Sercan Şengün
Dr. Sercan Sengun is a researcher, teacher, and game designer, exploring phenomena at the intersections of video game studies, gamer communities, cultural informatics, virtual identities, and interactive narratives. He is currently an Assistant Professor of Games and Interactive Media at the University of Central Florida and a research affiliate for the MIT Center for Advanced Virtuality, MIT IDSS (MIT Institute for Data, Systems, and Society) within the Antiracism, Games, and Immersive Media ICSR Project Team, and QCRI ACUA (Qatar Computing Research Institute, Audience, Customer and User Analytics) Lab. In the past, he conducted research as a part of MIT CSAIL (Computer Science and Artificial Intelligence Laboratory), MIT ICE Lab (Imagination, Computation, and Expression Laboratory), and Hamad Bin Khalifa University's QCRI, and taught graduate and undergraduate game design courses at Illinois State University, Northeastern University, Bahcesehir University, and Istanbul Bilgi University.
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Papers by Sercan Şengün
Jenkins (2012; Jenkins & Deuze, 2008) proposes that today’s media cultural scene is a participatory one. This defines both the consumption of the media and the processes of production. Especially for the video games industry, it is seemingly less and less possible for gamers to consume a video game without actually participating in its extended media presence (e.g., social media content and interactions, gaming news, review videos, playthrough videos, fan fiction, fan art, forums, walkthroughs, leaderboards, internet memes, transmedia practices, etc.). Postigo (2007) asserts that “the fan culture for digital games is deeply embedded in shared practices and experiences among fan communities, and their active consumption contributes economically and culturally to broader society.” (p. 300) Video game producers begin this communication and participation process during the production of a game, and an increasing number of video games rely on prerelease marketing or communication to be successful. Preview copies, demos, crowd-source funding, developer blogs, and alpha and beta tests constitute some of the methods mobilized for this aim. Equally useful are do-it-yourself tools and media kits released along with the video games to promote fan production and modding.
A contemporary discussion focusing on gamers, however, underlines that excessive critique and exercise of power in production of games from the perspective...
Editörler: Seval Şahin, Banu Öztürk ve Didem Ardalı Büyükarman
s.211-220
Bağlam Yayınevi, İstanbul
taking typically involve players assuming the perspective
of others from different backgrounds and experiencing a simulated
scenario from their everyday life, with the goal of facilitating and
enhancing empathy and social acceptance toward marginalized
groups. One key question pertains to the extent to which players’
perspective during VR roleplaying games affects their social
acceptance of the other. To address this question, we examined
the effect of first-person vs. third-person perspective on presence,
co-presence, and social acceptance during a VR roleplaying game.
Two groups of participants played the same VR roleplaying game
from either a first-person perspective or a third-person perspective.
Results showed that compared to third-person perspective, first-person
perspective led to greater co-presence during the game and
engendered higher levels of social acceptance toward the character
whose role participants played. These results highlight the importance
of using first-person perspective in VR roleplaying games
focusing on facilitating and enhancing social acceptance.