![]() ![]() By means of discussing theoretical, methodical and practical approaches by various scholars from different academic disciplines the authors show how religion in games can be analysed, contextualized and interpreted. The article makes a case for Cultural and Religious Studies to expand the focus of research on digital games which so far have been a mostly neglected field of study. Despite some limitations in design and process, the results were positive and suggested further investigation is warranted into the use of WoW in schools and WoW with seniors." It was concluded that participants played WoW primarily because it was fun, although this was dynamic, and taught them skills for RL. These were triangulated with literature and ethnographic methods, followed by a closer examination of contemporary examples of ‘gamifying’ and ‘gamification’ that show these ‘fixes’ are already embedded in our culture. The survey examined players’ responses to McGonigal’s ‘fourteen fixes’ for RL, and the benefits of playing WoW experienced in their everyday lives. Having examined people’s reasons for play, the results were clustered around Nicole Lazzaro’s Four Keys to Fun! Within these sections, definitions, respondent examples, theory and reflections entwined to explore the sorts of fun 98% of respondents experienced. ![]() Data was collected using an online questionnaire, direct observation, field notes and informal in-game interviews. Grounded in past and contemporary research and located within a post-positivist, multi-sited ethnography – this study was a virtual ethnography with auto-ethnographic critical and self-reflexive practices. Trialling Doctor Jane McGonigal’s claim, that MMORPGs can teach people skills to improve their everyday lives, this work contributes to growing Games Studies knowledges. By extension, it explored the borderlands between real life (RL) and the virtual environments that people ‘escape’ into. "This thesis, fashioned in the form of an ‘Epic Quest’, asked why such a large and diverse community (10 million globally) play the massively multiplayer online role-playing game (MMORPG) World of Warcraft (WoW). Together, these exciting and enlightening examples provide a convincing case for how interactive play can power the experience of the past and vice versa. The book also includes a crowd-sourced chapter in the form of a question-chain-game, written by the Kickstarter backers whose donations made this book possible. They address such topics as how thinking about and creating games can inform on archaeological method and theory, how to leverage games for the communication of powerful and positive narratives, how games can be studied archaeologically and the challenges they present in terms of conservation, and why the deaths of virtual Romans and the treatment of video game chickens matters. The Interactive Past brings together a diverse group of thinkers - including archaeologists, heritage scholars, game creators, conservators and more - who explore the interface of video games and the past in a series of unique and engaging writings. Games and other interactive media are not only becoming more and more important as tools for knowledge dissemination and heritage communication, but they also provide a creative space for theoretical and methodological innovations. Just as video games have embraced the past, games themselves are also emerging as an exciting new field of inquiry in disciplines that study the past. ![]() This has allowed hundreds of millions of people to experience humanity's diverse heritage through the thrill of interactive and playful discovery, exploration, and (recreation n. From seminal series like Sid Meier's Civilization or Assassin's Creed to innovative indies like Never Alone and Herald, games have integrated heritages and histories as key components of their design, narrative, and play. ![]() Video games, even though they are one of the present's quintessential media and cultural forms, also have a surprising and many-sided relation with the past. ![]()
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