Gabriele Aroni
Biographic Data
| ID | 4459828 |
|---|---|
| NAME | Gabriele Aroni |
| GIVEN NAMES | Gabriele |
| FAMILY NAME | Aroni |
| SIGNATURE | ARONI G |
| AFFILIATIONS | Manchester Metropolitan University |
| ORCID | 0000-0003-1343-613X |
| VERIFIED | Yes |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 5 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2022 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 0 |
The Representation of Burn Survivors in Video Games Under the UN Convention on the Rights of Persons with Disabilities
Burn survivors are usually depicted as villains and othered as “marginalized” scarred bodies in several popular contemporary video games. As the UN Convention on the Rights of Persons with Disabilities (CRPD 2006) was adopted to tackle the situation of individuals with disabilities, including scarred persons, this article investigates whether the provisions of the CRPD could be employed to guide the production of video games in integrating “margi…
The Semiotics of Video Game Spaces
This article proposes a semiotic framework for the analysis of video game spaces based on the structuralist theory of denotation and connotation in architecture devised by Umberto Eco. Virtual architecture is a central signifier in digital games, and its design heavily influences the gameplay as well as the narrative. In 3D games, players interact with virtual environments that closely resemble our real architecture, and as such, many of the tool…
Cultural Heritage and Chinese Digital Games
Digital games history has been dominated by Japan, North America, and Europe, both as major producers and consumers of games. However, China is now by far the largest digital games market on the planet, both in terms of player numbers and expenditure. This exceptional growth is naturally reflected in the local production of games, which, despite their large numbers and player base, are only now having more resonance in the West. This paper examin…
Games as Authorial Platforms? An Exploration of the Legal Status of User-Created Content from Digital Games
Digital games can be considered as composed of two main components: the props, i.e. visual, textual, and aural elements such as codes, 3D models and animations; and the form, specially the interaction between players and games, the act of playing itself. This dichotomy thus begs the question whether digital games are indeed games if nobody plays them, and ultimately: who is the owner of the gameplay and any by-product of the interaction between t…
The Semiotics of Architecture in Video Games
Video games are among the most popular media on the planet, and billions of people inhabit these virtual worlds on a daily basis. This book investigates the architecture of video games, the buildings, roads and cities in which gamers play out their roles. Examining both the aesthetic aspects and symbolic roles of video game architecture as they relate to gameplay, Gabriele Aroni tackles a number of questions, including: - How digital architecture…
No prominent works on this page.
The Semiotics of Architecture in Video Games
Video games are among the most popular media on the planet, and billions of people inhabit these virtual worlds on a daily basis. This book investigates the architecture of video games, the buildings, roads and cities in which gamers play out their roles. Examining both the aesthetic aspects and symbolic roles of video game architecture as they relate to gameplay, Gabriele Aroni tackles a number of questions, including: - How digital architecture…
Games as Authorial Platforms? An Exploration of the Legal Status of User-Created Content from Digital Games
Digital games can be considered as composed of two main components: the props, i.e. visual, textual, and aural elements such as codes, 3D models and animations; and the form, specially the interaction between players and games, the act of playing itself. This dichotomy thus begs the question whether digital games are indeed games if nobody plays them, and ultimately: who is the owner of the gameplay and any by-product of the interaction between t…
The Semiotics of Video Game Spaces
This article proposes a semiotic framework for the analysis of video game spaces based on the structuralist theory of denotation and connotation in architecture devised by Umberto Eco. Virtual architecture is a central signifier in digital games, and its design heavily influences the gameplay as well as the narrative. In 3D games, players interact with virtual environments that closely resemble our real architecture, and as such, many of the tool…
Cultural Heritage and Chinese Digital Games
Digital games history has been dominated by Japan, North America, and Europe, both as major producers and consumers of games. However, China is now by far the largest digital games market on the planet, both in terms of player numbers and expenditure. This exceptional growth is naturally reflected in the local production of games, which, despite their large numbers and player base, are only now having more resonance in the West. This paper examin…
The Representation of Burn Survivors in Video Games Under the UN Convention on the Rights of Persons with Disabilities
Burn survivors are usually depicted as villains and othered as “marginalized” scarred bodies in several popular contemporary video games. As the UN Convention on the Rights of Persons with Disabilities (CRPD 2006) was adopted to tackle the situation of individuals with disabilities, including scarred persons, this article investigates whether the provisions of the CRPD could be employed to guide the production of video games in integrating “margi…
Digital Games and Media (4 works) · Video game (3 works) · Architecture (2 works) · Art (2 works) · Computer Science (2 works) · Game art design (2 works) · Game design (2 works) · Game studies (2 works) · Multimedia (2 works) · Semiotics (2 works)