Zombie night terror gameplay 1st level
they played a game and (2) assess the feasibility of its use. The present study aimed (1) to develop a coding scheme of immersion for use on transcripts of children’s speech as.
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There has been a paucity of research investigating immersion in children due to a lack of an appropriate measure for use. The degree of cognitive and emotional involvement individuals have with a video game is referred to as immersion (Cairns, Cox, Day, Martin, & Perryman, 2013). This classificatory system, including categories like zombie-drone, tech-zombie, and bio-zombie, is spelled out in detail at the end of this chapter. En route, the chapter weaves into the narrative some categorizations of the permutations of the zombie myth that have developed since its migration into cinema and popular culture. Engaging with Existentialist philosophy, the chapter shows how the zombie myth comes to stand for an encounter with the other, and thereby with knowledge that can only come about through this encounter. The chapter then shows how the zombie myth transitions from incarnating God-as-truth to dramatizing scientific truths in the post-nuclear age. The chapter begins by providing some useful history on what it surmises are the origins of the zombie in the Nzambi Mpungu region of the lower Congo, with a figure called “Nzambi.” The chapter compares this African conceptualization of spiritual truth to Enlightenment Rationalism, wherein truth comes from within the self, whereas in empirical scientific method, truth likewise comes from without the thinking subject. This chapter ties the zombie's African spirituality to the existential crisis that the living dead often embodies in contemporary narratives. Like their precursors in science fiction, fantasy, and horror, videogame narratives, activities, and players often draw from Western values of White masculinity, White privilege as bounded by conceptions of ‘‘other,’’ and relationships organized by coercion and domination. Videogames construct exotic fantasy worlds and peoples as places for White male protagonists to conquer, explore, exploit, and solve. Accordingly, depictions of race in electronic spaces rely upon media imagery and social interactions. Their reactions offer insight into how videogames represent Whiteness and White privilege within the social structure of ‘‘play.’’ Omi and Winant’s (1994) racial formation theory notes that race is formed through cultural representations of human bodies organized in social structures. This article examines gamers’ reactions to a developer’s use of Africans as enemies in a survival horror videogame, Resident Evil 5. Videogames’ ability to depict cultural iconographies and characters have occasionally led to accusations of insensitivity.
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It is also clear that the undead support a range of compelling game mechanics and satisfying, varied gameplay, if deployed with flair. The interviews reveal that zombies’ utility remains a relevant consideration for game designers but that less pragmatic advantages, such as those related to storytelling and representation, have grown in importance.
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Interviews were conducted with twenty game designers who have worked on high-profile zombie titles, both indie and triple-A, and content analysis performed on the resulting material. In this chapter, assumptions about the ludic appeal of the undead are discarded and a fresh qualitative approach taken to determine why game designers continue to create games centred on zombie antagonists. It is also assumed that something of zombies’ appeal lies in their ‘otherness’, that enemies lacking any shred of human consciousness might be considered ideal targets for indiscriminate on-screen execution. For example, zombies’ impaired mental and physical function means that they are readily re-created using even limited in-game artificial intelligence.
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Assumptions are made about the continued popularity of zombies as video game antagonists, many of which are framed in terms of design-driven or technological concerns.