Анализ страницы https://eolt.org/articles/
Основное Готовность: 100%
Домен
eolt.org
Состояние доменного имени
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Проверяем корректность доменного имени и наличие технических проблем на уровне домена.
Домен второго уровня идеален для продвижения.
Отличный запоминающийся домен.
Ответ сервера
200 Успешный ответ
HTTP-код ответа и цепочка редиректов
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Код 200 — страница доступна. Коды 3xx — редиректы (цепочки замедляют загрузку и размывают ссылочный вес). Коды 4xx/5xx — ошибки, поисковик не сможет проиндексировать страницу.
Сервер настроен корректно.
Безопасность
Сайт безопасен
Использование HTTPS и SSL-сертификат
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HTTPS — обязательный стандарт. Google и Яндекс отдают предпочтение защищённым сайтам. Отсутствие SSL или просроченный сертификат ведут к предупреждениям в браузере и снижению позиций.
На сайте работает защищенный протокол ssl и сайт открывается по https.
Ssl-сертификат действителен до 04.10.2026 22:45:22.
Включён HSTS (Strict-Transport-Security) — защита от подмены на http.
Поздравляем! Сайт не содержится в реестре РКН.
Кодировка
utf-8
Кодировка символов страницы
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Стандарт — UTF-8. Неправильная кодировка вызывает нечитаемые символы и мешает поисковику корректно распознать текст страницы.
Указана кодировка на странице utf-8.
Язык
en
Атрибут lang в HTML-теге
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Атрибут lang (<html lang="ru">) сообщает поисковикам и браузерам, на каком языке написана страница. Помогает при ранжировании в региональном поиске.
Язык документа указан явно: en.
Скорость загрузки
~0,29сек
Время отклика сервера (TTFB)
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Time To First Byte — время до получения первого байта от сервера. Норма до 200 мс. Медленный отклик ухудшает пользовательский опыт и ранжирование: Яндекс и Google учитывают скорость страниц.
Скорость загрузки сайта 0,29сек оптимальна.
Объем документа
31Кб
Размер HTML-кода страницы
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Слишком большой HTML замедляет парсинг браузером и сканирование поисковым роботом. Рекомендуется не более 200 Кб.
Объем html-документа 31Кб оптимален.
Структура html-документа корректна.
Ресурсы
Ресурсы: 5
Внешние ресурсы страницы (CSS, JS, изображения)
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Количество и тип подключённых ресурсов влияют на скорость загрузки. Большое число запросов увеличивает время рендеринга страницы.
Кол-во файлов ресурсов 5 достаточно.
Показать полный список ресурсов
| Тип | Название | Значение |
|---|---|---|
| stylesheet | https://cdnjs.cloudflare.com/ajax/libs/font-awesome/4.7.0/css/font-awesome.min.css | |
| stylesheet | https://use.fontawesome.com/releases/v5.2.0/css/all.css | |
| stylesheet | /static/css/main.3cb4e78e.chunk.css | |
| js | /static/js/2.89942727.chunk.js | |
| js | /static/js/main.1a3f2a50.chunk.js |
Серверные заголовки
Кол-во: 18
HTTP-заголовки ответа сервера
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Заголовки сервера передают браузеру и поисковику служебную информацию: кеширование, безопасность (CSP, HSTS), сжатие (gzip). Правильная настройка ускоряет загрузку и повышает защищённость.
Найдены серверные заголовки 18шт. Подробнее про серверные заголовки.
Показать полный список серверных заголовков
| Ключ | Значение |
|---|---|
| Server | GitHub.com |
| Access-Control-Allow-Origin | * |
| Strict-Transport-Security | max-age=31556952 |
| ETag | "6a5b4010-7fa0" |
| Cache-Control | max-age=600 |
| x-proxy-cache | MISS |
| x-github-request-id | 27F2:9E07F:546151:5B63BB:6A8B5415 |
| x-github-edge-region | swedencentral |
| Accept-Ranges | bytes |
| Age | 0 |
| Date | Sun, 23 Aug 2026 20:12:06 GMT |
| Via | 1.1 varnish |
| X-Served-By | cache-bma-essb1270076-BMA |
| X-Cache | MISS |
| x-cache-hits | 0 |
| x-timer | S1787515926.129793,VS0,VE120 |
| Vary | Accept-Encoding |
| x-fastly-request-id | 9b6e3c08b40dcdd5a1de7e27221b7a835d504dad |
CMS
Не определена
Система управления сайтом (движок)
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CMS — это движок, на котором работает сайт (WordPress, 1C-Bitrix, Tilda и др.). Знание CMS помогает понять возможности SEO-оптимизации и подобрать подходящие инструменты. «Не определена» — вероятно, самописный сайт или нестандартная сборка.
CMS не определена. Вероятно, сайт самописный либо движок надёжно скрыт. Это не ошибка.
Веб-сервер
GitHub.com
Программное обеспечение сервера
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Веб-сервер — это ПО, которое отдаёт страницы посетителям (nginx, Apache, IIS, LiteSpeed и др.). Определяется по серверным заголовкам ответа (Server, X-Powered-By и т.п.). «Не определён» — сервер намеренно скрывает эти заголовки, это нормальная практика безопасности.
В заголовке Server указано: GitHub.com.
Мета-теги Готовность: 23%
Title
Browse Articles | Encyclopedia of Ludic Terms
Заголовок страницы в браузере и поисковой выдаче
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Title — главный SEO-заголовок страницы. Влияет на CTR в поиске и ранжирование. Оптимальная длина: 50–70 символов. Ключевые слова — ближе к началу.
Дублей словоформ в title не найдено.
Число символов в title 45 оптимально (норма: от 40 до 45).
Description
An open-access lexicon covering terms related to the study of games and play
Описание страницы в поисковой выдаче (сниппет)
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Meta Description — текст под заголовком в выдаче. Напрямую на позиции не влияет, но влияет на CTR. Оптимальная длина: 120–160 символов.
Необходимо увеличить число символов в description (текущее значение мало: 76, минимум: 80, оптимально: от 120 до 130)
Keywords
Список ключевых слов страницы (устаревший тег)
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Meta Keywords не учитывается Яндексом и Google для ранжирования с 2009–2012 годов. Заполнение не обязательно, но не вредит. Конкурент может использовать содержимое для анализа.
Установите мета-тег keywords!
Канонический Url
https://eolt.org/articles/
Указывает поисковику основную версию страницы
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Canonical (rel=canonical) предотвращает проблему дублей страниц. Должен точно совпадать с URL проверяемой страницы. Неправильный canonical может передать ссылочный вес на другую страницу.
Канонический Url прописан корректно.
Robots
all
Директивы для поисковых роботов на уровне страницы
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Meta Robots управляет индексацией конкретной страницы: index/noindex — индексировать ли, follow/nofollow — следовать ли по ссылкам. Noindex полностью исключает страницу из поиска.
Meta-тег robots со значением all не накладывает ограничений на индексирование и показ контента. Это правило используется по умолчанию и не влияет на работу поисковых роботов, даже если оно указано в коде.
Адаптивность
width=device-width,initial-scale=1
Настройка масштабирования на мобильных устройствах
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Тег viewport (<meta name="viewport">) сообщает браузеру, как масштабировать страницу на мобильных. Стандарт: width=device-width, initial-scale=1. Отсутствие — признак отсутствия мобильной версии.
Meta-тег viewport со значением-константой width=device-width задаёт ширину страницы в соответствии с размером экрана.
Meta-тег viewport со значением initial-scale=1.0 определяет масштаб 1:1, т.е. «не масштабировать».
Разметка OpenGraph
Кол-во: 8
Мета-теги для красивых превью в соцсетях
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OpenGraph (og:title, og:description, og:image) управляет тем, как страница выглядит при репосте в социальных сетях и мессенджерах. Отсутствие OG-тегов — невзрачный превью при шеринге.
Разметка OpenGraph задана. Страница оптимизирована под социальные сети.
Показать полный список og мета-тегов
| Тип | Значение |
|---|---|
| og:title | Browse Articles | Encyclopedia of Ludic Terms |
| og:type | website |
| og:image | https://drive.google.com/uc?id=1JQ7mUVq9gmJjyFuktTVm3kZ2IeIlmEfe |
| og:image:width | 2048 |
| og:image:height | 1200 |
| og:description | An open-access lexicon covering terms related to the study of games and play |
| og:site_name | Encyclopedia of Ludic Terms |
| og:url | https://eolt.org/articles/ |
Все мета-теги
Кол-во: 12
Полный список мета-тегов страницы
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Таблица всех meta-тегов, включая нестандартные. Позволяет найти опечатки, дубли и лишние теги.
Найдены мета-теги 12шт. Мета-теги не видимы для человека и предназначены для обмена информацией между веб-страницей и поисковыми системами, браузерами и другими веб-службами. С ними роботы 🤖 и устройства ведут себя более ожидаемо.
Показать полный список мета-тегов
| Тип | Название | Значение |
|---|---|---|
| name | viewport | width=device-width,initial-scale=1 |
| name | theme-color | #006838 |
| name | robots | all |
| name | description | An open-access lexicon covering terms related to the study of games and play |
| property | og:title | Browse Articles | Encyclopedia of Ludic Terms |
| property | og:type | website |
| property | og:image | https://drive.google.com/uc?id=1JQ7mUVq9gmJjyFuktTVm3kZ2IeIlmEfe |
| property | og:image:width | 2048 |
| property | og:image:height | 1200 |
| property | og:description | An open-access lexicon covering terms related to the study of games and play |
| property | og:site_name | Encyclopedia of Ludic Terms |
| property | og:url | https://eolt.org/articles/ |
Оптимизация Готовность: 70%
Структура
Ошибок нет
Семантические HTML-элементы страницы
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Проверяет наличие основных структурных элементов: nav, header, footer, main. Корректная семантическая структура помогает поисковику понять архитектуру страницы.
Структура документа корректна (теги <html> и <body> присутствуют по одному на документ).
Контент
Ошибок нет
Объём и качество текстового содержимого
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Анализирует объём полезного текста на странице. Слишком мало — страница может считаться малополезной. Слишком много — ухудшается читаемость и восприятие.
Слова из title 6 встречаются в тексте достаточно.
Абзацев с текстом 62 достаточно.
Среднее число слов в абзаце 47 достаточно.
Кол-во знаков контента 20193 на странице оптимально.
Кол-во слов 3044 на странице оптимально.
Заголовки
Ошибок нет
Иерархия заголовков H1–H6
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H1 должен быть один и содержать ключевой запрос. H2–H6 описывают подразделы. Пропуск уровней (H1 → H3) и несколько H1 — типичные ошибки, снижающие понятность страницы для поисковика.
На странице присутствуют заголовки <h1> 29. Это прекрасно.
Тошнота
5,39
Насколько одно слово доминирует в тексте
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Классическая тошнота = √(частота самого повторяющегося слова). Норма до 7–8: текст воспринимается естественно. Выше — поисковик может счесть страницу переспамленной.
Тошнота превышает норму 5. Измените текст страницы!
Академич. тошнота
30,91%
Насколько текст перенасыщен ключевыми словами
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Академическая тошнота = (частота слова / общее количество слов) × 100%. Показывает долю конкретного слова в тексте. Норма 5–15%.
Академическая тошнота превышает норму 5-15%. Измените текст страницы!
Семантическое ядро
20
Наиболее часто встречающиеся слова на странице
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Топ слов по частоте использования. Показывает, какие слова доминируют в тексте с точки зрения поисковика.
Контент страницы содержит осмысленный текст и слова.
Показать список слов
| Слово | Кол-во | Частота |
|---|---|---|
| author: | 29 | 0,95% |
| studies | 22 | 0,72% |
| history | 16 | 0,53% |
| transmedia | 13 | 0,43% |
| design | 12 | 0,39% |
| player | 11 | 0,36% |
| research | 11 | 0,36% |
| different | 11 | 0,36% |
| development | 10 | 0,33% |
| characters | 10 | 0,33% |
| players | 9 | 0,30% |
| historical | 9 | 0,30% |
| concept | 7 | 0,23% |
| between | 7 | 0,23% |
| designers | 6 | 0,20% |
| practices | 6 | 0,20% |
| typically | 6 | 0,20% |
| modding | 6 | 0,20% |
| monetization | 6 | 0,20% |
| philosophical | 6 | 0,20% |
Индексация Готовность: 100%
Индексирование
Ошибок нет
Разрешено ли индексирование страницы
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Проверяет, не закрыта ли страница от индексации через robots.txt, meta robots или X-Robots-Tag. Страница, закрытая от индексации, не появится в поисковой выдаче.
Анкоров на странице 43 оптимально. Поисковые роботы обязательно проиндексируют сайт.
Robots.txt
Найден корректный robots.txt
Файл управления сканированием сайта роботами
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Robots.txt указывает поисковым роботам, какие страницы сканировать, а какие — нет. Ошибки в файле могут случайно закрыть важные разделы от индексации.
Robots.txt настроен корректно. Размер файла: 105 байт. Загружен за: 0сек.
Проверяемая страница не запрещена в robots.txt.
Robots.txt доступен по постоянному адресу
Показать содержимое robots.txt
# https://www.robotstxt.org/robotstxt.html
User-agent: *
Disallow:
Sitemap: https://eolt.org/sitemap.xml
Sitemap
Кол-во: 1
XML-карта сайта для поисковиков
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Sitemap.xml помогает поисковику быстрее находить и индексировать страницы. Особенно важен для крупных сайтов и новых страниц, на которые ещё нет входящих ссылок.
Robots.txt содержит карту сайта. Это прекрасно!
Robots.txt не содержит ошибок в карте сайта.
Показать карту сайта
| Url | Статус |
|---|---|
| https://eolt.org/sitemap.xml |
|
Внутренние ссылки
Кол-во: 41
Ссылки на другие страницы своего сайта
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Внутренние ссылки распределяют ссылочный вес между страницами и помогают поисковику обходить сайт. Пустые анкоры и ссылки на запрещённые robots.txt страницы — типичные ошибки.
Внутренних ссылок на странице 41 оптимально.
Внутренние ссылки не запрещены к индексации в robots.txt.
На странице присутствуют изображения 1.
Показать внутренние ссылки
| Url | Анкор | Состояние |
|---|---|---|
| /toc/ |
<span class="sc-hKwDye eZeijE">Table of Contents</span><span class="sc-eCImPb jBKiOo">ToC</span>
|
|
| /about/ |
About
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| /contact/ |
Contact
|
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| /articles/bleed/ |
<div class="Card_card__1eE8R"><h1>Bleed</h1><div class="Card_preview__34tlp"><p>Bleed is a phenomenon in which psychological contents spill over from the player to the character (<em>bleed-in</em>) and vice versa (<em>bleed-out</em>) in games. These contents can include emotions, thoughts, relationship dynamics, physical states, ideologies and personality traits, among others. While bleed tends to be an unconscious and unpredictable process, some participants play for bleed, intentionally steering toward situations in role-playing games that they hope will produce bleed effects. Similarly, some role-playing designers create games intended to produce bleed. Many players describe bleed as a powerful tool for learning and personal development when paired with off-game processing, reflection and integration of these experiences.</p></div><p>Author: Bowman, Sarah Lynne</p></div>
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| /articles/challenge/ |
<div class="Card_card__1eE8R"><h1>Challenge</h1><div class="Card_preview__34tlp"><p>Challenge, understood as any task that requires non-trivial effort from the players, is one of the major components in understanding what games are and how and why people play them. This entry gives a brief overview of how the concept of challenge has evolved in game studies. Key approaches such as game definitions, empirical studies of challenge in player experience research and Juul's paradox of failure are discussed in more detail.</p></div><p>Author: Holopainen, Jussi</p></div>
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| /articles/digital-games/ |
<div class="Card_card__1eE8R"><h1>Digital Games</h1><div class="Card_preview__34tlp"><p>This entry summarizes the history and current use of "digital games" and related terminology, such as "computer games", "electronic games", and "videogames". Despite their etymological variety, a few pragmatic differences between these competing terms exist, which has recently led researchers and practitioners to increasingly apply (even more) general concepts such as "gaming" and "esports". A recommendation is not to interpret and use such terms literally, but to choose related terminology based on context and consistency.</p></div><p>Author: Karhulahti, Veli-Matti</p></div>
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| /articles/electronic-sports/ |
<div class="Card_card__1eE8R"><h1>Electronic Sports</h1><div class="Card_preview__34tlp"><p>Esports, or electronic sports, is an interdisciplinary topic of inquiry connected to organised practices of competitive computer gaming, facilitated tournament play. This entry discusses early interdisciplinary thinking and perspectives on esports, topical areas of significance to formative esports research, the impact of sport studies on esports scholarship and the definitional underpinnings of the term.</p></div><p>Author: Witkowski, Emma</p></div>
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| /articles/game-character/ |
<div class="Card_card__1eE8R"><h1>Game Character</h1><div class="Card_preview__34tlp"><p>This entry explains how game characters have been discussed in Game Studies and adjacent fields, evolving from agents and human-like beings to avatars, player-characters, <a href="https://eolt.org/articles/transmedia">transmedia</a> characters and companions. Our understanding of game characters is based on our perception of characters in other media. Although characters are understood as pieces of writing and human-like entities in Literary Studies, <a href="https://eolt.org/articles/game-studies">Game Studies</a> has focused mainly on the playable figure, that is, the avatar and the player-character with little interest in other types of game characters. Currently, game characters are mainly discussed in two trends: as part of a global and transmedial network of characters over different texts, and as companion characters with which players can form a romantic emotional attachment.</p></div><p>Author: Blom, Joleen</p></div>
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| /articles/transmedia |
transmedia
|
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| /articles/game-studies |
Game Studies
|
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| /articles/game-definition/ |
<div class="Card_card__1eE8R"><h1>Game Definition</h1><div class="Card_preview__34tlp"><p>Scholars and designers have defined the concept of 'game' in different ways over the decades. Are games an activity or an artifact, a form of art or a series of interesting choices, a mess or socio-material stabilizations? Is there something that all games share or is it all just family resemblances? This article considers different definitions proposed since the 1930s, as well as the idea that there is no special set of features or an essence that all games share.</p></div><p>Author: Stenros, Jaakko</p></div>
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| /articles/game-feel/ |
<div class="Card_card__1eE8R"><h1>Game Feel</h1><div class="Card_preview__34tlp"><p>Game feel describes the affective reaction of a player to a game situation – how a game feels to be played. It can be implemented by tuning, juicing and streamlining gameplay. Game designers are mostly concerned with properties of good game feel and have documented countless game design practices that enhance game experiences. Game feel is often described as being at the heart of game design, making or breaking a game in the eyes – and hands – of the player.</p></div><p>Author: Pichlmair, Martin</p></div>
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| /articles/game-history/ |
<div class="Card_card__1eE8R"><h1>Game History</h1><div class="Card_preview__34tlp"><p>Game History describes <em>history in, of and around games of all kinds</em>, but is often used only to refer to the history of (video) games. It incorporates a significant diversity of both scholarly and popular historical work, and is interested in the development, preservation and exhibition of games and game technologies, the industries and cultures that produce and consume them, the histories which they communicate and the historical practices of those around them.</p></div><p>Author: Webber, Nick</p></div>
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| /articles/game-jams/ |
<div class="Card_card__1eE8R"><h1>Game Jams</h1><div class="Card_preview__34tlp"><p>Over the past 20 years, collective and typically light-hearted development events – game jams – have solidified their role as part of professional, hobbyist and beginner game development cultures alike. During game jams, 'jammers' create games with a particular constraint, within a timeframe of typically 48-72 hours. Game jams can be used in formal education as well as in companies but are typically based on voluntary participation. While the size and location of game jams can vary from a few friends to hundreds of participants and from computer labs to fully catered corporate locales or even train carriages, they all share a function to provide a safe development environment where exploration and innovation are encouraged under time constraints. Through participation, jammers build networks and communities, train their development skills and experiment with ideas that do not match the pressures of commercial or educational environments.</p></div><p>Author: Wirman, Hanna</p></div>
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| /articles/game-ontology/ |
<div class="Card_card__1eE8R"><h1>Game Ontology</h1><div class="Card_preview__34tlp"><p>Game ontology is the study of the elements of games and the relationships between these elements. It is pursued for a wide range of reasons, including theoretical, analytical and practical, and these purposes impact the methods involved and the issues raised. Every game scholar has some assumptions about what games are and what their chief characteristics are, and these influence research. The explicit study of ontology clarifies these sometimes-latent assumptions. Ontology is also useful in game design and analysis by giving different developers and scholars a common vocabulary for relevant concepts.</p></div><p>Author: Martin, Paul</p></div>
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| /articles/game-studies/ |
<div class="Card_card__1eE8R"><h1>Game Studies</h1><div class="Card_preview__34tlp"><p>'Game Studies' is generally used to signify a humanities-based orientation to the study of games, play and related phenomena. This involves the development of conceptual, theoretical and methodological approaches that address the artistic form and aesthetic experience of games as a form of art and entertainment. As such, Game Studies is also a young academic discipline, which entered academia in the early 2000s. There are different emphases in how contemporary Game Studies is being practised, with some scholars focusing more attention on the formal characteristics of games, some on the role of play and players, game design, or on the historical and political contexts and meanings for games and play.</p></div><p>Author: Mäyrä, Frans</p></div>
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| /articles/games-and-realism/ |
<div class="Card_card__1eE8R"><h1>Games and Realism</h1><div class="Card_preview__34tlp"><p>This entry offers an overview over applications of the the concept of realism in game studies. After a general description of the term, I move on to an aesthetic notion of realism before I direct attention to its use in videogames research. I show that realism in game studies is about more than photorealist representation of surface phenomena and that it also needs to account for players’ perceptions.</p></div><p>Author: Pötzsch, Holger</p></div>
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| /articles/history-games/ |
<div class="Card_card__1eE8R"><h1>History Games</h1><div class="Card_preview__34tlp"><p>History games in addition to being a popular form of entertainment are a medium for doing history. Definitions for history games differ with some defining history games broadly and others more narrowly. Broadly defined, games that refer to discourses about the past, present us with a great number of history games ranging from <em>Assassin's Creed: Valhalla</em> to <em>Civilization VI</em> to <em>When Rivers Were Trails</em>. Games can be categorized according to their historical content, as specific or abstract, or according to their structures. An important example of the latter is Chapman's distinction between realist-style games and conceptual-style games. History games can have didactic and rhetorical purposes being used in history classes and potentially in the presentation of academic historical arguments. Research on history games, the work of the field of Historical Game Studies, has moved beyond just questions of accuracy to consider not only authenticity but the ways in which the political, cultural and socio-economic contexts of developers shape the history in games. Currently, there are two analytical frameworks focused on the question of how the game medium presents history: one is Chapman's analysis of ludic structures and their impact on historical presentation, and the other is McCall's Historical Problem Space framework.</p></div><p>Author: McCall, Jeremiah</p></div>
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| /articles/horror/ |
<div class="Card_card__1eE8R"><h1>Horror</h1><div class="Card_preview__34tlp"><p>Insofar as it is not the term "horror," but the label "survival horror," that has come to encompass the overall body of this genre in the videoludic realm, this entry underlines that the term remains open to assessments and refinements. By studying its advent in cinema, and the ways it has been recasted through different attributes both in the discourse of video game reviewers and of video game theoreticians, the use of the term expresses the spectrum of the experiences created by the genre.</p></div><p>Author: Perron, Bernard</p></div>
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| /articles/indie-games/ |
<div class="Card_card__1eE8R"><h1>Indie Games</h1><div class="Card_preview__34tlp"><p>The term "indie games," or independent games, refers to video games that, in one way or another, differ from the mainstream—often featuring "retro" aesthetics, small-scale development teams, digital-only distribution and alternative financing methods. This definition has evolved over time, from referring broadly to third-party development studios to indicating a variety of games with different kinds of "independence." As such, contemporary scholarship in this area may view games as creatively, financially or culturally independent, as well as a combination of some or all of these.</p></div><p>Author: Lipkin, Nadav</p></div>
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| /articles/interactivity/ |
<div class="Card_card__1eE8R"><h1>Interactivity</h1><div class="Card_preview__34tlp"><p>This entry provides an overview of the concept of interactivity, with a focus on how scholars have struggled to consistently define, apply and conceptualize it. After a discussion of the various attempts to define the term, the entry then addresses how interactivity has been applied to games. Although video games are widely considered an interactive medium, the applicability and effects of interactivity have been debated by game scholars, especially regarding the nature of video game interactivity and its impact on player agency, presence and immersion.</p></div><p>Author: Stang, Sarah</p></div>
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| /articles/interface/ |
<div class="Card_card__1eE8R"><h1>Interface</h1><div class="Card_preview__34tlp"><p><em>Interface</em> is in human-computer interaction generally used to refer to those aspects of a computer system that allows the user to interact with the computer. However, as videogames are computer systems that invite players to interact with virtual gameworlds that share many traits with non-interactive fictional worlds, game interfaces challenge the traditional understanding of interface. This entry will provide an overview of central discussions in game research relating to the game interface.</p></div><p>Author: Jørgensen, Kristine</p></div>
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| /articles/level-design/ |
<div class="Card_card__1eE8R"><h1>Level Design</h1><div class="Card_preview__34tlp"><p>This article explores definitions, perspectives and historic usages of the term "level design" as well as its distinct qualities apart from the broader field of game design. The exploration will consist of literature surveys concerning the use of the term in scholarly and industry contexts. These surveys include explorations of definitions of the term "level" itself in order to establish an understanding of the goals of level design, as well as the tools used by level designers. Level design's relationship to related fields of design, most notably architecture, interface design and cinematography are considered, along with historic and literary examples of levels and level-like spaces.</p></div><p>Author: Totten, Christopher</p></div>
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| /articles/loot-boxes/ |
<div class="Card_card__1eE8R"><h1>Loot Boxes</h1><div class="Card_preview__34tlp"><p>"Loot boxes" are video game mechanics that provide randomized rewards. "Paid loot boxes" that require purchase using real-world money by players are frequently implemented by companies to "monetize" and generate revenue. The technical definition of "loot boxes" is wider than that of when the term is used in common parlance, which generally only refers to "paid loot boxes." Previous research has identified conceptual and psychological similarities between paid loot boxes and gambling. Regulation and other harm-minimization measures have been suggested and adopted in certain countries. Further research is required to understand the nature and the extent of any potential harms.</p></div><p>Author: Xiao, Leon</p></div>
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| /articles/ludic-performance/ |
<div class="Card_card__1eE8R"><h1>Ludic Performance</h1><div class="Card_preview__34tlp"><p>This article outlines game studies scholarship on ludic performance, with a focus on three themes: performing arts, thick description and nonhuman performativity. The first theme includes studies that have drawn on antecedent work in fields such as theatre and performance studies. Scholarship featuring thick description pays close attention to specific performances using methods such as ethnography. Finally, work on nonhuman performativity has brought digital games into proximity with new materialist thinking. These themes are far from mutually exclusive, and studies of ludic performance tend to weave them together in accounting for the complexity of technologically mediated performance.</p></div><p>Author: Jayemanne, Darshana</p></div>
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| /articles/modding/ |
<div class="Card_card__1eE8R"><h1>Modding</h1><div class="Card_preview__34tlp"><p>Modding, originally from modifying, refers to a practice of changing a game by creating modifications to it. Modifications range from very simple edits to "total conversions" and entirely new games. Modding as a phenomenon questions any "fixed" idea of a game by illustrating how games operate as launchpads for player creativity. Game modding draws on the history of software hacking and in this respect modding can take forms that are seen as resistant or illegitimate. At the same time, modding is often invited and supported by game companies, leading to constant negotiations between the game industry and the player community.</p></div><p>Author: Sotamaa, Olli</p></div>
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| /articles/monetization/ |
<div class="Card_card__1eE8R"><h1>Monetization</h1><div class="Card_preview__34tlp"><p>This paper describes monetization models and mechanics used in video games. Monetization techniques are dependent on technological innovations used in the software and hardware of video games. Moving from physical to digital distribution has opened up a broad variety of monetization models as well as new real-time or on-demand mechanics (<em>e.g.</em>, micro-transactions, GaaS, Battle Pass). For each model, there is a description based on historical and economic perspectives with examples. Recent monetization challenges raised by real-money trading (P2E) and random monetization mechanics (Loot box and Gacha box) are also presented.</p></div><p>Author: Davidovici, Myriam</p></div>
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| /articles/narratology/ |
<div class="Card_card__1eE8R"><h1>Narratology</h1><div class="Card_preview__34tlp"><p>Narratology, the study of the properties of stories, provides game studies with a variety of concepts of transmedial applicability, but it must also deal with the specific nature of the narrative game situation: the productive role of the player, the computer's double function of implementing rules and visually displaying the player's actions, the relation between the narrative script written into the game's design and the story created by the player during game time, and more generally, the relation between gameplay and game story.</p></div><p>Author: Ryan, Marie-Laure</p></div>
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| /articles/philosophical-games/ |
<div class="Card_card__1eE8R"><h1>Philosophical Games</h1><div class="Card_preview__34tlp"><p>Philosophical games are games designed to invite players to think philosophically within (and about) their gameworlds. They are interactive fictions allowing players to engage with philosophical themes in ways that often set them apart from non-interactive kinds of speculative fictions (such as philosophical novels or thought experiments). To better understand philosophical games, this entry proposes to distinguish two primary ways in which a philosophical game can approach its themes: dialectically or rhetorically.</p></div><p>Author: Gualeni, Stefano</p></div>
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| /articles/quest/ |
<div class="Card_card__1eE8R"><h1>Quest</h1><div class="Card_preview__34tlp"><p>The ludic quest is an important structural element that appears in many games across the world, past to present. This brief introductory article will explore the quest as employed in game studies. It will start with the quest as applied in literary studies before transitioning to the present and how it is defined within game studies, leading to its contemporary usage and application.</p></div><p>Author: Horn, Benjamin</p></div>
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| /articles/simulation/ |
<div class="Card_card__1eE8R"><h1>Simulation</h1><div class="Card_preview__34tlp"><p>Not all simulations are games, but all games can be seen as simulations. A simulation is a representation of facets of a reality, which can be a part of the real world around us or a fictional one. While the word is typically associated with high realism in a game, types of simulations can range from completely closed ones with no player agency, to participatory simulation that is negotiated and adjusted during use. A key advantage of simulation is that it allows for the selection of presented facets and their levels of fidelity, and mitigates the consequences of failure. Analyzing games from the perspective of their being simulations allows us to look at the ways they represent things, the level of agency presented for their users and the ways in which they may contain activities such as conflicts.</p></div><p>Author: Harviainen, J. Tuomas</p></div>
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| /articles/transgressive-play/ |
<div class="Card_card__1eE8R"><h1>Transgressive Play</h1><div class="Card_preview__34tlp"><p><em>Transgressive play</em> is a concept that addresses play practices that break with established norms of idealized play, people's expectations and sensibilities, the rules of the game and sometimes also the law. In game studies, transgressive play has typically been used to address play practices that are in opposition to a game's rules or design, anti-social player practices or play that breaks with the normative understanding of what constitutes as play.</p></div><p>Author: Jørgensen, Kristine</p></div>
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| /articles/transmedia/ |
<div class="Card_card__1eE8R"><h1>Transmedia</h1><div class="Card_preview__34tlp"><p>The content, form and narrative of different media, such as games, can be transferred and adapted across media in many ways. Transmedia is one concept that captures these processes of exchange. This entry discusses the development of transmediality and related concepts in the field of game studies, such as transmedia storytelling, transmedia worlds and transmedia characters. As a theoretical lens, transmedia sheds light on the interdisciplinary nature of play which draws from different texts, aesthetics and fields. Additionally, transmedia is a design practice by creatives and fans alike. Designers increasingly combine different online and offline media in their games, allowing for hybrid forms of play. Transmedia can be a community-driven practice as well. For instance, players frequently create their own transmedia works, such as cosplays, streams or mods, inspired by the games that they love. This entry addresses transmedia both as an analytical tool and as an empirical practice, instigated by designers and audiences. While transmedia processes are very visible today, the concept itself also comes with challenges. In a time when different media converge on online platforms, it is hard to say where a game begins or ends. Transmedia scholarship on games is therefore needed, but always in conjunction with other fields.</p></div><p>Author: Lamerichs, Nicolle</p></div>
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| /articles/virtual-reality/ |
<div class="Card_card__1eE8R"><h1>Virtual Reality</h1><div class="Card_preview__34tlp"><p>Virtual reality (VR) broadly refers to stereoscopic, motion-tracked media systems capable of conferring strong illusions of spatial presence in simulated environments. The label also captures most kinds of content deliverable via such systems. VR environments are usually interactive inasmuch as aspects of them can be manipulated by users. Most modern VR systems take the form of headsets (head-mounted displays; HMDs) equipped with positional or motion tracking. This allows users to survey and explore using natural bodily movements (e.g., turning one's head, walking), with the hands typically given a virtual representation by means of wireless motion controllers or camera-based optical tracking.</p></div><p>Author: Murphy, Dooley</p></div>
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| /editorial-information/ |
Editorial Information
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| /about/ |
About the EoLT
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| /how-to-cite/ |
How to Cite the EoLT
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| /contact/ |
Contact
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| /toc/ |
Table of Contents
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| /author-list/ |
List of Authors
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| /recent-articles/ |
Recent Articles
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