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Growth in popularity of computer (video) games is a noticeable change in recent years. Electronic entertainment increasingly engages the wider society and reaches to new audiences by offering them satisfy of wide variety of needs and aspirations. As a mass media games not only provide entertainment, but they are also an important source of income, knowledge and social problems. Article aims to bring closer look on the common areas of games and comics. On the one hand designers and artists working on games are often inspired by comic books, as well as they create their licensed adaptations and separate "interactive issues". On the other hand more and more often we can see comics based on popular games. Study present the areas of agreement, cooperation or dependence like: technologies used to create games and comic books, use of comic books to comment events in the gaming industry and organization of exhibitions or events popularizing the works from both fields.

This paper focuses on the localisation and adaptation of one particular aspect of the computer game: the soundtrack. Sometimes bespoke, sometimes selected from commercial releases, it provides a background, supporting role in creating atmosphere and supporting the emotive state of the game space. But how often is the target market considered when selecting appropriate musical content? Is it possible to use this almost subliminal channel into the game player's consciousness to increase his awareness of what is happening around him, and give him a feel for his character's emotional and physical wellbeing? This paper presents a novel approach for transforming the soundtrack - via a system the author originally created for the purposes of capturing and recreating emotive content in music.

This paper presents a possible application of fuzzy logic systems to control vehicles in computer games. A new architecture of a fuzzy logic system is here proposed: Hierarchical Fuzzy Controller, that is composed of several fuzzy controllers in their classic meaning. "Hierarchical" means that fuzzy sets produced as output of one of fuzzy controllers are then processed as input of another fuzzy controller. The use of such a controller significantly enhances the possibilities of computational intelligence methods in singleplayer games, i.e. where the enemy is controlled by an agent simulating real behaviour (movement, decisions, etc.). The proposal of an original architecture of Hierarchical Fuzzy Controller, built with fuzzy controllers (in the sense of Mamdani), and discussing advantages of using this architecture to control military vehicles in a 2D single-player game, in comparison to classic fuzzy controllers, are the main scope of the paper.

Abstract
Contemporary images of desirable work (for example at gaming companies or at one of the tech giants) foregrounds creativity and incorporates and idealises elements of play. Simultaneously, becoming one of the best in some particular leisure activity can require many long hours of hard, demanding work. Between on the one hand work and on the other hand leisure and play, we enter the domain of games and sports. Most classical sports originally developed from physical practices of moving the human body and these practices were, through standardization, organization and rationalization, turned into sports. Many sport researchers, (sport) historians and (sport) sociologists have pointed out that sports have gone through a process of "sportification". Cross-country skiing is an example of an activity that has gone through a historical process of sportification, over time becoming progressively more managed and regulated. Computer games are today following a similar trajectory and have gone from being a leisure activity to becoming a competitive activity, "esports", with professional players, international competitions, and live streams that are watched by tens of millions of viewers.

The article expresses a hypothesis about the possibility of using computer games as a tool for the social and human sciences (in particular, philosophical ones), which in the modern world are increasingly dealing with phenomena, practices and communicative acts caused by digital reality. Possible directions of such use are considered. For a long time, the humanities did not have the developed tech­nical infrastructure that the technical sciences had. As if without needing it, they mostly relied on a unique and inimitable experience, which, in principle, cannot be technicalized and modeled, but rather must be experienced, described, inter­preted. But today, the social and humanitarian reality is largely dictated by digi­tal and the transformations it is carrying out. Our life is largely open to new types of interaction, new types of objects, new subjective states, the reality of which is not conceivable outside of digital. Moreover, the numeric associated with control, order, and transparency introduces a significant amount of uncer­tainty into social reality. In this sense, the boundary between the unique and ordi­nary, conceivable experiment and the field of social interaction is blurred. We are increasingly open to uncertain scenarios. In such a situation, the humanities sim­ply need tools to explore possible worlds, rare and unique states and events that at any moment can not only be embodied in everyday life, but also determine its key meanings and values. Computer games allow you to connect a huge number of users and use their intuition and creativity in designing and living in possible worlds.

This first volume of the DIGAREC Series holds the proceedings of the conference "The Philosophy of Computer Games", held at the University of Potsdam from May 8-10, 2008. The contributions of the conference address three fields of computer game research that are philosophically relevant and, likewise, to which philosophical reflection is crucial. These are: ethics and politics, the action-space of games, and the magic circle. All three topics are interlinked and constitute the paradigmatic object of computer games: Whereas the first describes computer games on the outside, looking at the cultural effects of games as well as on moral practices acted out with them, the second describes computer games on the inside, i.e. how they are constituted as a medium. The latter finally discusses the way in which a border between these two realms, games and non-games, persists or is already transgressed in respect to a general performativity.

This article argues that the computer game can be a locus of aesthetic form in contemporary culture. The context for understanding this claim is the decline of the artwork as bearer of form in the late 20th century, as this was understood by Adorno. Form is the enigmatic other of instrumental reason that emerges spontaneously in creative works and, in the modern era, is defined as that which makes them captivating and enigmatic yet resistant to analytic understanding. Clarification of the ways in which form is at work in game play is sought from aesthetic theory (Kant), ludology (or theory of games), and the idea of a neo-baroque entertainment culture (Ndalianis). Kant emphasized the role of play in the constitution of imaginary realms associated with aesthetic pleasure. Ludology takes play as an anthropological given differentiated historically by the development of game structures. Neo-baroque theory postulates a labyrinthine, complex and de-centred entertainment culture, largely shaped by computing as a cultural practice. The article synthesizes insights from these perspectives and, drawing on ideas from Adorno and Benjamin, argues that computer games can occupy an oppositional or critical role within contemporary aesthetics and culture. Reflection on the constitutive processes of computer game play discloses a new place for instrumental reason within aesthetic experience, as the dialectic of form and analysis migrates from traditional art materials to digital electronics.

The manifest popularity of computer games for many children has led to speculation about the meaning and effects of their use. However, research has yet to provide an adequate picture of the social characteristics of computer game players. This article, based on a large-scale study of Flemish 10- to 11-year-olds, is intended to sketch a profile of the computer game heavy user. The results indicate that heavy use of computer games is associated with negative rather than positive outcomes in terms of academic achievement, self-esteem and sociability. Finally, a LISREL model is tested which assesses the contribution which school-related factors, in interaction with gender and socioeconomic status, make in accounting for the varying amounts of time children spend playing computer games.

Bu araştırmanın amacı; bilgisayar
oyunlarının ergenlik dönemi içinde olan ortaokul öğrencilerine etkilerini
belirlemektir. Bu amaç doğrultusunda araştırmada betimsel tarama modeli
kullanılmıştır. Araştırmanın evrenini, 2017-2018 eğitim öğretim yılında
Ankara'nın Yenimahalle ilçesindeki devlete bağlı 35 kamu ortaokulundaki 1723
öğretmen ve 27712 öğrenci velisi; örneklemini ise sosyo-ekonomik düzeylerine
göre seçkili örnekleme yönteminden uygun örnekleme yöntemiyle seçilen 9
ortaokulun 250 öğretmeni ve 427 öğrenci velisi oluşturmaktadır. Araştırmada
araştırmacı tarafından geliştirilen veri toplama aracı kullanılmıştır. Elde
edilen veriler SPSS 18.0 paket programı ile frekans ve yüzde dağılımları
alınarak çözümlenmiştir. Ayrıca güvenirlilik analizi
yapılmış, ölçeğin Cronbach alpha katsayısı 0,804 olarak tespit edilmiştir.
Normal dağılıma sahip olmasından dolayı, öğretmen ve veli görüşleri arasındaki
farkı belirlemek için parametrik testlerden bağımsız t-testi kullanılmıştır.Araştırmadan elde edilen bulgulara
göre; öğretmenlerin % 98,4'ü ve velilerin % 65,6'sına göre bilgisayar oyunları
bilgisayar oyunu bağımlılığına; öğretmenlerin % 98,8'ine ve velilerin %
89,5'ine göre zaman kaybına neden olmaktadır. Ayrıca bilgisayar oyunları
öğretmenlerin % 98,8'ine ve velilerin % 79,9'una göre öğrencilerin sosyal
yaşamını olumsuz etkilerken öğretmenlerin % 99,6'sına ve velilerin % 68,6'sına
göre okul başarısını da olumsuz etkilemektedir. Öğretmenlerin % 75,2'si
bilgisayar oyunlarını faydalı bulurken, velilerin % 37,7'si faydalı
bulmaktadır.



Bilgisayar oyunlarına ilişkin öğretmen
ve veli görüşleri T-testi ile karşılaştırılmış;
istatistiksel olarak anlamlı bir farklılık gösterdiği anlaşılmıştır
(p<0,05). Öğretmenler; bilgisayar oyunlarının bağımlılık yapması, zaman
kaybı olması, sosyal yaşamı olumsuz etkilemesi, okul başarısını olumsuz
etkilemesi, bilgisayar oyunlarının öğrenciler için faydalı (olumlu etkileri)
olması ifadelerine daha fazla katılmaktadır.