CEEGS (Central and Eastern European Game Studies conference) is a gathering of game scholars organized annually by academics from the region of Central and Eastern Europe, but its thematic scope is not limited to regional topics, and it welcomes participants from anywhere in the world.
The 2018 conference will be hosted by the Film Faculty of Prague’s Academy of Performing Arts, which will be opening the country’s first Master’s game design program in 2019. Our first two confirmed keynote speakers are Clara Fernández-Vara (New York University) and Jesper Juul (Royal Danish Academy of Fine Arts).
The submission deadline for abstracts has been extended to June 10, 2018 (originally June 1, 2018).
Helena Bendová (Academy of Performing Arts, Prague), Jaroslav Švelch (University of Bergen), Lubor Kopecký (Academy of Performing Arts, Prague), Vít Šisler (Charles University, Prague), Jakub Gemrot (Charles University, Prague), Lukáš Kolek (Charles University, Prague)
If you have any questions, please contact Jaroslav Švelch.
Program chair: Tomasz Z. Majkowski (Jagiellonian University, Krakow). Track chairs: Theory - Mateusz Felczak (Jagiellonian University, Krakow), Criticism - Paweł Frelik (University of Warsaw), History - Jaroslav Švelch (University of Bergen), Player studies and Design/Industry studies - Mikhail Fiadotau (Tallinn University).
Although often considered toys, entertainment products, and pastimes disconnected from the real life, games have been recognized by both academics and designers as a means to express ideas, opinions, feelings, and experiences. Games can promote or subvert ideology, induce hope or fear, or make us feel empathy or enmity towards their characters. Games are never completely innocent, and always – in ways both subtle and explicit – interact with the social or political context; they provide us with designed experiences intended to make us feel or think in certain ways.
The fifth annual CEEGS conference wants to bring focus to the expressive potential of digital and non-digital games. It aims to explore what - and how - is expressed through games and how players interact with and interpret ludic expressions in their own practices. We welcome academic contributions related to the exploration of games as an expressive medium from any relevant disciplinary perspective, including the following topics:
We encourage you to incorporate your own research topic and perspectives into the proposed framework, but we are open to all kinds and shapes of game studies papers. We welcome submissions from academics, educators, students, and designers.
Clara Fernández-Vara is an Associate Arts Professor at the NYU Game Center. She is a game scholar, designer and writer. Her main research interest is the study and creation of narrative games, and how they create worlds in which the player can perform. Clara’s digital media work is grounded in the humanities, informed by her background in literature, film and theatre. Her first book, Introduction to Game Analysis, has been published by Routledge.
Clara has presented her work at various international academic and industry conferences, such as DiGRA (Digital Games Research Association), FROG (Future and Reality of Games), the Electronic Literature Organization conference, Foundations of Digital Games, and the Game Developer’s Conference (GDC). She has worked on several experimental narrative games as part of her research, as well as commercial games. She is currently developing the first-person thriller game, The Myth Machine.
Jesper Juul has been working with video game research since the late 1990’s. He is an Associate Professor at the Royal Danish Academy of Fine Arts - School of Design and a Visiting Associate Professor at MIT. Prior to this, he helped start some of the world’s leading master programs in game design at IT University of Copenhagen and New York University Game Center. He has published three books with MIT Press: Half-Real (2005), A Casual Revolution (2009) and The Art of Failure (2013). He is also a co-editor of the Playful Thinking Series (also on MIT Press). He has worked as a game developer and programmer and is currently working on a book on independent video games. He maintains the blog The Ludologist on video games and other important things.
Papers for CEEGS 2018 should be submitted as abstracts of approximately 500 words (400 words minimum and 600 words maximum). Each submission needs to be accompanied by a list of references cited within the abstract, which do not count towards the word limit.
You can submit your abstracts through EasyChair here.
All abstracts will undergo a process of blind peer review. For this reason, the abstracts cannot contain any information allowing for identification of the author – for example explicit references to own publications (indirect self-citing is allowed). Please note that abstracts containing such information or the name of the author will be automatically rejected, so make sure sensitive information is removed from the text.
To help us assign reviewers, each abstract has to be submitted to one of the five following sections:
However, this section division only applies to the review process. When drafting the conference program, we group abstracts based on their topics.
Papers can be co-authored, but only individual papers are accepted (no posters or pre-constituted panels). There are no limitations on the number of abstracts one can submit, but the maximum of accepted contributions by one participant is either co-authorship on two papers, or sole authorship of one paper and co-authorship on another one. Participation in workshops does not count towards this limit.
Each paper presentation will be about 20 minutes long, followed by a discussion.
If you are having trouble submitting your abstract through Easychair, or if you have any questions about the submission and review process, please email the program chair (contact below).
CEEGS has a long tradition of inspiring workshops, meant mainly to present and discuss work-in-progress research. Workshops will take place on the first day of the conference, October 11. If you want to propose a workshop, please contact the Organizing Committee by June 10, 2018 at firstname.lastname@example.org.
You can register through the form below. You will receive confirmation and a request to pay the conference fee (see below). If you don’t hear from us in 3 days after submitting the form or if you have any other technical questions about registration, please contact Petr Vlček. Registration deadline is September 30.
Conference fee is 30 EUR early bird (until September 1) and 45 EUR regular fee (until September 30). Payment must be made by direct bank transfer (September 30 is deadline). Please enter your name and CEEGS 2018 into the information field.
|IBAN code:||CZ53 0100 0000 1953 7318 0297|
|Adress of the bank:||Komerční banka, Malostranské nám. 23, 118 00 Praha 1, Czech Republic|
|The owner of the account:||AMU, Malostranské náměstí 12, 118 01 Praha 1|
Important: In the information field, please enter: 3374818002 and your name. Otherwise we won’t be able to identify your payment.
You will receive an invoice by email before the conference. If you require an invoice earlier, please contact us.
CEEGS 2018 will be held at Film and Television Faculty of the Academy of Performing Arts (FAMU) in Prague. The main part of the conference will take place at FAMU (Smetanovo nábřeží 2) on Friday, October 12 and Saturday,October 13. Workshops will be scheduled on Thursday, October 11 – one of them at Studio FAMU (Klimentská 4) and others at FAMU.
FAMU - Smetanovo nábřeží 2, Praha 1, 116 65, Czech Republic
Studio FAMU - Klimentská 4, Praha 1, Czech Republic
For more information about trams, buses and metro, please go here:
You can find connections within Prague’s transport system here:
Public transportation (buses), shuttles and taxis serve the Václav Havel airport in Prague. More information can be found for example here:
Prague offers hundreds of possibilities to find an accommodation according to your needs – there are many B&B’s and hotels of various quality and location – generally accessible through service such as Booking.com – and many Airbnb’s.
There will be catering at the conference, providing coffee, non-alcoholic beverages and small snacks through the day. For lunch you can use some of the many restaurants and pubs in neighborhood. Every evening there will be a group program in nearby venues.
Some recommended places in neighborhood are:
This year, CEEGS will host three workshops, all of which will take place on October 11. Workshops are more informal venues for discussion of work-in-progress research and other related topics in game studies and education. To be able to participate in a workshop, you must register for CEEGS 2018. Acceptance into the program of the main conference, however, is not required for participation in the workshop. Workshop submission deadlines are August 31, 2018. Please see the individual calls below.
Organizer: Leonid Moyzhes (Russian State University for Humanities)
The genre of Slavic Fantasy first appeared in the last decades of 20th century in the countries of Central and Eastern Europe. The main reason for this was the fall, or weakening, of Iron Curtain and corresponding influx of Western, in particular – American, mass-cultural products in the new market. Their popularity naturally created a demand for homebrew analogues, which followed very quickly. And one of those analogues was genre of Slavic fantasy. Its authors attempted, with different degree of success, to blend fantasy genre conventions, already well-established in Western mass culture, with aesthetic, art traditions and folklore of their own home countries.
The most important field for this kind of experiments was literature, and to date the most famous original work of Slavic Fantasy by far is the “Witcher cycle” by Polish writer Andrzej Sapkowski. Similar, though much less successful books and series were created in other part of the region. But Slavic Fantasy is not restricted to books, it is presented in all other forms of media: films, comic books, music and, of course, videogames. From the nineties and to this day, different groups of developers worked in this genre, creating games like “Konung” series, “Thea: The Awakening” and, again most famous, “Witcher” series. The last game trilogy was so successful that it inspired a new-found interest in Slavic Fantasy among both global and local gaming and geek communities. In this light it is important to reflect and attempt to understand what exactly are we dealing with, and whether “Slavic fantasy” is indeed a real phenomenon, or just some sort of marketing ploy?
This problem raises further questions. If Slavic Fantasy exists, than what place it holds in the modern world? Is it just a rip-off of Western fantasy, a translation of older conventions and conflicts? Or is it a genuinely new genre, rooted in Central and Eastern European identity and traditions of literature, cinema and art? What are the relationships between Slavic fantasy and Slavic folklore? How this genre, its characters and stories are influenced by the common ways of portraying these regions in Western mainstream culture? And, most importantly, is it possible that attempts to create some kind of distinct Slavic fantasy can inspire developers to introduce new, fresh game mechanics, ideas and approaches, transforming existing genres, like strategies, RPGs, actions? We would like to address all these questions during our workshop.
Guidelines for authors
Your submission should contain two documents: №1 – An abstract (700 words maximum) accompanied with a list of up to 10 keywords and a list of references (bibliography and ludography), that won’t count against word limit. This document cannot contain any personal data including author’s name, affiliation and indicative references to any previous publications of the same author. №2 – ID. This document should contain author’s first name, last name, affiliation and contact information All abstracts will be subject to blind peer review. Submission Address: email@example.com
Organizers: Jakub Gemrot (Charles University), Lukáš Kolek (Charles University)
Video games are being developed for more than fifty years now. Since late nineties, companies have recognized the need for formal education in this ever-evolving medium. As the response, many universities and colleges around the globe created their own specializations and curriculas. Many areas have emerged as summarized by IGDA Game Development Curriculum from 2008. Since then, the landscape of game development has changed once again. We see the democratization of game development, where strong technical background and AAA-funding are no longer requirements for creating successful videogames, and where the Gamergate controversy has turned the attention to social and representational aspects of gaming. So the question is, what is the position of game development education in this new era? For the CEEGS 2018 conference, we would like to invite (not only) scholars and practitioners of game development education, be it at high-schools, colleges or universities, to share their positions and opinions on following three major areas:
As such, the workshop is an opportunity to exchange fresh and bold ideas that will inspire the future of the game development education of its participants. We would like to invite scholars, practitioners and industry experts to submit abstract of approx. 400 words and a brief author bio and contact details to firstname.lastname@example.org no later than August 31, 2018. Please do not hesitate to contact email@example.com in case you should have comments and/or questions.
How to participate
There are two possibilities how to get involved: either you will attend the workshop as a speaker (provided you sent us an abstract of your talk, see Submissions, which will be accepted) or as an attendee, who can participate in discussions during Q&A, coffee breaks and the panel.
Submissions & Deadlines
Please submit a 400 words abstract of your talk (excluding bibliography) to Lukáš Kolek (firstname.lastname@example.org). All the submissions will be reviewed by both organizers of the workshop regarding their relevance to the workshop theme, originality and processing quality. Submission deadline: 31.8.2018. Acceptance notification: 3. 9. 2018.
Organizers: Holger Pötzsch (UiT Tromsø), Philip Hammond (London South Bank University), Vít Šisler (Charles University)
The WAR/GAME network has since 2014 brought together established and young game scholars from several European countries. Through a series of four international workshops, a special issue of the journal Game Studies (2016), a series of scholarly papers and a forthcoming anthology, the group has critically interrogated the varying interrelations and mutual dependencies between games, play, and war. Comprising experts from a variety of fields employing different theories and methods, work carried out by the network has interdisciplinary qualities that open new and often unexpected perspectives on an apparently well-studied issue.
The objectives of the workshop are threefold. Firstly, we want to gain an overview of the latest research on the relationships between games, play, and war. Secondly, we wish to disseminate the work of the WAR/GAME network and reach out to new scholars and others interested in our research. Thirdly, we hope to connect to other relevant projects working in the same or related areas of research.
For the CEEGS 2018 conference, we would like to invite in particular young scholars to submit abstracts focusing on themes such as:
As such, the panel is open for contextual, player-centric, as well as game-centric approaches and welcomes, yet is not limited to, studies dealing with issues such as the political economy of war game production, educational uses and impacts of specific war-themed titles, player-responses to war games, critical analysis of specific war games or genres, and more. We aim at maximum of 2 panels with 3-4 presentations of 15-20 minutes each. We’ll leave approx. 30 minutes for questions and discussions in the end of each panel.
Please submit abstracts of approx. 500 words (excl. references) and brief author bios and contact details to email@example.com no later than August 31, 2018.
Please do not hesitate to contact firstname.lastname@example.org in case you should have comments or questions.