Estetyka sprawczości w grach wideo

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Daujam M., red., The Legend of Zelda: Breath of the Wild The Complete Official Guide, Piggyback Interactive Limited 2017.

Dignum F., red., Agents for Games and Simulations II. Trends in Techniques, Concepts and Design, Springer 2011.

Domsch S., Storyplaying. Agency and Narrative in Video Games, Berlin 2013.

Dyer-Witheford N., de Peuter G., Games of Empire. Global Capitalism and Video Games, Minneapolis–London 2009.

Egenfeldt-Nielsen S., Heide Smith J., Pajares Tosca S., Understanding Video Games. The Essential Introduction, New York–London 2008.

Eichner S., Agency and Media Reception. Experiencing Video Games, Film, and Television, Wiesbaden 2014.

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Enfield N. J., Kockelman P., Editor’s preface, [w:] Distributed Agency, red. N. J. Enfield, P. Kockelman, Oxford University Press 2017.

Enfield N. J., Kockelman P., red., Distributed Agency, Oxford University Press 2017.

Eskin Shapson B., Essential narrative structure of medieval romance and video games, „English Honors Theses” 2018, No. 14.

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Farca G., Lehner A., Navarro-Remesal V., Regenerative Play and the Experience of the Sublime in The Legend of Zelda: Breath of the Wild, The Philosophy of Computer Games Conference, Copenhagen 2018.

Fassone R., Every Game is an Island. Endings and Extremities in Video Games, Bloomsbury 2017.

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Ferrara J., Playful Design: Creating Game Experiences in Everyday Interfaces, New York 2012.

Fewster D., The Witcher 3: A wild and modern hunt to medievalise Eastern and Northern Europe, „Gamevironments” 2015, No. 2.

Fizek S., Człowiek i algorytm. Ku automatyzacji rozgrywki w grach crowdsourcingowych, „Teksty Drugie” 2017, nr 3.

Fizek S., Od Pacmana do Lary Croft. Jak badać postać w grach wideo?, „Kultura i Historia” 2015, nr 27.

Fizek S., Rautzenberg M., The work of game in the age of automation, „Journal of Gaming and Virtual Worlds” 2018, No. 10.

Frasca G., Rethinking agency and immersion: Videogames as a means of consciousness-raising, „Digital Creativity” 2001, Vol. 12, No. 3.

Freeman D., Creating Emotion in Games: The Craft and Art of Emotioneering, New Riders Publishing 2003.

Fullerton T., Game Design Workshop. A Playcentric Approach to Creating Innovative Games Fourth Edition, Boca Raton, 2019.

Garda M. B., Gra The Witcher w uniwersum Wiedźmina, „Homo Ludens” 2010, nr 1 (2).

Garda M. B., Interaktywne fantasy. Gatunek w grach cyfrowych, Łódź 2016.

Garda M. B., Karhulahti V., The Witcher: Crafting a franchise, [w:] Proceedings of DiGRA 2017, online: http://digra2017.com/static/Extended%20Abstracts/126_DIGRA2017_EA_Garda_The_Witcher.pdf [dostęp: 20.09.2018].

Garner T., Grimshaw M., Nabi D. A., A preliminary experiment to assess the fear value of preselected sound parameters in a survival horror game, [w:] Games Computing and Creative Technologies: Conference Papers, http://ubir.bolton.ac.uk/238/1/gcct_conferencepr-14.pdf

Geissinger E., Gamer Nation: The Rise of Modern Gaming and the Compulsion to Play Again, New York 2018.

Giddings S., Kennedy H., Little Jesuses and *@#?-off robots: On cybernetics, aesthetics and not being very good at Lego Star Wars, [w:] The Pleasures of Computer Gaming: essays on cultural history, theory and aesthetics, red. M. Swalwell, J. Wilson, Jefferson 2008.

Griffin S. N., Push. Play: An examination of the gameplay button, [w:] Proceedings of the 2005 DiGRA International Conference: Changing Views: Worlds in Play, online: http://www.digra.org/wp-content/uploads/digital-library/06278.09504.pdf [dostęp: 18.03.2017].

Grodal T., Stories for eye, ear, and muscles: Video games, media, and embodied experiences, [w:] The Video Game Theory Reader, red. M. J. P. Wolf, B. Perron, New York 2013.

Grodal T., The PECMA flow: A general model of visual aesthetics, „Film Studies” 2006, No. 8 (1).

Grodal T., Video games and the pleasures of control, [w:] Media Entertainment: The Psychology of Its Appeal, red. D. Zillmann, P. Vorderer, Lawrence Erlbaum Associates Publishers 2000.

Habel C., Kooyman B., Agency mechanics: Gameplay design in survival horror video games, „Digital Creativity” 2014, Vol. 25, No. 1.

Hanson C., Game Time. Understanding Temporality in Video Games, Bloomington 2018.

Harrell D. F., Zhu J., Agency Play: Dimensions of Agency for Interactive Narrative Design, [w:] Proceedings of the AAAI 2009 Spring Symposium on Intelligent Narrative Technologies II, http://digm.drexel.edu/jzhu/publications/INT2_Harrell.pdf [dostęp: 23.05.2017].

Hayse M., Ethics, [w:] The Routledge Companion To Video Game Studies, red. M. J. P. Wolf, B. Perron, New York–London 2014.

Hodent C., The Gamer’s Brain. How Neuroscience And UX Can Impact Video Game Design, Boca Raton 2018.

Hodgson D., Murray W., Gilliland L., Musa A., The Witcher 3: Wild Hunt Complete Edition Strategy Guide, Indianapolis 2016.

Hong S., When life mattered: The politics of the real in video games’ reappropriation of history, myth, and ritual, „Games and Culture” 2015, Vol. 10, No. 1.

Huizinga J., Homo Ludens. Zabawa jako źródło kultury, tłum. M. Kurecka, W. Wirpsza, Warszawa 2007.

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Isbister K., How Games Move Us: Emotion by Design, Cambridge–London 2016.

Ishii H., Tangible user interfaces, [w:] Human-Computer Interaction. Design Issues, Solutions, and Applications, red. A. Sears, J. A. Jacko, Boca Raton 2009.

Järvinen A., Understanding video games as emotional experiences, [w:] The Video Game Theory Reader 2, red. B. Perron, M. J. P. Wolf, New York–London 2008.

Johnson D., Worlds in and of motion: Agency and animation at the margins of video game aesthetics, „Journal of Gaming & Virtual Worlds” 2017, Vol. 9, No. 3.

Joseph D. J., The discourse of digital dispossession: Paid modifications and community crisis on steam, „Games and Culture” 2018, Vol. 13, No. 7.

Jørgensen K., On transdiegetic sounds in computer games, „Northern Lights: Film and Media Studies Yearbook” 2007, No. 1 (5).

Jørgensen K., When is it enough? Uncomfortable game content and the transgression of player taste, [w:] Transgression in Games and Play, red. K. Jørgensen, F. Karlsen, Cambridge–London 2018.

Juster S., Majora’s Mask, [w:] Well Played 3.0. Video Games, Value and Meaning, red. D. Davidson, ETC Press 2011.

Juul J., A Casual Revolution. Reinventing Video Games and Their Players, Cambridge–London 2010.

Karpouzis K., Yannakakis G. N., red., Emotion in Games Theory and Praxis, Springer 2016.

Kimball B. J., The Gerudo problem: The ideology of The Legend of Zelda: Ocarina of Time, „PURE Insights” 2018, Vol. 7, No. 1.

King B., Borland J., Dungeons & Dreamers: A story of how computer games created a global community, Emeryville 2003.

Kirkpatrick G., Between art and gameness: Critical theory and computer game aesthetics, „Thesis Eleven” 2007, No. 89.

Kirkpatrick G., Controller, hand, screen: Aesthetic form in the computer game, „Games and Culture” 2009, No. 2 (4).

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Kosman M., Nie tylko Wiedźmin. Historia polskich gier komputerowych, Warszawa 2015.

Krapp P., Noise Channels. Glitch and Error in Digital Culture, Minneapolis 2011.

Kubiński P., Co wyczytasz pod skórą Wiedźmina 3?, „Ha!art” 2015, nr 51.

Kubiński P., Grą opowiedzieć konflikt. Publicystyczne gry wideo Raid Gaza! i Save Israel, „Res Publica Nowa” 2014, nr 3 (27).

Kubiński P., Gry wideo w świetle narratologii transmedialnej oraz koncepcji światoopowieści (storyworld), „Tekstualia” 2015, nr 4 (43).

Kubiński P., Gry wideo. Zarys poetyki, Kraków 2016.

Kubiński P., Zagraj to jeszcze raz, Stanley. Mise en abyme oraz gra konwencją i narracją w „The Stanley Parable”, „FA-Art” 2015, nr 1–2 (99–100).

Kushner D., Jacked: The Outlaw Story of Grand Theft Auto, New Jersey 2012.

Lawrence C., What if Zelda wasn’t a girl? Problematizing Ocarina of Time’s great gender debate, [w:] Queerness in Play, red. T. Harper, M. Blythe Adams, N. Taylor, Cham 2018.

Lesner E. D., O tworzeniu i technikach przekładu tzw. „easter eggów” na wybranych przykładach z trylogii gier komputerowych „Wiedźmin” i jej tłumaczenia na język niemiecki, „Lingwistyka Stosowana” 2017, nr 3 (23).

Liboriussen B., The landscape aesthetics of computer games, [w:] Conference Proceedings of the Philosophy of Computer Games 2008, red. S. Günzel, M. Liebe, D. Mersch, Potsdam 2008.

Loguidice B., Barton M., Vintage Games. An Insider Look at the History of Grand Theft Auto, Super Mario, and the Most Influential Games of All Time, Burlington–Oxford 2009.

Lundgren S., Bergström K. J., Björk S., Exploring aesthetic ideals of gameplay, [w:] Breaking New Ground: Innovation in Games, Play, Practice and Theory. Proceedings of DiGRA 2009, online: http://www.digra.org/wp-content/uploads/digital-library/09287.58159.pdf [dostęp: 16.12.2019].

MacBride R., The primordial economics of cheating: Trading skill for glory or vital steps to evolved play?, [w:] Situated Play, Proceedings of DiGRA 2007 Conference, online: http://www.digra.org/wp-content/uploads/digital-library/07311.05292.pdf [dostęp: 23.08.2018].

Madigan J., Getting Gamers. The Psychology of Video Games and Their Impact on the People Who Play Them, Lanham–London 2016.

Maj K. M., Słowo gra znaczy świat. Przestrzeń gry wideo w kognitywnej teorii narracji, „Teksty Drugie” 2017, nr 3.

Majkowski T. Z., Geralt of Poland: The Witcher 3 Between Epistemic Disobedience and Imperial Nostalgia, „Open Library of Humanities” 2018, nr 4 (1).

Majkowski T. Z., Pasja kartograficzna. Wyobraźnia imperialna i mapy w grach wideo z otwartym światem, „Kultura Współczesna” 2016, nr 2 (90).

Malaby T. M., Beyond Play: A New Approach to Games, „Games and Culture” 2007, Vol. 5, No 2.

Mallory M., Community-based Play in Twitch Plays Pokémon, „Well Played” 2014, Vol. 3, No. 2.

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Manovich L., The Language of New Media, MIT Press 2001.

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Matuszek D., Koniec męskości, albo Wiedźmina opisanie, „Śląskie Studia Polonistyczne” 2016, nr 1–2.

Matuszek D., The Witcher, or the end of masculinity (as we know it), „Kinephanos” 2017, lipiec.

Mäyrä F., The player as a hybrid: Agency in digital game cultures, „GAME” 2019, No. 8.

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Molencki J., Trzymać asa w rękawie. Czym jest oszustwo w grach wideo?, „Irydion. Literatura–Teatr–Kultura” 2018, nr 1.

Moody K., The end of the dream: How Grand Theft Auto V simulates and subverts its male player-character dynamics, [w:] Masculinities in Play, red. N. Taylor, G. Voorhees, Palgrave Macmillan 2018.

Mosca I., Social ontology of digital games, [w:] Handbook of Digital Games, red. M.C. Angelides, H. Agius, Wiley 2014.

Moseley R., Keys to Play. Music as a Ludic Medium from Apollo to Nintendo, Oakland 2016.

Murray J., Hamlet on the Holodeck. The Future of Narrative in Cyberspace, Free Press 2016.

Murray J., Inventing The Medium. Principles of Interaction Design as a Cultural Practices, Cambridge–London 2012.

Namousi A., Kohl D. S., Crowdsourcing in video games: The motivational factors of the crowd, „The Computer Games Journal” 2016, Vol. 5, No. 3–4.

Nansen B., Apperley T., Nicoll B., Postdigitality in children’s crossmedia play: A case study of Nintendo’s Amiibo figurines, [w:] In The Internet of Toys: Practices, Affordances and the Political Economy of Children’s Play, red. G. Mascheroni, D. Holloway, Palgrave Macmillan 2019.

Newman J., Playing with Videogames, London–New York 2008.

Nguyen C. T., Games: Agency As Art, New York 2020.

Nguyen J., Ruberg B., Challenges of Designing Consent: Consent Mechanics in Video Games as Models for Interactive User Agency, „CHI ‘20: Proceedings of the 2020 CHI Conference on Human Factors in Computing Systems”, 2020.

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Nitsche M., Games, montage, and the first person point of view, [w:] Proceedings of the 2005 DiGRA International Conference: Changing Views: Worlds in Play, online: http://www.digra.org/wp-content/uploads/digital-library/06276.11074.pdf [dostęp: 25.07.2018].

Nitsche M., Video Game Spaces. Image, Play, and Structure in 3D Game Worlds, Cambridge–London 2008.

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Perron B., A cognitive psychological approach to gameplay emotions, [w:] Proceedings of the 2005 DiGRA International Conference: Changing Views: Worlds in Play, online: http://www.digra.org/wp-content/uploads/digital-library/06276.58345.pdf [dostęp: 15.12.2019].

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Ramirez D., Saucerman J., Dietmeier J., Twitch plays Pokemon: A case study in Big G Games, [w:] Proceedings of DiGRA 2014: the of Game , online: https://e-channel.med.utah.edu/wp-content/uploads/2016/04/digra2014_submission_127.pdf [dostęp: 14.09.2019].

Redmond D., Worlds To Win. The Politics of Transnational Audiences in The Witcher 3, Fallout 4 and Freeman’s Mind, Kolkata 2018.

Reese D. D., Introducing flowometer: A CyGaMEs assessment suite tool, [w:] Gaming and Cognition: Theories and Practice from the Learning Sciences, red. R. Van Eck, Hershey–New York 2010.

Rogers S., Level up! The Guide to Great Video Game Design, Chichester 2010.

Ryan M., Emotional and strategic conceptions of space in digital narratives, [w:] Interactive Digital Narrative. History, Theory and Practice, red. H. Koenitz i in., New York–London 2015.

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Schell J., The Art of Game Design. A Book of Lenses, Burlington 2008.

Schweiger B., Reprezentacje władzy w grach komputerowych. Porównanie Wiedźmina III oraz Dragon Age: Inqusition, „Teksty Drugie” 2017, nr 3.

Sharp J., Works of Game. On the Aesthetics of Games and Art, The MIT Press 2015.

Sicart M., Digital games as ethical technologies [w:] The Philosophy of Computer Games, red. J. R. Sageng, H. Fossheim, T. M. Larsen, Springer 2012.

Sicart M., The Ethics of Computer Games, Cambridge–London 2009.

Siuda P., Przestrzeń pozytywnego „zdezorganizowania”, czyli popkulturowo-internetowy obszar edukacji nieformalnej, [w:] Laboratoria Mediów, red. G. D. Stunża, Gdańsk 2012.

Sivak S., Each link in the chain is a journey. An analysis of The Legend of Zelda: Ocarina of Time, [w:] Well Played 1.0: Video Games, Value and Meaning, red. D. Davidson, Drew Davidson et al. & ETC Press 2009.

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Soderman B., Against Flow. Video Games and the Flowing Subject, Cambridge–London 2021.

Sotamaa O., Artifact, [w:] The Routledge Companion To Video Game Studies, red. M. J. P. Wolf, B. Perron, New York–London 2014.

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Švelch J., The good, the bad, and the player: The challenges to moral engagement in single-player avatar-based video games, [w:] Ethics and Game Design: Teaching Values through Play, red. K. Schrier, D. Gibson, Hershey–New York 2010.

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Szymański M., Miejsca wspólne, miejsca wyobrażone. Gry komputerowe w relacji z innymi mediami, „Quart” 2017, No. 1–2 (43–44).

Takatalo J., Häkkinen J., Nyman G., Understanding presence, involvement, and flow in digital games, [w:] Game User Experience Evaluation, red. R. Bernhaupt, Springer 2015.

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Batman: Arkham Asylum (Rocksteady Studios, 2009)

BioShock (2K Boston, 2K Games, 2007)

Dark Souls (FromSoftware, Namco Bandai Games, 2011)

Dead Space (Visceral Games, Electronic Arts, 2008)

Dead Space 2 (Visceral Games, Electronic Arts, 2011)

Death Stranding (Kojima Productions, Sony Interactive Entertainment, 2019)

The Elder Scrolls V: Skyrim (Bethesda Softworks, 2011)

eXperience112 (Lexis Numérique, Micro Application, 2007)

flOw (thatgamecompany, Sony Interactive Entertainment, 2007)

Fresh Off The Boat (M. Limacher, E. Farhan, Nambirajan, 2015)

Grand Theft Auto III (DMA Design, Rockstar Games, 2001)

Grand Theft Auto IV (Rockstar Games, 2008)

Grand Theft Auto V (Rockstar Games, 2013)

Grand Theft Auto: Vice City (Rockstar Games, 2002)

Heavy Rain (Quantic Dream, Sony Computer Entertainment, 2010)

L.A. Noire (Team Bondi, Rockstar Games, 2011)

The Last of Us (Naughty Dog, Sony Computer Entertainment, 2013)

The Legend of Zelda: Breath of the Wild (Nintendo, 2017)

The Legend Of Zelda: Majora’s Mask (Nintendo, 2000)

LEGO Star Wars (Traveller’s Tales, Square-Enix/Eidos, 2005)

Mosh Pit Simulator (Sos Sosowski, 2019)

Myst (Cyan Inc., Broderbund Software, 1993)

Pac-Man (Namco, 1980)

Pokemon Red (Game Freak, Nintendo, 1996)

Quake (id Software, 1996)

Shenmue (Sega, 1999)

The Sims (Maxis Software, Electronic Arts Inc., 2000)

The Stanley Parable (Galactic Cafe, 2013)

Super Mario Bros. (Nintendo, 1985)

Symulator kozy (Coffee Stain Studios, 2014)

Team Fortress 2 (Valve Corporation, 2007)

Tetris (Aleksiej Pażytnow, 1984)

Tropico (PopTop Software, Gathering of Developers, 2001)

The Walking Dead (Telltale Games, 2012)

Wiedźmin 3: Dziki gon (CD Projekt RED, 2015)

Wiedźmin 3: Krew i wino (CD Projekt RED, 2016)

Zork: Grand Inquisitor (Activision, 1997)