Blog of Abstracts

Rebecchi Kevin, PhD (in Education) is a Research and Teaching fellow in Developmental Psychology in the Development, Individuals, Processes, Handicap, Education Research Unit at the Institute of Psychology, University Lumière Lyon 2 (France), and PhD Candidate in Communication at the Liège Game Lab, University of Liège (Belgium). His interdisciplinary research focuses on neurodiversity (history, conceptions and definitions, overlapping conditions, media representations, social perceptions and education).

Uncovering and End of the World: Neurodiversity in Apocalyptic Video Games

FROG 2024 – Talk

This talk explores how apocalyptic video games can uncover and highlight the unique skills and experiences of autistic individuals. By analyzing various games featuring autistic characters in apocalyptic contexts, we examine how these representations contribute to a better understanding and appreciation of neurodiversity.

The apocalypse, etymologically meaning “revelation,” is a recurring theme in video games, providing a framework to explore extreme scenarios and human capabilities in times of crisis. Traditionally seen as the end of the world or a major catastrophe, the apocalypse also means “uncovering” or “revealing.” This dual meaning shows how video games depict apocalyptic scenarios while revealing the skills and experiences of autistic individuals. Highlighting their unique contributions in apocalyptic worlds offers a new perspective on neurodiversity and challenges the notion that autism is solely a disability, demonstrating that in different contexts, autistic abilities become essential and valuable.

In Watch Dogs 2, Josh Sauchak is an autistic hacktivist fighting against a massive dystopian surveillance system. Overwatch features Symmetra, an autistic hero using a photon projector to protect her allies in a post-crisis future. Borderlands features Patricia Tannis, an autistic scientist surviving and searching for resources in a devastated universe. Mass Effect 2 introduces David Archer, an autistic savant with advanced cognitive abilities crucial for combating extinction threats. The Division 2 presents Birdie, an autistic technical genius helping rebuild society in post-pandemic Washington D.C. Apex Legends features Wattson, an autistic engineer creating defenses and supporting her team in a futuristic universe. Dragon Age: Inquisition presents Cole, a mysterious character with autistic traits navigating a world besieged by demons and conflicts. Clive Barker’s Jericho features Simone Cole, an autistic mathematician using chaos theory to manipulate time and space.

By uncovering the unique skills and experiences of autistic individuals, these apocalyptic video games offer new perspectives on human capabilities in crises and the resilience needed to overcome challenges. Highlighting neurodiversity, these games enrich our understanding of human contributions and resilience in global crises and question the notion of autism as a disability by showing how autistic abilities are indispensable in different contexts.

Giuseppe Femia is a PhD Candidate at the University of Waterloo. Overall, his research in disability game studies observes different types of gaming media and the design, purpose, and function it has while approaching disability identity. His current work observes disability representation and disabling mechanics in TTRPG narratives and systems.

Disability, Magic, and Technology in TTRPGs

FROG 2024 – Talk

This presentation delves into modern public perception of failure and how our learned fear of it makes it difficult to incorporate disability into pre-existing TTRPG systems, like D&D. Observing failure as a rhetorical tool, I will discuss scholars concerning the conception of the queer art of failure to situate losing a game as a productive affordance of game systems that should not be thought of as failure (Juul 60). In this manner, I will also be investigating alternatives to the traditional conventions governing success in games to provide affordances and set precedence for the experience of disability in games to abate a neoliberal dystopian/apocalyptic world. This will be done from two angles: 1) loss illustrated through the game mechanics; and 2) perceived failure within the narrative.

Concerning game mechanics, the RPG systems that are being considered will have different methods of taking action and navigating the world for the players’ characters. Mechanics that accommodate or exemplify disability could potentially be exploited to fetishize disabled characters and appropriate the culture. Mechanics that punish or make playing a disabled character harder might deter players from wanting to attempt to do so or lead the outcome of the story to seem more like a tragedy. By observing the mechanics available to the player in the object gaming texts I have selected, I can develop an understanding of how disability is, or is not, approached.

Concerning narratives, the perceived disabilities of a character could play into a story that is made and interpreted entirely by the players. However, the settings of the games might have pre-existing narratives that guide the gameplay into a tragic enactment of their disability. Therefore, the framing of the story provided by the game system sets a precedent of what the players’ expectations might be. For example, the dark fantasy genre of TTRPGs tends to implicate tragedy so depictions of characters with a disability are not afforded a positive setting to frame themselves in. Within the narrative, we can observe how failure is depicted and how disability might be framed.

Klemens Franz studied “Information Management” in Graz and “Digital Games Research and Design” in Tampere, Finland. He worked as an assistant for new media technologies at the FH Joanneum. In 2006 he founded the atelier198 where he has worked on over 400 analogue games as an illustrator, graphic designer and editor. In the last couple of years he started to talk about analogue games and his experience with their visuals. He worked on the interactive aspects of exhibitions, held game-design workshops and wrote about gaming culture. He teaches “Digital Imaging”, “Cultural Studies” and “Media Theory” at the FH Joanneum.

Thematic Transparency – How metaphoric Structures in Analogue Games can help us understand

FROG 2024 – Talk

There are board games focusing on the apocalypse, the post-apocalypse, and how we could rebuild our world. They deal with topics like surviving, gathering resources, feeding people, killing Zombies and renaturing the environment. The post-apocalyptic setting is great but maybe too far along the road we are heading. Analogue games can help to really understand how fragile structures and systems are and how they work and feel. All because players are forced to execute all those things to keep the game alive.

This talk gives an overview on how the apocalypse and its surrounding topics are handled in analogue games. As it turns out the deepness of the thematic integration varies heavily. In many cases those games are just a retheming of existing mechanisms. But some of them combine those mechanisms to create a challenge that addresses actual problems.

An interesting potential of analogue games lies within their biggest flaw: Players have to know the rules, execute the procedures, overwatch the handling, manage the bookkeeping and move pieces on the board. Analogue games are transparent.

If all those aforementioned actions are implemented in an evocative way into the core gameplay they not only make it easier for players to get into the game and keep all the rules and procedures in their mind. They also create relatable and comprehensible experiences.

Two main examples will highlight this approach: Atiwa by Uwe Rosenberg and Forest Shuffle by Kosch. The theme of both games is how nature is interconnected and players have to manage those interdependencies to gain as many points as possible. Both games achieve this in a different way but give players an insight on how those processes work and therefore create an understanding based on experience rather than theory. The core gameplay integrates those thematic metaphors in a comprehensible way. And to experience the fragile structure of our planet is an important step toward more awareness and prudence.

So analogue games really force us to understand processes. They are not hidden. You want to understand them. So you can play–and probably win–the game.

Markus Wiemker studied Sociology, Philosophy, and Psychology with the focus on Media and Cultural Studies at the University of Technology RWTH Aachen in Germany. He has been teaching Game Design and Game Studies at various schools and universities in Germany, Austria and Singapore and also developed Game Design curricula for institutions in Europe, Southeast Asia and West Africa. He is currently working as a professor in Game Design at the Hochschule Fresenius, University of Applied Sciences, Cologne, Germany.

The Interconnection between Games & Gambling

FROG 2023 – Talk

This paper seeks to discuss the similarities between (playing) analog & digital games and games of chance (“gambling”). For some researchers, gaming started with pre-religious practices like the prediction of the future through using knuckle bones and developed later into the spheres of the religious ritual, the playing of analog games, and different kinds of gambling activities like playing dice, cards, betting on horse races, lotteries, casinos, etc. But when and why were these three kinds of activities separated, which groups were interested in this divide and what were their motives? It also seems interesting to have a look at the different attitudes of society to gaming and gambling (e.g., “games support learning”, “gambling leads to addiction”), at how the two industries are structured and regulated differently and at the areas in which there are still connections. Furthermore, it will be discussed which kinds of gambling elements (e.g., randomizer, loot boxes, F2P reward systems and betting mechanics) are currently used in the digital game industry and how the society reacts to that.

Methods: historical discourse analyses and a comparative ethnographical approach

Juergen Smutek, a Gamer and Game Designer, has thrived at the intersection of gaming and gambling since 1999. His fascination with Game Theory, Balancing, Human Centricity, Beta Testing and the Flow Zone Concept drives his passion for creating engaging gameplay, both online and offline. Beyond conventional gaming, Juergen excels in hosting innovative gamification events, showcasing his ability to captivate audiences. He left his mark in competitive gaming at the Magic the Gathering 1999 World Championship in Tokyo, representing Austria. Now, poised to launch a Kickstarter board game.

As former Head of Games of win2day he has high expertise in any kind of gambling products. Presently, he researches various Megatrends, fashioning them into Future Conceptions. Outside of his professional pursuits, Juergen is a dedicated father to two daughters and finds joy in photography, video editing, cooking, skiing, soccer, and collecting trading cards. His journey is an inspiring blend of gaming, innovation, and fervent embrace of life’s multifarious adventures.

A Gamer trapped in the Gambling Industry > What I learned from working 25 years in the gambling business

FROG 2023 – Talk

This talk delves into the relationship between gaming and gambling, tracing the remarkable journey of an individual who transitioned from a passionate gamer and game designer to a seasoned expert within the gambling industry. The narrative unfolds the personal story, highlighting the captivating allure of the gambling world that held the gamer’s fascination for a remarkable 25 years. This talk underscores the multifaceted nature of gaming and gambling, offering insights into their convergence and divergence and paves the way for a deeper understanding of the dynamics that drive both industries.

The presentation underscores the critical disparities between gaming and gambling, revealing that although the two may seem synonymous on the surface, their underlying motivations differ dramatically. This distinction centers around the prominence of skill and the rigorous regulatory framework surrounding gambling. An unexpected revelation surfaces: gamblers often prioritize entertainment over monetary gain, while gamers are driven by the desire to win.

A comprehensive examination of the integration of gaming elements into various gambling products. The study provides an expert’s viewpoint on the gaming aspects within Lottery, Casino, Poker, Bingo, and Sports Betting. By dissecting these components, the research unveils the complexities of their interplay and the extent to which gaming principles infuse each category.

Finally we will venture into the future, envisioning how gaming and gambling will evolve by embracing contemporary Megatrends. These include the Subscription Economy, Sustainability, the integration of A.I. and the Metaverse, the concept of Valuetainment, and a societal shift from a currency-driven to a time-centric orientation. These trends are poised to reshape the landscape of both industries, fostering innovation and novel experiences.

Maximilian Stefan Mohr is enrolled in the master program Media and Digital Studies at Leuphana University in Lüneburg where he also works as a student assistant at the Leuphana Institute of Advanced Studies in Culture and Society. His main research interests include critical theory, phenomenological and social impacts of media and technology, as well game studies, where Mohr is still trying to find his niche. His favourite games combine artful presentation with strong gameplay ideas, such as Brothers: A Tale of Two Sons (2013) and Ori and the Blind Forest (2015).

Monetising Nostalgia – Artificial scarcity of retro games and how it “forces” players behaviour.

FROG 2023 – Talk

Video Game Preservation and access is a topic which only grows in relevance as the history of games gains not only in years, but also in number of game titles and technical progress or change. As studios and hardware manufacturers continuously offer new platforms and games, pursue different revenue ideas or questions of licensing arise, older titles often get left behind, even though there is still, for various reasons, a demand for them. While there may be all kinds of motivations for several actions on the site of said companies, in the end they organise players into different positions of spending, corporate dependency or “legal grey areas”.
As a specific example, this talk will look at the organisational force that Super Mario 64, or rather its legacy and developer Nintendo’s dealing with said legacy, expresses onto fans of the game and players in general. As a very much still sought after and popular game, Super Mario 64 will be representative of many games that might have been lost to time amidst questions of intellectual property, cultural heritage, legality vs morality and profit driven market interests. This talk will pose the question “What can be done about it?” in different ways.