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Brutal Games: ________ and the Cultural Narrative of World War IIRamsay, D. (2015).
''Not Another Z Piece!'': Adaptive Difficulty in ________Jermann, P., et al. (2010).
''Nothing is True, Everything is Permitted'': The Portrayal of the Nizari Isma’ilis in the ________ Game SeriesBoseman, F. G. (2019).
Gotta Name 'Em All: An Experimental Study on the Sound Symbolism of ________ Names in Brazilian PortugueseGodoy, M. C., et al. (2019).
The Accidental Carjack: Ethnography, Gameworld Tourism, and ________ Miller, K. (2008).
From Dollhouse to Metaverse: What Happened When ________ Went OnlineConsalvo, M. (2007).
Virtual LEGOs: Incorporating ________ into the Art Education CurriculumOverby, A., & Jones, B. L. (2015).
“You Need Love and Friendship For This Mission!”: ________ VI, VII and VIII in Generic and Social ContextHourigan, B. (2004).
Link Is Not Silent: Queer Disability Positivity in Fan Readings of ________: Breath of the Wild Hemmann, K. (2020).
Physical and Psychosocial Function in Residential Aged-Care Elders: Effect of Nintendo ________ GamesKeogh, J. W. L., et al. (2014).
________ Brothers and Sisters: Associations between Co-Playing Video Games and Sibling Conflict and AffectionCoyne, S. M., et. al. (2016).
________, the Video Game: A Major Vehicle for Soccer's Popularization in the United StatesMarkovits, A. S., & Green, A. (2017).
Did ________ Kill?: 'Street-Racing' Legislation and the Mediated Reality of CrimeMuzzatti, S. L. (2016).
Proliferating Horrors: Survival Horror and the ________ FranchiseHand, R. (2004).
Exploring the Effectiveness of Learning American Football through Playing the Video Game ________Jenny, S. E. (2014).
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