The Aesthetics of Agency in Video Games

Aarseth E., Walczyłem przeciw prawu: wywrotowa gra i gracz implikowany, tłum. P. Wojcieszuk, „Kultura i Historia” 2008, nr 13, online: http://www.kulturaihistoria.umcs.lublin.pl/archives/884 [dostęp: 17.10.2019].

Abhishek, Basu A., Iconic interfaces for assistive communication, [w:] Encyclopedia of Human Computer Interaction, red. C. Ghaoui, Hershey–London 2006.

Aldouby H., Tightrope walking on the threshold of virtual reality: Phil Solomon’s filmmaking in Grand Theft Auto, [w:] Borderlines: Essays on Mapping and The Logic of Place, red. R. Abeliovich, E. Seroussi, Warszawa 2019.

Aldred J., Grand Theft Auto series, [w:] Encyclopedia of Video Games. The Culture, Technology, and Art of Gaming. Volume One, red. M. J. P. Wolf, Santa Barbara–Denver–Oxford 2012.

Althoff C. T., Finding meaning through video games, „All Student Publications” 2018, Artykuł 223.

Alvarez-Napagao S., Koch F., Gómez-Sebastià I., Vàzquez-Salceda J., Making games ALIVE: An organisational approach, [w:] Agents for Games and Simulations II Trends in Techniques, Concepts and Design, red. F. Dignum, Berlin 2010.

Anderson M., Levene R., Grand Thieves & Tomb Raiders: How British Videogames Conquered the World, London 2012.

Andrysek A., Grand Theft Auto V – gloryfikacja przemocy czy krzywe zwierciadło Ameryki?, „Pracownia Kultury” 2014, nr 5.

Ardévol E. i in., Game pleasures and media practices, http://www.media-anthropology.net/ardevol_etal_gamepleasures.pdf [dostęp: 15.12.2019].

Ashton D., Newman J., Relations of control: Walkthroughs and the structuring of player agency, „The Fibreculture Journal” 2010, No. 16.

Baek Y., red., Psychology Of Gaming, New York 2013.

Bahna D., Grand Theft Auto: A vehicle for public memory and prosthetic identity, „The American Papers” 2016–2017, Vol. 36.

Barker C., Studia kulturowe. Teoria i praktyka, tłum. A. Sadza, Kraków 2005.

Barker T., Aesthetics of the error: Media art, the machine, the unforeseen, and the errant, [w:] Error. Glitch, Noise, and Jam in New Media Cultures, red. M. Nunes, New York–London 2011.

Bateman C., The aesthetic motives of play, [w:] Socio-Affective Computing, Vol. 4, Emotion in Games. Theory and Praxis, red. K. Karpouzis, G. N. Yannakakis, 2016.

Bissell T., Extra Lives. Why Video Games Matter, New York 2010.

Bogenn T., Barba R., Grand Theft Auto V Signature Series Guide, Indianapolis 2013.

Bogost I., How To Talk About Videogames, Minneapolis 2015.

Bogost I., Persuasive Games. The Expressive Power of Videogames, Cambridge–London 2007.

Bogost I., Unit Operations. An Approach to Videogame Criticisms, Cambridge–London 2006.

Bogost I., Ferrari S., Schweizer B., Gry informacyjne. Dziennikarstwo epoki cyfrowej, tłum. J. Gilewicz, Kraków 2012.

Bolter J. D., The aesthetics of flow and the aesthetics of catharsis, [w:] Technology and Desire: The Transgressive Art of Moving Images, red. R. Gaafar, M. Schulz, Bristol– Chicago 2014.

Bolter J. D., The Digital Plenitude. The Decline of Elite Culture and the Rise of Digital Media, Cambridge–London 2019.

Boluk S., Lemieux P., Metagaming: Playing, Competing, Spectating, Cheating, Trading, Making, and Breaking Videogames, Minneapolis 2017.

Bostan B., Tingoy O., Game design and gamer psychology, [w:] Gamer Psychology and Behavior, red. B. Bostan, Springer International Publishing Switzerland 2016.

Brown D., Porn & Pong: How Grand Theft Auto, Tomb Raider and Other Sexy Games Are Changing Our Culture, Port Townsend 2008.

Bučková Z., Religious motives as part of virtual reality created by the digital game ‘The Witcher 3: Wild Hunt’, „European Journal of Science and Theology” 2019, Vol. 15, No. 1.

Bycer J., 20 Essential Games to Study, Boca Raton–London–New York 2019.

Calvillo-Gámez E. H., Cairns P., Cox A. L, Assessing the core elements of the gaming experience, [w:] Game User Experience Evaluation, red. R. Bernhaupt, Cham 2015.

Carvalho V. M., History and human agency in The Witcher 3: Wild Hunt, „Gamevironments” 2016, No. 5.

Chojnacki M. M., Interfejs, [w:] Wprowadzenie do groznawstwa, red. K. Prajzner, Łódź 2019.

Chojnacki M. M., Wirtualna kamera i jej zastosowanie w grach wideo, [w:] Patrzenie i widzenie w kontekstach kulturoznawczych, red. J. Dziewit, M. Kołodziej, A. Pisarek, Katowice 2016.

Cielecka M., Wieczne teraz? Analiza temporalności gier komputerowych, „Kwartalnik Filmowy” 2014, nr 86.

Coe J. G., Serial authentication: Gamifying Hong Kong action cinema in Sleeping Dogs, „Journal of Chinese Cinemas” 2019, Vol. 13, No. 1.

Collins K., Game Sound: An Introduction to the History, Theory, and Practice of Video Game Music and Sound Design, Cambridge 2008.

Collins K., Playing with Sound: A Theory of Interacting with Sound and Music in Video Games, Cambridge–London 2013.

Consalvo M., Cheating: Gaining Advantage in Videogames, Cambridge–London 2007.

Conway S., Hyper-ludicity, contra-ludicity, and the digital game, „Eludamos. Journal for Computer Game Culture” 2010, No. 4 (2).

Conway S., We used to win, we used to lose, we used to play: Simulacra, hypo-ludicity and the lost art of losing, „Westminster Papers in Communication and Culture” 2012, Vol. 9, No. 1.

Cremin C., Exploring Videogames with Deleuze and Guattari. Towards an Affective Theory of Form, London–New York 2016.

Csíkszentmihályi M., Przepływ. Psychologia optymalnego doświadczenia, tłum. M. Wajda-Kacmajor, Taszów 2005.

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.

Enfield N. J., Elements of agency, [w:] Distributed Agency, red. N. J. Enfield, P. Kockelman, Oxford 2017.

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.

Farca G., Ladevèze C., The journey to nature: The Last of Us as critical dystopia, [w:] Proceedings of 1st International Joint Conference of DiGRA and FDG, online: http://www.digra.org/wp-content/uploads/digital-library/paper_246.pdf [dostęp: 20.08.2018].

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.

Fendt M. W., Harrison B., Ware S. G., Cardona-Rivera R. E., Roberts D. L., Achieving the illusion of agency, [w:] Interactive Storytelling. ICIDS 2012. Lecture Notes in Computer Science, Vol. 7648, red. D. Oyarzun, F. Peinado, R. M. Young, A. Elizalde, G. Méndez, Springer 2012.

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.

Hunicke R., LeBlanc M., Zubek R., MDA: A Formal Approach to Game Design and Game Research, http://users.cs.northwestern.edu/~hunicke/MDA.pdf [dostęp: 18.08.2017].

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).

Kłoda-Staniecko B., Responsywne obrazy. O relacji sprawczości i perspektywy widzenia w grach komputerowych, [w:] Patrzenie i widzenie w kontekstach kulturoznawczych, red. J. Dziewit, M. Kołodziej, A. Pisarek, Katowice 2016.

Kockelman P., Gnomic agency, [w:] Distributed Agency, red. N. J. Enfield, P. Kockelman, Oxford University Press 2017.

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.

Małek M., Wolność jako wartość dla moralnego maksimum i moralnego minimum, „Filo-Sofija” 2014, nr 24 (1).

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

Marcel A., The sense of agency: Awareness and ownership of action, [w:] Agency and self-awareness. Issues in Philosophy and Psychology, red. N. Eilan, J. Roessler, Oxford University Press 2003.

Margel M., Twitch plays Pokemon: An Analysis of Social Dynamics in Crowdsourced Games, http://margel.ca/files/papers/2702.pdf [dostęp: 14.09.2019].

Martin B., Should Videogames Be Viewed as Art?, [w:] Video Games and Art: Second Edition, red. A. Clarke, G. Mitchell, Bristol–Chicago 2014.

Marzec A., Glitch art – sztuka resztek, zakłóceń i widm, „Czas Kultury” 2017, nr 2.

Mateas M., A preliminary poetics for interactive drama and games, „Digital Creativity” 2001, Vol. 12, No. 3.

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.

Menkman R., The Glitch Moment(um), Amsterdam 2011.

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.

Niedenthal S., What we talk about when we talk about game aesthetics, „Breaking New Ground: Innovation in Games, Play, Practice and Theory. Proceedings of DiGRA 2009”, online: http://www.digra.org/wp-content/uploads/digital-library/09287.17350.pdf [dostęp: 9.07.2016].

Nitsche M., Focalization in 3D Video Games, http://dm.lcc.gatech.edu/~nitsche/download/Nitsche_Focalization_05.pdf [dostęp: 19.03.2017].

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.

Nowakowski P., Komendziński T., Poczucie sprawstwa: wprowadzenie do badań w perspektywie interdyscyplinarnej, [w:] Neuropsychologia a humanistyka, red. M. Pąchalska, G. E. Kwiatkowska, Lublin 2010.

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].

Perron B., Sign of a threat: The effects of warning systems in survival horror games, [w:] COSIGN 2004 Proceedings, red. A. Clarke, Split 2004.

Polasek P. M., A critical race review of Grand Theft Auto V, „Humanity & Society” 2014, Vol. 38, No. 2.

Prajzner K., Gracz, postać, obecność i tożsamość, [w:] Olbrzym w cieniu. Gry wideo w kulturze audiowizualnej, red. A. Pitrus, Kraków 2012.

Proust J., Perceiving intentions, [w:] Agency and Self-awareness. Issues in Philosophy and Psychology, red. N. Eilan, J. Roessler, Oxford University Press 2003.

Pugh T., The queer narrativity of the hero’s journey in Nintendo’s The Legend of Zelda video games, „Journal of Narrative Theory” 2018, Vol. 48, No. 2.

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.

Salen K., Zimmerman E., Rules of Play – Game Design Fundamentals, Cambridge–London 2004.

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.

Skoczeń I., Czy modny i sprawiedliwy mogą mieć ze sobą coś wspólnego? – czyli kilka słów o thick terms, thick concepts oraz thick properties, „Archiwum Filozofii Prawa i Filozofii Społecznej” 2016, nr 1 (12).

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.

Stang S., „This Action Will Have Consequences”: Interactivity and Player Agency, „Game Studies”, Vol. 19, No. 1, online: http://gamestudies.org/1901/articles/stang [dostęp: 14.12.2019].

Stasieńko J., Automaty, hybrydy, afekty – posthumanistyczne konteksty aparatu gry komputerowej i praktyk grania, „Teksty Drugie” 2017, nr 3.

Staszenko D., Chojnacki M. M., Czy to jeszcze sztuka, czy już gra? Przenikanie estetyki oraz mechaniki gier wideo do sztuki interaktywnej, „DYSKURS. Pismo Naukowo-Artystyczne ASP we Wrocławiu” 2016, nr 22.

Sterczewski P., Retoryka porażki. Semantyczne i perswazyjne funkcje przegranej w serious games, art games i grach głównego nurtu, „Homo Ludens” 2013, nr 1(5).

Sutton-Smith B., The Ambiguity of Play, Camridge–London 1997.

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.

Sweetser P., Wyeth P., GameFlow: A model for evaluating player enjoyment in games, „Computers in Entertainment” 2005, nr 3 (3).

Swink S., Game Feel. A Game Designer’s Guide to Virtual Sensation, Burlington 2009.

Szewerniak M., O krajobrazie wirtualnym, „Kultura Współczesna” 2016, nr 2 (90).

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.

Tanenbaum J., Tanenbaum K., Improvisation and performance as models for interacting with stories, [w:] Interactive Storytelling: First Joint International Conference on Interactive Digital Storytelling, ICIDS 2008 Erfurt, Germany, November 26–29, 2008 Proceedings.

Tanenbaum K., Tanenbaum J., Commitment to meaning: A reframing of agency in games, [w:] Proceedings of the Digital Arts and Culture Conference 2009, online: https://escholarship.org/uc/item/6f49r74n [dostęp: 5.06.2019].

Tavinor G., Tension and opportunity: Creativity in the video gaming medium, [w:] Video Games And Creativity, red. G. P. Green, J. C. Kaufman, Academic Press 2015.

Tettegah S. Y., Huang W. D., red., Emotions, Technology, and Digital Games, Academic Press 2016.

Thin A. G., Hansen L., McEachen D., Flow experience and mood states while playing body movement-controlled video games, „Games and Culture” 2011, No. 6 (5).

Thorpe P., red., The Legend of Zelda: Breath of the Wild. Creating a Champion, tłum. K. C. White, Milwaukie 2017.

Thorpe P., red., The Legend Of Zelda: Encyclopedia, Milwaukie 2018.

Thorpe P., red., The Legend Of Zelda: Hyrule Historia, Milwaukie 2013.

Thue D., Bulitko V., Spetch M., Romanuik T., A computational model of perceived agency in video games, [w:] Proceedings of the Seventh AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 2011, online: https://www.aaai.org/ocs/index.php/AIIDE/AIIDE11/paper/viewFile/4083/4418 [dostęp: 4.06.2019].

Togelius J., Playing Smart. On Games, Intelligence, and Artificial Intelligence, Cambridge–London 2018.

Tulloch R., ‘A man chooses, a slave obeys’: Agency, interactivity and freedom in video gaming, „Journal of Gaming and Virtual Worlds” 2010, Vol. 2, No. 1.

Ursino F., Crowdgaming: The Role of Crowdsourcing in the Video Games Industry, Streetlib 2016.

Voorhees G., Daddy issues: Constructions of fatherhood in the last of us and BioShock infinite, „Ada: A Journal of Gender, New Media, and Technology” 2016, No. 9.

Wardrip-Fruin N., Mateas M., Dow S., Sali S., Agency reconsidered, [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/09287.41281.pdf [dostęp: 12.03.2018].

Waskul D., Lust M., Role-playing and playing roles: The person, player, and persona in fantasy role-playing, „Symbolic Interaction” 2004, No. 27 (3).

Wegner D. M., The Illusion of Conscious Will, Cambridge–London 2002.

Westerlaken M., Self-fashioning in action: Zelda’s Breath of the Wild Vegan Run, Proceedings of the Philosophy of Computer Games Conference, Kraków 2017, online: https://michellewesterlaken.files.wordpress.com/2017/12/pocg17_westerlaken_self_fashioning_in_action.pdf [dostęp: 20.06.2018].

Wiedźmin 3: Dziki Gon – Artbook, praca zbiorowa, CD Projekt RED 2015.

Winnicki Ł., Co jest źródłem satysfakcji gracza? O kluczowej roli wymiany autystycznej w grach komputerowych, „Homo Ludens” 2019, nr 1 (12).

Yang R., On „FeministWhorePurna” and the ludo-material politics of gendered damage power-ups in open-world RPG video games, [w:] Queer Game Studies, red. B. Ruberg, A. Shaw, Minneapolis–London 2017.

Zarzycka A., Gra w autokreację, „Wielogłos” 2015, nr 3 (25).

Zhang G., The stroller in the virtual city: Spatial practice of Hong Kong players in Sleeping Dogs, „G|A|M|E” 2014, No. 3.

Żmuda M., Parateksty gier cyfrowych – odbiór gry a paratekstualne funkcje i procesy, „Teksty Drugie” 2017, nr 3.

Andreen M. T., Choice in Digital Games: A Taxonomy of Choice Types Applied to Player Agency and Identity, niepublikowana praca doktorska, The University of Texas 2017.

Bodegård Gustafsson C. C., How Agency is Affected by Showing Prerequisites of Choices in Strategy Games. A Comparative Study, niepublikowana praca magisterska, University of Skövde 2018.

Buckles M. A., Interactive Fiction: The Computer Storygame Adventure, niepublikowana praca doktorska, University of California 1985.

Calleja G., Digital Games as Designed Experience: Reframing the Concept of Immersion, niepublikowana praca doktorska, Victoria University of Wellington 2007.

Dekker M., Images of the City: On the Depiction of the City in Grand Theft Auto V, niepublikowana praca licencjacka, Radbound University 2015.

Doyle-Myerscough K., Intimate Worlds: Reading for Intimate Affects in Contemporary Video Games, niepublikowana praca magisterska, Massachusetts Institute of Technology 2018.

Fagerholt E., Lorentzon M., Beyond the HUD. User Interfaces for Increased Player Immersion in FPS Games, niepublikowana praca magisterska, Chalmers University Of Technology, Göteborg 2009.

Ferm L., How the Graphical Representation of the HUD Affects the Usability of a Third Person Game, niepublikowana praca licencjacka, University of Skövde 2018.

Gonlin M., Nostalgia Games: Replaying The Past, niepublikowana praca licencjacka, University of Sydney 2017.

Johnsen K. K., Narration in Video Games, niepublikowana praca magisterska, IT University of Copenhagen 2003.

Jouvenaar B., The Satirical Message of Grand Theft Auto V: A Critique on Contemporary American Society, niepublikowana praca licencjacka, Radbound University 2017.

Ketterling E. J., Playing with Pleasure and Anxiety: Dark Play, Transgression, and Kink in Grand Theft Auto 5, niepublikowana praca magisterska, Carleton University 2018.

Lidén C., The Quest for Medievalism in ‘The Witcher 3’. A Study of the Vita Gravis: The Apposition between the Medieval and the Fantastical, niepublikowana praca licencjacka, University of Stockholm 2016.

Moody K. A., Modders: Changing the Game through Usergenerated Content and Online Communities, niepublikowana praca doktorska, University of Iowa 2014.

Moradi I., Glitch Aesthetics, niepublikowana praca licencjacka, University of Huddersfield 2004.

Persson W., Educating the Gamer. An Analysis on How the „Gamer” is Taught the Rules of a Game Efficiently to Recognize Patterns and Become a Better Player, niepublikowana praca licencjacka, Uppsala Universitet 2017.

Tanderup S. H., Player Agency in Virtual Reality. Comparison of Scripted and Meaningful Interactions, niepublikowana praca magisterska, Aalborg University 2019.

Walch B., The Legend of Zelda and Leitmotif: Backtracking in an Open World, niepublikowana praca magisterska, Utrecht University 2017.

Wrisinger C., „Link”Ing Monomyth And Video Games: How The Legend Of Zelda Connects Myth To Modern Media, niepublikowana praca magisterska, University of Central Missouri 2014.

Alexandra H., Despite Nintendo’s Stumbles, Breath of the Wild’s Fans Have Embraced Crossdressing Link, https://kotaku.com/despite-nintendos-stumbles-breath-of-the-wildsfans-ha-1793269690 [dostęp: 14.06.2018].

Church D., Formal Abstract Design Tools, http://www.gamasutra.com/view/feature/131764/formal_abstract_design_tools.php [dostęp: 10.03.2018].

Dale L., Zelda, Mass Effect and Horizon all struggle with introducing their trans characters. It could have gone better, https://www.polygon.com/2017/3/21/15004956/zelda-masseffect-horizon-zero-dawn-trans-characters [dostęp: 14.06.2018].

Donovan T., The Replay Interviews: Will Wright, https://www.gamasutra.com/view/feature/134754/the_replay_interviews_will_wright.php?print=1 [dostęp: 23.05.2017].

Fizek S., Gry na poważnie, czyli na czym polega „serious gaming”?, https://technopolis.polityka.pl/2010/gry-na-powaznie-czyli-na-czym-polega-serious-gaming [dostęp: 25.08.2018].

Frelik P., „eXperience 112” – recenzja gry, https://technopolis.polityka.pl/2008/experience-112-recenzja-gry [dostęp: 25.08.2018].

Hayward D., Videogame Aesthetics: The Future!, https://www.gamasutra.com/view/feature/130840/videogame_aesthetics_the_future.php [dostęp: 18.08.2017].

Hoffman C., The Legend of Zelda: Breath of the Wild is A Masterclass in Video Game Aesthetic, https://carolinianuncg.com/2017/04/19/the-legend-of-zelda-breath-of-the-wild-is-a-masterclass-in-video-game-aesthetic [dostęp: 18.06.2018].

Kosman M., Najbrutalniejsza scena w GTA V, ujęcie drugie, https://polygamia.pl/najbrutalniejsza-scena-w-gta-v-ujecie-drugie [dostęp: 15.03.2019].

Marczak G., Czyszczoń P., Polityka i tortury, https://antyweb.pl/polityka-i-tortury [dostęp: 15.03.2019].

Martin K., Impressionist Music in The Legend of Zelda: Breath of the Wild, https://medium.com/@Kylydian/impressionist-music-in-the-legend-of-zelda-breath-of-the-wild-2a8574d9a4ed [dostęp: 18.06.2018].

Olszewski P., GTA V – o jedno tabu za daleko?, https://www.komputerswiat.pl/gamezilla/artykuly/gta-v-o-jedno-tabu-za-daleko/by9qvmp [dostęp: 15.03.2019].

Orliński W., Wszyscy jesteśmy Trevorami, czyli czym się tu strzela, https://wyborcza.pl/duzyformat/7,127290,14743078,wszyscy-jestesmy-trevorami-czyli-czym-sie-tu-strzela.html [dostęp: 15.03.2019].

Radzewicz S., Czy Grand Theft Auto V zasługuje na „jedynkę”? Recenzja Polityki podzieliła graczy, https://spidersweb.pl/2013/10/gta-v-opinie-2.html [dostęp: 15.03.2019].

Riendeau D., The Witcher 3 dev solved the game’s money exploit in the best way possible. https://www.polygon.com/2015/6/5/8739301/witcher-3-cow-exploit-glitch-bovine-defense-force [dostęp: 28.09.2018].

Sahdev I., The Legend of Zelda – Global Sales, https://www.gamedesigngazette.com/2018/01/the-legend-of-zelda-global-sales.html [dostęp: 10.06.2018].

Szewczyk O., Granice draństwa, http://jawnesny.pl/2013/10/granice-dranstwa [dostęp: 15.03.2019].

Smoszna K., Co się stanie, gdy zawalimy misję z Płotką w dodatku Krew i wino do Wiedźmina 3?, https://grynieznane.pl/2019/09/23/krew-i-wino-do-wiedzmina-3-udowadnia-ze-plotka-jest-niezlym-detektywem [dostęp: 30.09.2019].

Schreier J., When Miyamoto First Played Zelda: Breath of the Wild, He Wouldn’t Stop Climbing Trees, https://kotaku.com/when-miyamoto-first-played-zelda-breath-of-the-wild-h-1793017234 [dostęp: 16.06.2018].

Tanimoto T., wywiad z Akihiko Taniguchim, http://usblahmeblah.online/interviews/akihiko-taniguchi[dostęp: 10.12.2019].

Tassi P., Wait, How Did ‚Zelda: Breath of the Wild’ For Switch Outsell The Switch Itself?, https://www.forbes.com/sites/insertcoin/2017/04/15/wait-how-did-zelda-breath-of-thewild-for-switch-outsell-the-switch-itself/#50bcf85e2111 [dostęp: 10.06.2018].

Totilo S., Is The Best Way To Play Games The Subversive Way?, https://www.kotaku.com.au/2010/03/is-the-best-way-to-play-games-the-subversive-way [dostęp: 23.05.2017].

Uncle J., How Breath of the Wild Failed Us When It Comes To Trans Identity, https://www.pastemagazine.com/articles/2017/03/how-breath-of-the-wild-failed-us-when-it-comesto.html [dostęp: 14.06.2018].

http://www.antoninfourneau.com/portfolio/arcade-concrete [dostęp: 10.12.2019].

http://www.antoninfourneau.com/portfolio/domoludens [dostęp: 10.12.2019].

http://www.antoninfourneau.com/portfolio/eggregor8 [dostęp: 10.12.2019].

http://www.antoninfourneau.com/portfolio/ghostpad [dostęp: 10.12.2019].

http://www.antoninfourneau.com/portfolio/ikeastation [dostęp: 10.12.2019].

http://www.antoninfourneau.com/portfolio/moripad [dostęp: 10.12.2019].

http://www.antoninfourneau.com/portfolio/qrkanoid [dostęp: 10.12.2019].

http://www.metacritic.com/browse/games/score/metascore/all/all/filtered [dostęp: 10.06.2018].

https://download.komputerswiat.pl/gry-i-rozrywka/patche-do-gier/wiedzmin-3-dziki-gon-patch-1-05 [dostęp: 28.09.2018].

https://forums.cdprojektred.com/index.php?threads/wiedzmin-3-patch-1-05-bydlece-sily-zbrojne-bug-mutagen-bug.46519 [dostęp: 28.09.2018].

https://steamcommunity.com/workshop [dostęp: 15.11.2019].

https://www.cdprojekt.com/pl/media/aktualnosci/milion-preorderow-gry-wiedzmin-3 [dostęp: 28.09.2018].

https://www.freemangames.com/idea/6_3.php [dostęp: 20.09.2018].

https://www.gry-online.pl/newsroom/gracze-w-death-stranding-wyzlosliwiaja-sie-blokujac-przejscia-poj/z01d155 [dostęp: 20.12.2019].

https://www.ign.com/wikis/gta-5/Cell_Phone_Cheats [dostęp: 20.10.2019].

https://player.vimeo.com/video/217502241 [dostęp: 10.12.2019].

https://www.youtube.com/watch?v=30jGWna4-Ns [dostęp: 14.06.2018].

https://www.youtube.com/watch?v=9vEfH9SJ9mY [dostęp: 30.09.2019].

https://www.youtube.com/watch?v=chf3REzAjgI [dostęp: 21.09.2018].

https://www.youtube.com/watch?v=IB28lsqUT3Q [dostęp: 28.09.2018].

https://www.youtube.com/watch?v=oSS5T4od-GQ [dostęp: 21.09.2018].

https://www.youtube.com/watch?v=QyMsF31NdNc [dostęp: 14.06.2018].

https://www.youtube.com/watch?v=T15-xfUr8z4 [dostęp: 20.06.2018].

https://www.youtube.com/watch?v=T3CsGbtifZI%20 [dostęp: 14.06.2018].

https://www.youtube.com/watch?v=VKSUiiD1XQc%20 [dostęp: 14.06.2018].

https://www.youtube.com/watch?v=vLMGrmf4xaY [dostęp: 14.06.2018].

https://www.youtube.com/watch?v=WOYKIxIjLs0 [dostęp: 20.09.2018].

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)

Downloads

Download data is not yet available.