the relationship between Chinese games and historical understanding and on e-sports in Chinese universities. He also publishes work on game studies as a field. Outside of game studies he has published work on Japanese manga as well as the uses of technology in the classroom. He is a founder member of the Chinese chapter of the Digital Games Research Association and currently serves as its president.

Vice President: Peter AC Nelson
Dr Peter AC Nelson is an art historian, game scholar and visual artist working at the intersection of computer game and landscape studies. He is engaged in a prolonged consideration of the history of landscape images, how they are remediated by technological shifts, and how these shifts absorb and reflect changes in our relationships with the physical environment. He has exhibited his artworks widely, including projects with HanArt TZ Gallery (Hong Kong), The National Palace Museum (Taiwan), The Sichuan Fine Art Academy Museum (Chongqing), the K11 Art Foundation (Hong Kong) and HowArt Museum (Shanghai) and is a regular contributor to the Philosophy of Computer Games Conference, DiGRA and Chinese DiGRA, of which he is a current board member. Peter is an Assistant Professor at the Academy of Visual Arts and the Augmented Creativity Lab at Hong Kong Baptist University where he is working on research projects that span player-generated content, landscape encoding using Generative Adversarial Networks and the ontology of the digital image.

Secretary: Jonathan Frome
Jonathan Frome is an independent scholar based in Hong Kong whose research focuses on emotional responses to interactive media. He received a PhD in Film Studies from University of Wisconsin-Madison. He has published in journals such as Games and Culture, Journal of Asthetics and Art Criticism, Projections, and Quarterly Review of Film and Video. His research interests include video game studies, film theory, aesthetics, and emotion.

Communications/Public relations: Hugh Davies 戴修
Dr Hugh Davies is a maker, curator and researcher. His practice explores histories of mobile devices and cultures of games and play in the Asia Pacific Region. Awarded a PhD in Art, Design and Architecture from Monash University in 2014, Davies’s research has been supported with fellowships from Tokyo Art and Space, M+ Museum of Visual Culture and the Hong Kong Design Trust. Davies is a postdoctoral research fellow at RMIT in Melbourne, Australia. 戴修是藝術家、研究員,主要探索有趣的遊戲設備,並視城市為遊戲版圖。他透過以實踐為本的研究,探究玩樂如何成為分隔遊戲與日常、現實與虛擬的流動界線。他在2014年於蒙納殊大學取得藝術、設計及建築哲學博士學位,研究題材為跨媒體遊戲。近年,他成為Tokyo Arts and Space的資助研究員及香港M+ / Design Trust 研究學人,研究亞太區遊戲文化,目前擔任皇家墨爾本理工大學的博士後研究員。

Student representative: Benjamin Horn
Benjamin Horn is a PhD student at the City University of Hong Kong. Previously a teacher and Foreign Director at the College of Culture and Education at Guangxi Normal University, where he taught classes in English literature and cross-cultural communications, he became interested in the novel forms that narratives are taking in video games, and so left his position to pursue a doctorate. He is primarily concerned with research issues centered around game criticism, and is working on a new model for the study and analysis of narrative games, with an emphasis on the use of quests as a methodological tool, and combining theory with practice in the form of accompanying case studies. He is also deeply invested in Chinese culture and history, and can speak fluent Mandarin. When he is not writing, he is playing games, reading, or cooking.

Student representative: Yu Hao
HAO Yu is a PhD Candidate at the School of Creative Media, City University of Hong Kong. She is researching the intersections of computer games, new media art, and media philosophy. Her current projects are focused around the process-relational aspect of computer games as digital objects and the social, political, and performative dimensions of computer gameplay. She holds an MA in Creative Media from City University of Hong Kong and a BA in Communication from East China Normal University in Shanghai. Her recent publications include “Video Games about Politics as States of Exception” in Gamevironments (2020, in press) and “Computer Games as Social Sculptures: Toward a Reevaluation of the Social Potential of Games and Play” in the Proceedings of the 2020 DiGRA International Conference. She has also presented at conferences internationally including Chinese DiGRA Conference (Beijing, 2019), Games and Literature Theory Conference (Kolkata, 2019), and Process, Performance and Mediation – Intermedia Studies Symposium (Lund, 2020).

Industry liaison: Yigang Liu
Yigang Liu (Neal), the Ph.D. candidate from SAFA, Shanghai University. From 2018 to the present, I served as the director of game design in Shanghai company of Beijing MeiXingSiYuan International Education Technology co., LTD. From 2018 to present, I have been a member of the academic advisory group of Shanghai Qihuang technology co., LTD. (Qihuang E-sports, the strategic partner of Tencent E-sports). Since 2014, I have been working as a news illustrator for Yixing Daily. From 2013 to 2018, I worked in the Wuxi Institute of Arts and Technology, Jiangsu Province, where I was responsible for digital game design lecturing and served as the director of the 3D printing laboratory. In 2013, I worked as the architectural design director of Cambodia Chen Group. From 2011 to 2012, I studied at Abertay Dundee University in the UK and obtained a master’s degree in game design and development. I studied in Shanghai university from 2007 to 2011 and received a bachelor’s degree in engineering.

Open seat 1: Chen Jiaqing
I am a lecturer of Communication at the University of Zhejiang (the School of Journalism and Communication). My current research preference is game spectatorship and I have been studying grassroot game-streaming behavior and game-spectating behavior. Meanwhile, I am planning on pushing forward the research to observe diverse patterns of game-playing-online-streaming behavior, including different game types and different streamers. I am also interested in the career path of e-sports player in China, especially in the aspects of vocational education and professional career development. I am more than glad to have the opportunity to work as a board member in CDiGRA.

Open seat 2: Tara Fickle
Tara Fickle is Associate Professor of English at the University of Oregon, and Affiliated Faculty of the Department of Indigenous, Race, and Ethnic Studies, the New Media & Culture Certificate, the Center for the Study of Women in Society, the Center for Asian & Pacific Studies, and the Comics and Cartoon Studies and Digital Humanities minors. Fickle received her Ph.D. from the University of California, Los Angeles, and her B.A. from Wesleyan University. She works at the intersections of critical race studies and game studies. Fickle’s work has appeared in journals such asModern Fiction Studies and MELUS, as well as various public humanities portals. Her first book, “The Race Card: From Gaming Technologies to Model Minorities,” (NYU Press, 2019), explores how games have been used to establish and combat Asian and Asian American racial stereotypes. Fickle is currently working on a digital archive and analysis of the canonical Asian American anthology, Aiiieeeee!, with additional research projects on Chinese gold farming and the racialized dimensions of esports. She also runs You on the Market (https://youonthemarket.wordpress.com/), a comprehensive website for academic job-seekers. More information can be found at tarafickle.comand Aiiieeeee.org.

Open seat 3: Olli Tapio Leino
Olli Tapio Leino is a computer game studies and philosophy of computer games scholar focusing on materiality, experience, emotion, and interpretation in computer games and playable art. He is an associate professor at School of Creative Media, City University of Hong Kong. Leino’s research has been published in Game Studies, Games & Culture, and Journal of Gaming & Virtual Worlds, with translations appearing in Teksty Drugie (Poland) and Intexto (Brazil). Leino is a recipient of multiple Hong Kong General Research Fund (GRF) grants, and has carried out contracted research for Hong Kong Government. He has been interviewed on the topic of computer games research for Radio and Television Hong Kong, South China Morning Post, Television Broadcasts Ltd. (TVB), and BBC Radio 5.

[Chinese DiGRA 2015] Chaoguang Wang and Gino Yu on The relationship between players value systems and their In-game behavior in a massively multiplayer online role-playing game

Chaoguang Wang, Gino Yu, Digital Entertainment Lab, Hong Kong Polytechnic University, Hong Kong

This study examines the relationship between player’s value systems based upon the Emergent Cyclical Levels of Existence Theory by Clare W. Graves (Graves, 2005) and their actions in playing a massively multiplayer online role-playing game. Online survey data from 5,427 players of the Ghost II containing value systems and demographic variables were analyzed for this study. A number of positive correlations were found between the score of Red (CP) value system and the in-game metrics that were collected to represent their playing behavior.Participants that scored high on Red value system also tend to spend more real money in the game, level up their character and ability as quickly as possible, and seek for other achievement in the forms offered by game world. These characteristics for fun, power and immediate gratification are also predicted by the Red (CP) value system in Clare W. Graves’ model. With this work, we show that there is a correlation between in-game behavior and real-life behavioral attitudes as modeled by the Emergent Cyclical Levels of Existence Theory. The finding provides valuable information for how to better design, evaluate and understand enjoyment in games. By understanding a player’s behavioral attitude within a game, we can design game mechanics and situations to facilitate personal transformation through game playing.

Author Info

Chaoguang Wang is a PHD candidate in the School of Design in the Hong Kong Polytechnic University. His research focuses on the value systems of players and their playing behavior online.He had worked professionally in games development for 6 plus years as a game researcher and game designer, with solid practical hands-on experience and understanding of game development.