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{{About|the study of playing games for entertainment|the mathematical study of optimizing agents|Game theory}}
'''Game studies''', also known as '''ludology''' (
Before video games, game studies was rooted primarily in anthropology.<ref>{{Cite book|title=Homo Ludens|last=Huizinga|first=Johan|publisher=Tjeenk Willink & zoon|year=1938|location=Haarlem|oclc=962401170}}</ref> However, with the development and spread of video games, games studies has diversified methodologically, to include approaches from sociology, psychology, and other fields.<ref>{{cite web |url=http://www.designtoolbox.co.uk/strategies/three-genres-of-game-research/ |title=Three Genres of Game Research |last=Mayer |first=Richard |date=29 May 2016 |website=Design ToolBox |access-date=17 June 2016}}</ref>
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Game designers [[Amy Jo Kim]] and [[Jane McGonigal]] have suggested that platforms which leverage the powerful qualities of video games in non-game contexts can maximize learning.<ref name="AmyJo">{{cite web|url=http://www.slideshare.net/amyjokim/smart-gamification|title=Smart Gamification|last=Kim|first=Amy Jo|date=1 August 2011|website=SlideShare|access-date=8 March 2014}}</ref><ref>{{cite book|title=Reality is broken: Why games make us better and how they can change the world|last=McGonigal|first=Jane|publisher=Penguin|year=2011|isbn=9780099540281|location=New York}}</ref> Known as the [[gamification of learning]], using game elements in non-game contexts extracts the properties of games from within the game context, and applies them to a learning context such as the classroom.
Another positive aspect of video games is its conducive character towards the involvement of a person in other cultural activities. The probability of game playing increases with the consumption of other cultural goods (e.g., listening to music or watching television) or active involvement in artistic activities (e.g., writing or visual arts production).<ref>{{Cite journal|last1=Borowiecki|first1=Karol J.|last2=Prieto-Rodriguez|first2=Juan|date=2015|title=Video Games Playing: A Substitute for Cultural Consumptions?|url=http://www.culturaleconomics.org/awp/AWP-07-2013.pdf|journal=Journal of Cultural Economics|volume=39|issue=3|pages=239–58|doi=10.1007/s10824-014-9229-y|citeseerx=10.1.1.676.2381|s2cid=49572910|archive-url=https://web.archive.org/web/20140917050344/http://www.culturaleconomics.org/awp/AWP-07-2013.pdf|archive-date=2014-09-17|url-status=dead}}</ref> Video games by being complementary towards more traditional forms of cultural consumption, inhibit thus value from a cultural perspective.
More sociologically-informed research has sought to move away from simplistic ideas of gaming as either 'negative' or 'positive', but rather seeking to understand its role and location in the complexities of everyday life.<ref>{{cite book|title=Video Gamers|last=Crawford|first=Garry|publisher=Routledge|year=2012|isbn=9780415563680|location=London|author-link=Garry Crawford}}</ref>
For example, it has been suggested
=="Ludology" vs "narratology"<!--linked from 'Narratology'-->==
{{More citations needed section|date=June 2013}}
A major focus in game studies is the debate surrounding [[narratology]] and ludology. Many ludologists believe that the two are unable to exist together,<ref name=":2">{{Cite web|url=http://www.jesperjuul.net/thesis/|title=A clash between game and narrative|website=www.jesperjuul.net|access-date=2018-03-30}}</ref> while others believe that the two fields are similar but should be studied separately. Many narratologists believe that games should be looked at for their stories, like movies or novels. The ludological perspective says that games are not like these other mediums due to the fact that a player is actively taking part in the experience and should therefore be understood on their own terms. The idea that a videogame is "radically different to narratives as a [[cognitive]] and [[Communication|communicative]] structure"<ref>{{cite journal|last1=Aarseth|first1=Espen|year=2001|title=Computer Game Studies, Year One|url=http://gamestudies.org/0101/editorial.html|journal=Game Studies|volume=1|issue=1}}</ref> has led the development of new approaches to criticism that are focused on videogames as well as adapting, repurposing and proposing new ways of studying and theorizing about videogames.<ref>{{Cite journal|last=Konzack|first=Lars|date=2002|title=Computer Game Criticism: A Method for Computer Game Analysis|url=http://www.digra.org/wp-content/uploads/digital-library/05164.32231.pdf|journal=CGDC Conference Proceedings|pages=89–100|via=DiGRA|archive-url=https://web.archive.org/web/20160615094133/http://www.digra.org/wp-content/uploads/digital-library/05164.32231.pdf|archive-date=2016-06-15|url-status=live}}</ref><ref>{{Cite journal|last=Costikyan|first=Greg|date=2002|title=I Have No Words & I Must Design: Toward a Critical Vocabulary for Games|url=http://www.digra.org/wp-content/uploads/digital-library/05164.51146.pdf|journal=CGDC Conference Proceedings|pages=9–34|via=DiGRA|archive-url=https://web.archive.org/web/20150122205959/http://www.digra.org/wp-content/uploads/digital-library/05164.51146.pdf|archive-date=2015-01-22|url-status=live}}</ref> A recent approach towards game studies{{Which|date=March 2018}} starts with an analysis of interface structures and challenges the keyboard-mouse paradigm with what is called a "[[ludic interface]]".
Academics across both fields provide scholarly insight into the different sides of this debate. Gonzalo Frasca, a notable ludologist due to his many publications regarding game studies, argues that while games share many similar elements with narrative stories, that should not prevent games to be studied as games.<ref name=":1">{{Cite web|url=http://www.ludology.org/articles/ludology.htm|title=Ludology|website=www.ludology.org|access-date=2018-03-30}}</ref> He seeks not "to replace the narratologic approach, but to complement it."<ref name=":1" />
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[[Jesper Juul (game researcher)|Jesper Juul]], another notable ludologist, argues for a stricter separation of ludology and narratology. Juul argues that games "for all practicality ''can not'' tell stories."<ref name=":2" /> This argument holds that narratology and ludology cannot exist together because they are inherently different. Juul claims that the most significant difference between the two is that in a narrative, events "have to" follow each other, whereas in a game the player has control over what happens.<ref name=":2" />
[[Garry Crawford]] and Victoria K. Gosling argue in favor of narratives being an essential part of games as these will contribute to, and be informed by, a gamer's personal life and identity narratives. As they write "it is impossible to isolate play from the social influences of everyday life, and in turn, play will have both intended and unintended consequences for the individual and society."<ref>{{Cite journal|last1=Crawford|first1=Garry|last2=Gosling|first2=Victoria K.|s2cid=18926419|date=2009|title=More than a game: sports-themed video games and player narratives|journal=Sociology of Sport Journal|volume=26|pages=50–66|doi=10.1123/ssj.26.1.50}}</ref>
Janet Murray, in support of the narratologist method of video game argues that "stories can be participatory."<ref>{{Cite web|url=https://eds.b.ebscohost.com/eds/pdfviewer/pdfviewer?vid=2&sid=42e23e31-a2eb-425a-8e68-cabf907801d5%40pdc-v-sessmgr02|title=What is Game Studies Anyway? Legitimacy of Games Studies Beyond Ludo-centrism vs. Narrato-centrism|last=Casvean|first=Tulia Maria|date=2016|website=Romanian Journal of Journalism & Communication|access-date=December 7, 2019}}</ref> In this argument, Murray is linking the characteristics of video games to narratives to further her point that video games should be analyzed through narratology.
Michalis Kokonis argues in favor of Gonzalo Frasca's article entitled "Ludologists love stories too: notes from a debate that never took place," which aimed to list and explain the misunderstandings, mistakes, and prejudices surrounding the narratology vs. ludology debate.<ref>{{cite web|url=https://ludology.typepad.com/weblog/articles/frasca_levelup2003.pdf|title=Ludologists love stories, too: note from a debate that never took place|last=Frasca|first=Gonzalo|date=2003|website=Typepad|access-date=December 7, 2019|archive-url=https://web.archive.org/web/20190714043628/https://ludology.typepad.com/weblog/articles/frasca_levelup2003.pdf|archive-date=July 14, 2019|url-status=live}}</ref> Kokonis noted that "endorsing [Frasca's] constructivist spirit we will have to agree that the so-called Narratology vs. Ludology Dilemma is a false one and that this debate will have to be resolved, as it is of no help to the cause of establishing Computer Games Study as an autonomous and independent academic field."<ref>{{cite web|url=https://www.degruyter.com/downloadpdf/j/ausfm.2014.9.issue-1/ausfm-2015-0009/ausfm-2015-0009.pdf|title=Intermediality between Games and Fiction: The "Ludology vs. Narratology" Debate in Computer Game Studies: A Response to Gonzalo Frasca|last=Kokonis|first=Michalis|date=2014|website=Acta Univ. Sapientiae, Film and Media Studies|access-date=December 7, 2019|archive-url=https://web.archive.org/web/20180725220608/https://www.degruyter.com/downloadpdf/j/ausfm.2014.9.issue-1/ausfm-2015-0009/ausfm-2015-0009.pdf|archive-date=July 25, 2018|url-status=dead}}</ref>
==Other areas of research==
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===Games and aging===
In light of [[population ageing]], there has been an interest into the use of games to improve the overall health and social connectedness of ageing players. For example, [[Adam Gazzaley]] and his team have designed [[NeuroRacer]] (a game that improves cognitive tasks outside of the game among its 60+ year old participants<ref>{{cite web|url=http://gazzaleylab.ucsf.edu/page74.html|title=NeuroRacer Study|last=Gazzaley|first=Adam|author-link=Adam Gazzaley|date=4 September 2013|publisher=Gazzaley Lab|location=[[University of California, San Francisco]]|archive-url=https://web.archive.org/web/20130908124030/http://gazzaleylab.ucsf.edu/page74.html|archive-date=8 September 2013|access-date=6 September 2013}}</ref>), while the [[AARP]] has organized a [[game jam]] to improve older people's social connections.<ref>{{cite web|url=http://miamioh.edu/news/campus-news/2016/03/aarp-game-jam.html|title=AARP teams up with students designing games for 50 plus|last=Kissell|first=Margo|date=17 March 2016|website=Miami University|access-date=1 March 2018}}</ref> Researchers such as Sarah Mosberg Iversen have argued that most of the academic work on games and ageing has been informed by notions of economical productivity,{{Sfn|Iversen|2014|p=}} while [[Bob De Schutter]] and Vero Vanden Abeele have suggested a game design approach that is not focused on age-related decline but instead is rooted in the positive aspects of older age.{{Sfn|De Schutter|Vanden Abeele|2015|p=}}
===Gaming and Disability Studies===
Disability Studies scholars have noted the importance of considering accessibility in the gaming industry, as well as considering exclusionary ableist attitudes and negative representations of disabled characters in gaming.<ref>Castrodale, M. (2022). “Dis/abling androids: gaming, Posthumanism, and critical disability studies” in Gaming Disability. eds. K. Ellis, T. Leaver, and M. Kent (New York: Routledge), 31–40.</ref>
=== Queer Game Studies ===
{{See also|LGBT themes in video games}}
Queer game studies is an interdisciplinary field of inquiry that examines the intersection of [[Video game|video games]] and [[queer theory]]. It explores how [[Video game|video games]] serve as a platform for the expression and exploration of queer experiences, identities, and desires. While traditional understandings of [[LGBT themes in video games|LGBTQ representation in games]] focus on the inclusion of queer characters or narratives, queer game studies broadens this perspective to encompass the ways in which games themselves can be played, interpreted, and designed through queer standpoints.<ref name=":3">{{Cite book |last=Ruberg |first=Bonnie |title=Video games have always been queer |date=2019 |publisher=New York University Press |isbn=978-1-4798-3103-6 |series=Postmillennial pop |location=New York}}</ref>
==== Origins and Development ====
The roots of queer game studies can be traced back to the emergence of [[Video game|video games]] as a cultural medium. From the early days of [[Arcade game|arcade games]] to contemporary [[Virtual reality game|virtual reality]] experiences, [[Video game|video games]] have offered players opportunities to engage with queer themes and concepts. However, it was not until the late 20th and early 21st centuries that scholars began to systematically explore the relationship between [[Queer|queerness]] and [[Video game|video games]].<ref name=":3" />
The field began to garner attention with the publication of pioneering works such as Queer Game Studies by [[Bo Ruberg|Bonnie Ruberg]]<ref name=":4">{{Cite book |title=Queer game studies |date=2017 |publisher=University of Minnesota Press |isbn=978-1-5179-0036-6 |editor-last=Ruberg |editor-first=Bonnie |location=Minneapolis |editor-last2=Shaw |editor-first2=Adrienne}}</ref> and Gaming Sexism: Gender and Identity in the Era of Casual Video Games by [http://www.amandaccote.com/ Amanda C Cote].<ref>{{Cite book |last=Cote |first=Amanda C. |title=Gaming sexism: gender and identity in the era of casual video games |date=2020 |publisher=New York university press |isbn=978-1-4798-0220-3 |location=New York (N.Y.)}}</ref> These works laid the foundational groundwork for queer game studies as a distinct [[academic discipline]].
==== Key Concepts and Themes ====
Queer game studies encompasses a range of concepts and themes, including:
# '''Queer Play''': The practice of engaging with [[Video game|video games]] in ways that challenge normative assumptions about [[gender]], [[Human sexuality|sexuality]], and [[Identity formation|identity]]. Queer play involves subverting game mechanics, exploring alternative narratives, and resisting [[Heteronormativity|heteronormative]] structures within games.<ref>{{Cite journal |last=Sundén |first=Jenny |date=2009 |title=Play as transgression: An ethnographic approach to queer game cultures |url=https://citeseerx.ist.psu.edu/document?repid=rep1&type=pdf&doi=5261df66d49cb8f68b29e2836016e55bc5ae2ed1 |journal=DiGRA Conference |volume=7}}</ref>
# '''Queer Representation''': Beyond the inclusion of [[LGBT|LGBTQ]] characters, queer game studies examines how [[Video game|video games]] depict and explore [[queer]] experiences, desires, and relationships. This includes both explicit representations of [[queer]] content and more subtle forms of queerness embedded within game worlds.<ref>{{Cite journal |last=Phillips |first=Bonnie Ruberg, Amanda |date=December 2018 |title=Special Issue -- Queerness and Video Games – Not Gay as in Happy: Queer Resistance and Video Games (Introduction) |url=https://gamestudies.org/1803/articles/phillips_ruberg |journal=Game Studies |volume=18 |issue=3 |issn=1604-7982}}</ref>
# '''Queer Design''': The creation of [[Video game|video games]] that prioritise [[queer]] experiences and perspectives. Queer designers employ diverse [[storytelling]] techniques, character customisation options, and world-building strategies to create inclusive and affirming gaming experiences.<ref name=":3" /><ref name=":4" />
# '''Queer Theory''': A theoretical framework prevalent in queer game studies. Drawing on queer theory, scholars analyse video games through perspectives such as performativity, affect, and intersectionality, shedding light on the methodologies in which [[Video game|video games]] construct and challenge notions of [[gender]] and [[Human sexuality|sexuality]].<ref name=":3" /><ref name=":4" />
==== Defining Queerness and Video Games ====
In understanding the intersection of video games and queer theory, it is imperative to establish a understanding of the term "[[Queer|queerness]]" alongside the definition of "[[Video game|video games]]."
'''Queerness'''
The term "[[queer]]" has undergone a transformative journey from its origins as a [[pejorative]] to its contemporary usage as a reclaimed term of pride. It serves both as an [[umbrella term]] encompassing diverse gender and [[Sexual identity|sexual identities]] beyond mainstream norms and as a conceptual framework for resisting [[Hegemonic masculinity|hegemonic]] norms. [[Queer|Queerness]] challenges dominant beliefs about pleasure, power, and societal acceptance, embodying a desire to live outside normative boundaries and to reimagine the world.<ref name=":3" />
'''Video Games'''
The definition of "[[Video game|video games]]" encompasses not only the game object itself but also implicit beliefs about what constitutes a legitimate gaming experience. [[Video game|Video games]] are designed, [[Interactivity|interactive]] experiences primarily mediated through digital interfaces, encompassing a diverse range of genres, platforms, and production theories. This inclusivity extends to [[Arcade game|arcade games]], [[Console game|home console games]], [[PC game|computer games]], [[Social game|social games]], and [[Mobile game|mobile games]].
The ongoing debate within game studies regarding the definition of [[Video game|video games]] underscores the changeability nature of their boundaries. Scholars have challenged traditional distinctions between [[Video game|games]] and [[Non-game|non-games]], highlighting the changeability of gaming experiences and the blurring of in-game [[fiction]] with embodied experience. Moreover, discussions about what qualifies as a "real" game often reveal underlying social biases, particularly concerning works created by marginalised individuals or addressing diverse perspectives.<ref>{{Cite book |last1=Flanagan |first1=Mary |title=Values at play in digital games |last2=Nissenbaum |first2=Helen |date=2016 |publisher=MIT Press |isbn=978-0-262-52997-6 |edition=First MIT Press paperback |series=Game studies / philosophy |location=Cambridge}}</ref>
==== Emergence of Queer Game Studies ====
The intersection of [[Queer|queerness]] and [[Video game|video games]] represents a growing field with scholarly and creative exploration. While [[gender]] and [[Human sexuality|sexuality]] in video games have been subjects of research interest for decades, the focus has primarily centred on [[cisgender]] women's experiences and representations. However, recent years have seen a significant shift towards the examination of [[Queer|queerness]] and [[LGBT|LGBTQ]] experiences in game studies.
Early discussions surrounding [[sexual orientation]] in [[Video game|video games]] often revolved around straight male identification with sexualised female characters, perpetuating the assumption of a predominantly [[Heterosexuality|heterosexual]], [[cisgender]] male player base.<ref>{{Cite web |title=Game Studies - Lara Croft: Feminist Icon or Cyberbimbo? On the Limits of Textual Analysis |url=https://www.gamestudies.org/0202/kennedy/ |access-date=2024-05-14 |website=www.gamestudies.org}}</ref> Despite indirect engagement with non-normative desires in game studies literature, explicit discussions on [[Queer|queerness]] were notably lacking until more recent times.
The emergence of queer game studies signals a transformative shift within game studies, characterised by [[Interdisciplinarity|interdisciplinary]] collaboration and a dedication to bridging theory with lived experiences. This [[Interdisciplinarity|interdisciplinary]] approach attracts scholars from various backgrounds, including humanists, social scientists, and critical makers, united in their exploration of the intersections between queer studies and game studies.<ref name=":4" />
A crucial event in the consolidation of queer game studies is the annual [https://qgcon.com/what-is-qgcon/ Queerness and Games Conference (QGCon)], fostering discussions among academics, industry professionals, and activists. This collaborative effort transcends geographical boundaries, reflecting a global network of scholars dedicated to advancing [[queer]] perspectives in game studies.
Queer game studies must address a multitude of issues at the intersection of [[Queer|queerness]] and [[Video game|video games]], including [[bisexuality]], [[asexuality]], [[Kink (sexuality)|kink]], and [[Non-binary gender|genderqueer]] [[Identity formation|identities]]. Intersectionality, encompassing [[Race (human categorization)|race]], [[ethnicity]], [[disability]], and other aspects of [[Identity formation|identity]], requires further exploration to develop a comprehensive perspective of [[Queer|queerness]] in gaming. <ref name=":3" />
==== Challenges and Future Directions ====
Despite its growth and recognition within academia, queer game studies encounter obstacles concerning representation, accessibility, and inclusivity. Numerous mainstream games continue to perpetuate [[Heteronormativity|heteronormative]] and [[Cisnormativity|cisnormative]] norms, marginalising [[queer]] players and creators. The rise of online harassment campaigns, exemplified by [[Gamergate (harassment campaign)|#GamerGate]], underscores a resistance to the diversification of gaming narratives and communities.<ref>{{Cite news |last=Wingfield |first=Nick |date=2014-10-15 |title=Feminist Critics of Video Games Facing Threats in 'GamerGate' Campaign |url=https://www.nytimes.com/2014/10/16/technology/gamergate-women-video-game-threats-anita-sarkeesian.html |access-date=2024-05-14 |work=The New York Times |language=en-US |issn=0362-4331}}</ref> Furthermore, barriers to entry within the [[gaming industry]] and academic institutions constrain the voices and perspectives represented within queer game studies.
Moving forward, scholars and practitioners in the field are working to address these challenges by advocating for greater [[Diversity, equity, and inclusion|diversity]] and [[Diversity, equity, and inclusion|inclusion]] in both [[Video game development|game development]] and academic research. By centring the lived experiences of [[LGBT|LGBTQ]] individuals and communities, queer game studies offer potential for transformative change, challenging traditional narratives and opening up new possibilities for expression and identity within digital spaces. <ref name=":3" />
===Virtual economies in gaming===
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Massive multiplayer online games can give economists clues about the real world. Markets based on digital information can be fully tracked as they are used by players, and thus real problems in the economy, such as inflation, deflation and even recession. The solutions the game designers come up with can therefore be studied with full information, and experiments can be performed where the economy can be studied as a whole. These games allow the economists to be omniscient, they can find every piece of information they need to study the economy, while in the real world they have to work with presumptions.
Former Finance Minister of Greece and Valve's in-house economist [[Yanis Varoufakis]] studied ''[[EVE Online]]'' as a measure for the Greek economic
=== Cognitive benefits ===
The psychological research into games has yielded theories on how playing video games may be advantageous for both children and for adults. Some theories claim that video games in fact help improve cognitive abilities rather than impede their development.<ref>{{Cite thesis |title=Player Affect Modelling and Video Game Personalisation |url=https://research.tilburguniversity.edu/en/publications/player-affect-modelling-and-video-game-personalisation-2 |date=2022-09-21 |degree=Doctoral Thesis |first=Paris |last=Mavromoustakos Blom}}</ref> These improvement theories include the improvement of visual contrast sensitivity.<ref name=":0">{{Cite web|url=http://www.psychologytoday.com/blog/freedom-learn/201502/cognitive-benefits-playing-video-games|title=Cognitive Benefits of Playing Video Games|last=Gray|first=Peter|date=20 February 2015|website=Psychology Today|access-date=1 March 2018}}</ref> Other developments include the ability to locate something specific among various impediments. This is primarily done in first-person shooter games where the protagonist must look at everything in a first person view while playing. By doing this they increase their spatial attention due to having to locate something among an area of diversions.<ref name=":0" /> These games place the player in a high intensity environment where the player must remain observant of their surroundings in order to achieve their goal, e.g., shooting an enemy player, while impediments obstruct their gameplay in the virtual world.<ref name=":0" />
Another cognitive enhancement provided by playing video games would be the improvement of brain functioning speed. This happens as the player is immersed in an unendingly changing environment where they are required to constantly think and problem solve while playing in order to do well in the game. This constant problem solving forces the brain to constantly run and so the speed of thought is sharpened greatly, because the need to think quickly is required to succeed.<ref name=":0" /> The attention span of the player is also benefited. High action video games, such as fighting or racing games, require the user's constant attention and in the process the skill of concentration is sharpened.
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The overcoming of the condition known as dyslexia is also considered an improvement due to the continuous utilization of controllers for the video games. This continuous process helps to train the users to overcome their condition which impedes in their abilities of interpretation.<ref name=":0" /> The ability of hand-eye coordination is also improved thanks in part to video games, due to the need to operate the controller and view the screen displaying the content all at the same time.<ref name=":0" /> The coordination of the player is enhanced due to the playing and continuous observation of a video game since the game gives high mental stimulation and coordination is important and therefore enhanced due to the constant visual and physical movement that is produced from the playing of the video game.<ref name=":0" />
The playing of video games can also help increase a player's social skills. This is done by playing online multiplayer games which can require constant communication, this leads to socialization between players in order to achieve the goal within the game they may be playing. In addition it can help the users to meet new friends over their online games and at the same time communicate with friends they have already made in the past; those playing together online would only strengthen their already established bond through constant cooperation. Some video games are specifically designed to aid in learning, because of this another benefit of playing video games could be the educational value provided with the entertainment. Some video games present problem solving questions that the player must think on in order to properly solve, while action orientated video games require strategy in order to successfully complete. This process of being forced to think critically helps to sharpen the mind of the player.<ref name=":0" /><ref>{{Cite journal|last1=Granic|first1=Isabela|last2=Lobel|first2=Adam|last3=Engels|first3=Rutger C. M. E.|date=2014|title=The Benefits of Playing Video Games|url=http://www.apa.org/pubs/journals/releases/amp-a0034857.pdf|journal=American Psychologist|volume=69|issue=1|pages=66–78|doi=10.1037/a0034857|pmid=24295515|citeseerx=10.1.1.697.8245|s2cid=15997754 |archive-url=https://web.archive.org/web/20131216085607/http://www.apa.org/pubs/journals/releases/amp-a0034857.pdf|archive-date=December 16, 2013|url-status=live}}</ref>
=== Game
One aspect of game studies is the study of gaming culture. People who play video games are a subculture of their own. Gamers will often form communities with their own languages, attend conventions where they will dress up as their favorite characters, and have gaming competitions. One of these conventions, Gamescom 2018, had a record attendance with an estimated 370,000 attendees.<ref>{{Cite web|url=https://ca.ign.com/wikis/gamescom/Attendance_and_Stats|title=Attendance and Stats - Gamescom Wiki Guide - IGN|date=27 August 2018|website=IGN|access-date=14 May 2019}}</ref>
Esports are making a significant impact in gaming culture. In 2018, Newzoo, a marketing analytics company reported that 380 million people will watch esports that year.<ref>{{Cite web|url=https://www.cnn.com/2018/08/27/us/esports-what-is-video-game-professional-league-madden-trnd/index.html|title=What is eSports? A look at an explosive billion-dollar industry|last=Willingham|first=AJ|date=27 August 2018|website=CNN|access-date=December 7, 2019}}</ref> Many gamers seek to form communities to meet new people and share their love of games. In 2014, Newzoo reported that 81% of gamers attend esport to be a part of the gaming community. "61% of gamers attend live events and tournaments to connect with friends that they've met and played with online."<ref>{{Cite web|url=http://www.eventhosts.org/wp-content/themes/iaeh/lib/cpt/resources/download.php?id=984|title=The eSport Effect: Gamers and the Influence of Live Events|last=Newzoo|date=April 2014|website=Eventbrite|access-date=December 7, 2019}}</ref>
Throughout the years, there has been much research on the topic of game culture, specifically focusing on video games in relation to thinking, learning, gender, children, and war. When looking at game culture, particularly for early studies, multiplayer online games were usually the basis for research.<ref>{{cite journal|title=What Is Video Game Culture? Cultural Studies and Game Studies|last=Shaw|first=Adrienne|date=April 8, 2016|publisher=SAGE|citeseerx = 10.1.1.867.1902}}</ref> However, more recent and wider ranging research has sought to understand not just gaming cultures, but in turn, how video games provide important insights into the modern nature of digital and participatory culture, patterns of consumption and identity formation, later modernity and contemporary political rationalities.<ref>{{Cite book|url=//www.routledge.com/Video-Games-as-Culture-Considering-the-Role-and-Importance-of-Video-Games/Muriel-Crawford/p/book/9781138655119|title=Video Games as Culture|last1=Muriel|first1=Daniel|last2=Crawford|first2=Garry|author-link2=Garry Crawford|date=2019|publisher=Routledge|isbn=9781138655119|location=London}}</ref>
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* 32 is the average age of male gamers.
* 34 is the average age of female gamers.
* 54% of gamers are men. 46% are women.<ref>{{Cite web|date=May 2019|title=2019 Essential Facts About the Computer and Video Game Industry|url=https://www.theesa.com/esa-research/2019-essential-facts-about-the-computer-and-video-game-industry/|access-date=14 May 2019|website=Entertainment Software Association|archive-date=20 January 2020|archive-url=https://web.archive.org/web/20200120101209/http://www.theesa.com/esa-research/2019-essential-facts-about-the-computer-and-video-game-industry/|url-status=dead}}</ref>
== See also ==
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* {{cite journal|author-link=Bob De Schutter|last1=De Schutter|first1=Bob|last2=Vanden Abeele|first2=Vero|year=2015|title=Towards a Gerontoludic Manifesto|journal= Anthropology & Aging|volume=36|issue=2|pages=112–120|doi=10.5195/aa.2015.104|doi-access=free}} {{openaccess}}
* {{cite journal|last=Iversen|first=Sara Mosberg|s2cid=147221763|year=2014|title=Play and Productivity: The Constitution of Ageing Adults in Research on Digital Games|journal=Games and Culture|volume=11|issue=1–2|pages=7–27|doi=10.1177/1555412014557541}}
* {{cite journal|last=Ferguson|first=Christopher J.|s2cid=3053432|year=2010|title=Blazing Angels or Resident Evil? Can Violent Video Games Be a Force for Good?|url=http://www.apa.org/pubs/journals/releases/gpr-14-2-68.pdf|journal=[[Review of General Psychology]]
* {{cite book |last=Galloway |first=Alexander R. |title=Gaming: Essays on Algorithmic Culture |year=2006 |isbn=978-0-8166-4850-4 |publisher=University of Minnesota Press}}
* {{cite book |first=Nate |last= Garrelts | author-link=Nate Garrelts |title=Digital Gameplay: Essays on the Nexus of Game and Gamer |date=2005 |publisher=[[McFarland & Company|McFarland]] |location= Jefferson, North Carolina, United States |isbn=9780786422920 }}
* {{cite book | last = Grau| first = Oliver | year = 2004| title = Virtual Art | publisher = [[MIT Press]]| isbn= 978-0-262-57223-1}}
* {{cite book | editor-last = Grau| editor-first = Oliver
* {{cite journal |last1=Griffiths |first1=M. |date=1999 |title=Violent video games and aggression: A review of the literature |journal=Aggression and Violent Behavior |volume=4 |issue=2 |pages=203–212 |url=http://ocw.metu.edu.tr/pluginfile.php/2352/mod_resource/content/1/Griffiths_LitReview.pdf |archive-url=https://web.archive.org/web/20131126121553/http://ocw.metu.edu.tr/pluginfile.php/2352/mod_resource/content/1/Griffiths_LitReview.pdf |archive-date=26 November 2013 |url-status=live |doi=10.1016/s1359-1789(97)00055-4 }}
* {{cite book|last=Hanson |first=Matt |author-link=Matt Hanson |year=2004 |title=The End of Celluloid: Film futures in the digital age. |publisher=Rotovision |isbn= 978-2-88046-783-8|title-link=The End of Celluloid }}
* {{cite book|last=Harrigan |first= Pat and |author2=Noah Wardrip-Fruin |year=2007 |title=Second Person: Role-Playing and Story in Games and Playable Media |publisher=[[MIT Press]] |isbn=978-0-262-08356-0}}
* {{cite journal |last=Juul |first=Jesper |author-link=Jesper Juul (video game theorist) |title=Games Telling Stories: A brief note on games & Narratives |journal=Games Studies |volume=1 |issue=
* {{cite book | last = Juul| first = Jesper| author-link=Jesper Juul (video game theorist)|year = 2006 |title =Half-Real: Video Games between Real Rules and Fictional Worlds |publisher = [[MIT Press]] | isbn=978-0-262-10110-3}}
* {{cite book| last=King |first=Brad |author2=John Borland |title=Dungeons and Dreamers: The Rise of Computer Game Culture from Geek to Chic |publisher=McGraw-Hill|isbn=978-0-07-222888-5 |year=2003}}
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* {{cite book |author-link=Katie Salen |last=Salen |first=Katie |author2=Eric Zimmerman |year=2003 |title=Rules of Play: Game Design Fundamentals |publisher=[[MIT Press]] |isbn=978-0-262-24045-1|author2-link=Eric Zimmerman }}
* {{cite book |author-link=Katie Salen |last=Salen |first=Katie |author2=Eric Zimmerman |year=2005|title=The Game Design Reader: A Rules of Play Anthology |publisher=[[MIT Press]] |isbn=978-0-262-19536-2|author2-link=Eric Zimmerman }}
* {{cite journal |last=Sisler |first=Vit |title=Digital Arabs: Representation in Video Games |journal=European Journal of Cultural Studies |volume=11 |issue=2 |
* {{cite book |author-link=Noah Wardrip-Fruin |last=Wardrip-Fruin |first=Noah |author2=Pat Harrigan |year=2004|title=First Person: New Media as Story, Performance, and Game |publisher=[[MIT Press]] |isbn=978-0-262-73175-1}}
* {{cite book |last=Wolf |first=Mark J. P. |title=The Medium of the Video Game |year=2001 |publisher=University of Texas Press |isbn=978-0-292-79150-3 |url-access=registration |url=https://archive.org/details/mediumofvideogam0000unse }}
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* [http://www.digra.org/ Digital Games Research Association (DiGRA)]
* [http://www.parlettgames.uk/games/bgs.html "David Parlett’s Introduction to The International Board Game Studies Association"]
*[https://www.thevideogamelibrary.org/blog/categories/game-studies Game studies bibliography] at The Video Game Library
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