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Digital games are a significant fragment of lives of many people of almost every age category. Fashionability and popularity of these media products have launched an extensive discussion in the society of possible application of this concept in education, as, according to many theoreticians, the currently used teaching methods are inefficient, outdated, and lower the motivation of individuals to continue learning. Digital games might present one of the adequate solutions to this problem. Their partial components are being applied in the process of education through gamification. In practice, this phenomenon creatively uses elements and mechanics of digital games in order to naturally encourage interest, activity, and motivation of individuals during the educational process. Any element of a digital game can thus be a potential impulse for changing the character of education, whereas in the current situation regarding the spreading coronavirus, this form of education is more than desirable, despite its many pitfalls. The primary objective of the submitted paper is to present the nature and possible risks closely connected to the discussed phenomenon. In the presented theoretical reflection, we thus work with relevant publications by N. Esposito, M. J. P. Wolf, N. Vrabec, V. Kačinová, D. Buckingham, S. Deterding, S. Sanduskyová, and other authors that address definitions of a (digital) game, media education, and gamification itself. Our goal is to present the basic and topical terminological axis of the analysed issue on the one hand and, on the other hand, to point out the critical aspects related to this instrument of modern education, which might appear to be solely positive at first sight. To achieve the set ambition, we will apply logicalconceptual methods in the text. [ABSTRACT FROM AUTHOR]

Photography has become an integral part of daily life for a huge part of the population with rising phenomena such as digital photography and social networks. In many ways, it is widely considered as an art. Creating still images with the camera plays a key role in numerous digital games as part of the narrative. Apart from being implemented in the digital games as the key element of the gameplay, it has also become an opportunity for players to explore open-world environments and create unique compositions of still images from their own perspective. In this paper we argue, that in-game photography could be seen as mixed media art, or even as a specific genre of photography. [ABSTRACT FROM AUTHOR]

Digital games are one of the fastest developing media. Their application in to the educational system has a great potential to make education much more efficient and better. From games developed exactly for the cause of teaching, to entertaining games, this new media educate all generations of players. Main goal of this article is to analyse and highlight potential of digital games as an instrument for teaching new skills, facts and information. Main part of the article is focused on games, which teach gamers unwittingly. As a conclusion article brings analyse of current state and suggestions for the future. More specifically, which methods could be used for integration games in to education. [ABSTRACT FROM AUTHOR]

The present study elaborates on the issue of medieval games considered in historical theory and transformed to the current medial reality, i.e. dimension of digital games. The scrutiny is focused on historical development of games in the span of medieval society and their patterns in virtual reality or in digital games. In this context, we concern ourselves with broad scale of the games based on heterogeneous gaming principles, e.g. winning, gambling, mimic, and adventurous. Works of R. Caillois, known as an author of game principle typology, and as well relevant works of M. Bachtin, J. Le Goff, J. Huizinga, D. Prokop, R. Dyer, J. Radošinská, S. Gálik, besides others, were the basis of key theory. The main purpose of the paper is to explicate the issue of medieval games by way of logical and discursive analysis, and subsequently point out the cases where they occur in the media, computer games in particular. Anyway, not a mere interpretation of up to date knowledge of the matter in question is aimed by present piece of work, as the actual occurrences of medieval games in modern media reality is a paramount. However, relevant theory refilects medieval games occurring in the history, as well as in the contemporary postmodern society where they have become a natural part of everyday life. Drawing on this, we assume the theoretical postulates will also apply to the part of media space, i.e. virtual reality. [ABSTRACT FROM AUTHOR]

The submitted study focuses on the classification of digital game genres. The authors draw attention to the issue of game genre typology from the perspective of digital games theory. Simultaneously, the authors reflect on the different ways they are applied in the sphere of journalistic practice, specifically in the Slovak online magazine Sector. Confrontation between defined theoretical basis and associated practical usage (or lack thereof) is also a part of this study. The primary goal of this paper is to explain the game genre transformation process defined by the theory of digital games as it applies to Sector in relation to digital games. The secondary goal of the study is to define a corresponding terminological axis and to reflect related game genres. Given the comprehensive processing of the protracted theoretical issue, the authors could then apply the acquired information directly to concrete examples emanating from journalistic practice. To achieve the specified goals, the authors apply appropriate logical-conceptual methods of text analysis combined with qualitative content analysis of the chosen subject of research, the game-focused Slovak magazine. The authors expect an evident difference between the game genre typology defined by digital games theory and their application in the Slovak online game-magazine Sector. [ABSTRACT FROM AUTHOR]

Digital games, or their cyberspace, are becoming a new "living space" of modern human. It is a "virtual" environment in which the essence of human experience is transformed. "Virtualisation" brings "freshness" and "uniqueness" of virtual worlds of digital games. Along with specific features of these graphical and auditory worlds comes also a broad extent of subjective sharing. It is imagination and experiencing of the mostly "artificial" (cyber)experience of relative "freeing" from the flow of (physical) time, including relative unbodied form or "different body form" of the subject. They are determined by the so-called Presence and Immersion. Experiential production addresses digital games to the consumer - "guest" basing on personal aspect. In a spirit of phenomenology, experience seen in the context of digital games is understood as a subjective, individual-based temporary process. Also as experience that is in correlation to experience brought by human life. Seen from the point of cultural and social expectations, the key is in its potential to permit meaningful experience, significant in human life and positively influencing quality of human life. Nowadays we reflect attractivity and asset, but also risks and negative features, certain "price" that humans pays for their attachment to the cyberspace of digital games. A new evaluation does not lead to denial of (cyber)experience, but finds the importance of its complementarity. It is important to learn how to live in both the "natural" and "virtual" reality; this needs to be understood also as a moral challenge. We may take it as a pro-active step if the question of what constitutes "the good" of experience in context of digital games is indeed approached in experiential production. [ABSTRACT FROM AUTHOR]

In-game advertising as a mean of advertisement placement within digital games represents one of recent ways of how to reach potential consumers in current digital era. The aim of the study is to determine the difference in perception between digital in-game and nondigital print advertisements of the same product. The digital game Alan Wake represents an ideal research material because it contains various types of in-game advertising. A quantitative content analysis of the game examines occurrence rates of particular types of in-game advertising placed in it. Afterwards, we investigate using semantic differential the difference in perception between in-game advertising and corresponding print advertising as a form of „traditional” advertising. Reduction of prejudices or aversion towards in-game advertising is also a partial goal of the study. [ABSTRACT FROM AUTHOR]