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The following abstracts represent a curated selection of peer-reviewed submissions presented during the CEEGS 2024 conference and workshops in Nafplio, Greece. Based on author consent, these works have been assigned individual DOIs and are now publicly accessible. Each entry showcases the diversity and depth of current research at the intersection of game studies and digital arts.<\/p>\n\n\n\n\n\n
Author:<\/strong> Dom Ford Author:<\/strong> Rainforest Scully-Blaker Authors:<\/strong> Orestis N. Zestas, Anastasios Theodoropoulos, Nikolaos D. Tselikas Author:<\/strong> Agata Zarzycka Authors:<\/strong> Anastasios Theodoropoulos, Elina Roinioti, Panagiotis Papadopoulos, George Lepouras Author:<\/strong> Micha\u0142 K\u0142osi\u0144ski \n Torill Elvira Mortensen \n E. Pandia \n Leon Y. Xiao \n Demi Proutsou, Anastasios Theodoropoulos \n Michal Mochocki \n Joanna Pigulak \n Eryk Fro\u0144 \n Chrysanthi Patergiannaki, Anastasios Theodoropoulos \n Lori Kougioumtzian, Katerina El Raheb, Maria Roussou \n Alison J. Croasdale \n Charis Kotsiopoulos, Nikos Dimitrakopoulos, Christos Tryfonopoulos \n George Xyrafis, Anastasios Theodoropoulos, Christos Tryfonopoulos \n Morgan Yu Hao \n Micha\u0142 Mr\u00f3z \n Zs\u00f3fia Orosz-R\u00e9ti \n Romi Sofia Abatangelo \n Chrissa Papasarantou, Charalampos Rizopoulos \n Gabriela \u0160tvrt\u0148ov\u00e1, Filip Hauer \n Zach Cohen \n Vilelmini Kalampratsidou, Katerina El Raheb \n Carol Ditner-Wilson \n Jesper Juul, Emil Emil Lundedal Hammar \n Jesper Juul \n Adrienne Domasin \n Anastasios Theodoropoulos, Katerina El Raheb, Panagiotis Kyriakoulakos, Lori Kougioumtzian, Vilelmini Kalampratsidou, Giorgos Nikopoulos, Marina Stergiou, Dimitris Baltas, Anthie Kolokotroni, Katerina Malisova, Spyros Vosinakis, Ioannis Zannos
\n Affiliation:<\/strong> ZeMKI, Centre for Media, Communication and Information Research, University of Bremen<\/p>\n https:\/\/doi.org\/10.26263\/3jdf-ng74<\/a>\n <\/div>\n \n Games, Capitalism, and Fear<\/h5>\n
\n Affiliation:<\/strong> Tampere University<\/p>\n https:\/\/doi.org\/10.26263\/4qrv-5k70<\/a>\n <\/div>\n<\/div>\n\nReal-Time Skeleton Tracking for Large-Scale Embodied Interactions in Virtual Environments<\/h5>\n
\n Affiliations:<\/strong> University of the Peloponnese, Dept. of Informatics and Telecommunications, Tripoli & Dept. of Performing and Digital Arts, Nafplio<\/p>\n https:\/\/doi.org\/10.26263\/7kg1-sv56<\/a>\n <\/div>\n\n The Art of Trash in \u201cCyberpunk 2077\u201d<\/h5>\n
\n Affiliation:<\/strong> University of Wroc\u0142aw<\/p>\n https:\/\/doi.org\/10.26263\/33gb-9g75<\/a>\n <\/div>\n<\/div>\n\nPrometheus Unbound: Embodied Gaming in a VR Cave Environment<\/h5>\n
\n Affiliation:<\/strong> University of the Peloponnese, Department of Performing and Digital Arts, HCI-VR Lab<\/p>\n https:\/\/doi.org\/10.26263\/p7pr-tf04<\/a>\n <\/div>\n\n Problematizing Positive Biopolitics in Digital Games<\/h5>\n
\n Affiliation:<\/strong> University of Silesia in Katowice<\/p>\n https:\/\/doi.org\/10.26263\/1xx3-5279<\/a>\n <\/div>\n<\/div>\n\n\n\nPlaying with Needles: Playful Participation in Online Communities<\/h5>\n
\n Nord University
\n https:\/\/doi.org\/10.26263\/hw4c-2395<\/a>\n <\/p>\n <\/div>\n \u201cI Can See It in Their Eyes\u201d: Affective Design as a Factor of Meaningful and Performative Gameplay<\/h5>\n
\n Ph.D candidate at Panteion University of Political and Social Sciences
\n https:\/\/doi.org\/10.26263\/39yr-s039<\/a>\n <\/p>\n <\/div>\n<\/div>\n\nIllegal Loot Box Advertising on Social Media: An Empirical Study Using the Meta and TikTok ad Transparency Repositories<\/h5>\n
\n IT University of Copenhagen
\n https:\/\/doi.org\/10.26263\/fv21-4331<\/a>\n <\/p>\n <\/div>\n Video Game Character Design: From Idea to Creation in the Digital World<\/h5>\n
\n University of the Peloponnese [Department of Performing and Digital Arts]
\n https:\/\/doi.org\/10.26263\/yc42-0p82<\/a>\n <\/p>\n <\/div>\n<\/div>\n\nPolish Romanticism Revisited in \u201cEpopeja\u201d: From Literary Classics to Tabletop RPG<\/h5>\n
\n University of Gdansk
\n https:\/\/doi.org\/10.26263\/614e-w032<\/a>\n <\/p>\n <\/div>\n Empowering Gamers with Hearing Disabilities: The Artistic and Immersive Potential of Accessibility Options<\/h5>\n
\n Adam Mickiewicz University, Pozna\u0144, Poland
\n https:\/\/doi.org\/10.26263\/xyhc-3k10<\/a>\n <\/p>\n <\/div>\n<\/div>\n\n\n\n\n\nHorror in Pixels: How Ugly Games Generate Fear<\/h5>\n
\n AGH University of Krakow
\n https:\/\/doi.org\/10.26263\/6nqz-hs89<\/a>\n <\/p>\n <\/div>\n Interpersonal Expression of Personality Across Different Game Genres<\/h5>\n
\n Theater Educator Primary Education Greece, Department of Performing And Digital Arts, University of the Peloponnese
\n https:\/\/doi.org\/10.26263\/haya-ad88<\/a>\n <\/p>\n <\/div>\n<\/div>\n\nThe \u201cFace\u201d of the Earth: Designing Natural Elements as Characters in Movement Annotation Game<\/h5>\n
\n ATHENA Research Center, University of the Peloponnese, NKUA
\n https:\/\/doi.org\/10.26263\/zqrm-sn22<\/a>\n <\/p>\n <\/div>\n Games and the Performance of Multi-Layered Identities<\/h5>\n
\n University College London (UCL)
\n https:\/\/doi.org\/10.26263\/f6xw-3508<\/a>\n <\/p>\n <\/div>\n<\/div>\n\nDinoAI: An Interactive Self-Playing Retro Game\/Display for Exploring Machine Learning Concepts<\/h5>\n
\n Department of Informatics and Telecommunications, University of the Peloponnese
\n https:\/\/doi.org\/10.26263\/bjj7-k279<\/a>\n <\/p>\n <\/div>\n Using Machine Learning for Facial Emotion Expressiveness Rating of Actors<\/h5>\n
\n Department of Informatics and Telecommunications & Department of Performing and Digital Arts, University of the Peloponnese
\n https:\/\/doi.org\/10.26263\/m8d0-tj69<\/a>\n <\/p>\n <\/div>\n<\/div>\n\n\n\n\nPerforming the Mundane: Theatrical Dimensions of Everyday Life in \"The Sims 4\"<\/h5>\n
\n City University of Hong Kong
\n https:\/\/doi.org\/10.26263\/bk64-hf52<\/a>\n <\/p>\n <\/div>\n Exploring Immersion in Video Game Modding: On Modders\u2019 Strategies for Crafting Immersive Experiences<\/h5>\n
\n The Institute of Film, Media and Audiovisual Arts, Adam Mickiewicz University, Pozna\u0144
\n https:\/\/doi.org\/10.26263\/4h86-7z63<\/a>\n <\/p>\n <\/div>\n<\/div>\n\nMotherhood in Motion: Play, Performativity, and Aesthetics in \u201cMonument Valley 2\u201d<\/h5>\n
\n University of Debrecen
\n https:\/\/doi.org\/10.26263\/kbd2-wy39<\/a>\n <\/p>\n <\/div>\n The Participant as Performing Audience: Discussing Participation in Games, Participatory Performance and Interactive Art<\/h5>\n
\n University of Malta
\n https:\/\/doi.org\/10.26263\/awej-sv57<\/a>\n <\/p>\n <\/div>\n<\/div>\n\nEmbodied Representations in Games: An Analysis of Avatar Form and Movement for the Design of Immersive Experiences<\/h5>\n
\n Department of Architecture, University of Thessaly; EDUMOTIVA; Department of Digital Arts and Cinema, NKUA
\n https:\/\/doi.org\/10.26263\/fnqz-nx38<\/a>\n <\/p>\n <\/div>\n Non-Domination Power and Player Agency in Ecogames: Conceptualizing Democratic Agency<\/h5>\n
\n Academy of Fine Arts in Prague
\n https:\/\/doi.org\/10.26263\/5r92-a547<\/a>\n <\/p>\n <\/div>\n<\/div>\n\n\n\n\nEfficient Machines of Anti-Profit: Going Against the Flow with The Games \u201cInscryption\u201d and \u201cTo Build a Better Mousetrap\u201d<\/h5>\n
\n Shenkar School of Engineering, Design and Art
\n https:\/\/doi.org\/10.26263\/72qk-qc98<\/a>\n <\/p>\n <\/div>\n Body Signals as Digital Narratives: From Social Issues to Digital Characters<\/h5>\n
\n Department of Performing and Digital Arts, University of the Peloponnese
\n https:\/\/doi.org\/10.26263\/mraf-sr80<\/a>\n <\/p>\n <\/div>\n<\/div>\n\n\u201cMaid of Sker\u201d and the Folklore of Wales<\/h5>\n
\n Independent Researcher, Canada
\n https:\/\/doi.org\/10.26263\/q63w-0992<\/a>\n <\/p>\n <\/div>\n Forever in the Middle? A Study of the Danish Game Industry<\/h5>\n
\n Royal Danish Academy
\n https:\/\/doi.org\/10.26263\/hcdm-q961<\/a>\n <\/p>\n <\/div>\n<\/div>\n\nIT\u2019S NOT JUST A PLATFORM GAME, IT\u2019S AN ADVENTURE: The European Invention of the Action-Adventure Game 1983\u20131990<\/h5>\n
\n Royal Danish Academy
\n https:\/\/doi.org\/10.26263\/88h0-kb33<\/a>\n <\/p>\n <\/div>\n Playfully Perilous: Permadeath Streams of \u201cThe Last of Us: Part II\u201d as a Dynamic Playground<\/h5>\n
\n Independent Scholar
\n https:\/\/doi.org\/10.26263\/1q26-1961<\/a>\n <\/p>\n <\/div>\n<\/div>\n\nEditorial: Performing Personality in Game Characters and Digital Narrative<\/h5>\n
\n https:\/\/doi.org\/10.26263\/g9gn-w820<\/a>\n <\/p>\n <\/div>\n