Abstract
The aim of this approach is to develop analytical categories for an empirical research into computer game culture that focuses on the qualification of meaning making in relation to elements of game design. The interest lies on a better understanding of the perception of visual and narrative presentations and its relevance for meaning construction and gaming. It is assumed that a differentiated qualification of gaming experiences has to relate to the procedural aspects of meaning construction in digital gameplay in order to analyze the possible interdependencies between action-oriented gameplay and audiovisual perception of symbolic presentations. Based on media theories of symbolic interactionism and constructivism as well as theories on the culture of play, relevant categories of meaning making in digital gameplay are discussed. In an empirical study conducted at the University of Applied Sciences of Technology and Economy, Berlin, in 2009 on older gamers, the theoretical categories have been operationalized with regard to a qualitative inquiry.
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Notes
- 1.
For an attempt to investigate the process of meaning production on the level of the interface, see Wiemer (Chap. 5).
- 2.
Consequently, it might be critical whether the research design is based on assumed interpretations of the users according to representational content structures (plot, characters, realism) as proposed, for example, in the research on possible gratifications of realistic game design by Klimmt (2006).
- 3.
- 4.
The original project titles were: “RealSymbIn: Realitätsnähe und symbolische Interaktion bei Games und Online-Games”; “Gatscar: Game-Based Training and Teaching for Service in the Car Industry.”
- 5.
Rolf Oerter (2001) points to the relevance of the experience of manipulation in playful activities.
- 6.
Scheuerl (1991) points in this context to the aesthetic value of the procedural experience of dynamic structures in play.
- 7.
Grodal argues that narrativity is linked to linearity, whereas the basic affordance of gameplay initiates a kind of “meta-narrative” perspective of the different possibilities, which in their actualization lead to linear paths (Grodal 2003, 152–153).
- 8.
The categorization of relevant qualities still has to be developed. This is part of an ongoing research for serious games, in order to evaluate the users’ experiences and interpretations in relation to game design elements.
- 9.
The games were referred to in personal interviews. When games are part of a series and it cannot be said which installment is referred to, then the whole series is listed in the gameography.
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Gameography
Call of Duty series. (Since 2003). Infinity Ward & Treyarch (Dev.); Activision (Pub.).
Civilization series. (since 1991): MicroProse & Firaxis Games (Dev.); Infrogrames (until 2003), Atari (2003–2005), 2K Games (since 2005) (Pub.).
Lord of the Rings Online. (2007). Turbine (Dev.); Turbine & Midway Games (Pub.).
Portal. (2007). Valve Corporation (Dev./Pub.).
World of Warcraft. (2004). Blizzard Entertainment (Dev.); Vivendi (Pub.).
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Friess, R. (2012). Symbolic Interaction in Digital Games: Theoretical Reflections on Dimensions of Meaning Construction in Digital Gameplay. In: Fromme, J., Unger, A. (eds) Computer Games and New Media Cultures. Springer, Dordrecht. https://doi.org/10.1007/978-94-007-2777-9_16
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