Journal articles: 'Game-narrative'

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Wei, Huaxin, Jim Bizzocchi, and Tom Calvert. "Time and Space in Digital Game Storytelling." International Journal of Computer Games Technology 2010 (2010): 1–23. http://dx.doi.org/10.1155/2010/897217.

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The design and representation of time and space are important in any narrative form. Not surprisingly there is an extensive literature on specific considerations of space or time in game design. However, there is less attention to more systematic analyses that examine both of these key factors—including their dynamic interrelationship within game storytelling. This paper adapts critical frameworks of narrative space and narrative time drawn from other media and demonstrates their application in the understanding of game narratives. In order to do this we incorporate fundamental concepts from the field of game studies to build a game-specific framework for analyzing the design of narrative time and narrative space. The paper applies this framework against a case analysis in order to demonstrate its operation and utility. This process grounds the understanding of game narrative space and narrative time in broader traditions of narrative discourse and analysis.

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DeLand, Michael F. "Suspending Narrative Engagements." ANNALS of the American Academy of Political and Social Science 642, no. 1 (June 4, 2012): 96–108. http://dx.doi.org/10.1177/0002716212438201.

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This article explores the way social actors organize their engagements in real time. The term “narrative” points to the subjectively understood practical projects that people structure with beginnings, middles, and ends. All projects may be interrupted, and if social actors are to continue the narrative engagement they must treat the stoppage as a mere suspension. The work of suspending a game of informal pick-up basketball is examined in three phases: interrupting the game, treating the game as suspended, and resuming play. In each phase, players collectively resist the possibility of abandonment as an alternative to game resumption. While narrative structuring is a powerful locus of meaning across diverse social contexts, informal basketball games offer a particularly good setting for the study of narrative organization in social life.

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Daneels, Rowan, Steven Malliet, Lieven Geerts, Natalie Denayer, Michel Walrave, and Heidi Vandebosch. "Assassins, Gods, and Androids: How Narratives and Game Mechanics Shape Eudaimonic Game Experiences." Media and Communication 9, no. 1 (January 6, 2021): 49–61. http://dx.doi.org/10.17645/mac.v9i1.3205.

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Emerging research has suggested that digital games can generate entertainment experiences beyond hedonic enjoyment towards eudaimonic experiences: Being emotionally moved, stimulated to reflect on one’s self or a sense of elevation. Studies in this area have mainly focused on individual game characteristics that elicit singular and static eudaimonic game moments. However, such a focus neglects the interplay of multiple game aspects as well as the dynamic nature of eudaimonic experiences. The current study takes a novel approach to eudaimonic game research by conducting a qualitative game analysis of three games (Assassin’s Creed Odyssey, Detroit: Become Human, and God of War) and taking systematic notes on game experiences shortly after playing. Results reveal that emotionally moving, reflective, and elevating eudaimonic experiences were elicited when gameplay notes suggested a strong involvement with the game’s narrative and characters (i.e., narrative engagement) and, in some cases, narrative-impacting choices. These key aspects, in turn, are enhanced by clean player interfaces, graphically realistic characters, close camera perspectives, tone-appropriate soundtrack scores, and both narrative-enhancing (e.g., God of War’s health mechanic) and choice-enhancing mechanics (e.g., Detroit: Become Human’s flowchart). Eudaimonic experiences were also found to evolve throughout the game, with more powerful experiences occurring near the end of the game and some narrative themes fueling the eudaimonic flow of experiences throughout the overall game narrative. This study adds to academic research studying digital games by suggesting an innovative methodological approach that provides a detailed, integrative, and dynamic perspective on eudaimonic game experiences.

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Yu, Hui-Beom, and Jung-Hwan Sung. "Active Narrative of Digital Game and Improvisation." Journal of Korea Game Society 16, no. 2 (April 30, 2016): 75–86. http://dx.doi.org/10.7583/jkgs.2016.16.2.75.

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Kjeldgaard-Christiansen, Jens. "Narrative video game aesthetics and egocentric ethics." MedieKultur: Journal of media and communication research 36, no. 68 (October 1, 2020): 088–106. http://dx.doi.org/10.7146/mediekultur.v36i68.118777.

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This article argues that video gaming allows for player-focused (egocentric) moral experience that can be distinguished from the other-focused (allocentric) moral experience that characterizes literature and film. Specifically, a Deweyan perspective reveals that video games aff ord fi rst-personal rehearsals of moral scenarios that parallel how, in real life, individuals mentally rehearse the diff erent courses of moral action available to them. This functional equivalence is made possible because the aesthetics of video games bear unique affinities to the human moral imagination. However, whereas the moral imagination may be limited in terms of the complexity and vividness of its analog imaginings, the ethically notable video game may draw on the medium’s digital capacities in order to stage elaborate and emotionally compelling ethical rehearsals. The article concludes by applying this perspective to the ethically notable video game Undertale.

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Warkentin, Erwin J. "The Un-Changing Narrative of the Game." International Journal of the Arts in Society: Annual Review 6, no. 1 (2011): 269–80. http://dx.doi.org/10.18848/1833-1866/cgp/v06i01/35985.

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Robertson, Judy, and Judith Good. "Children’s narrative development through computer game authoring." TechTrends 49, no. 5 (September 2005): 43–59. http://dx.doi.org/10.1007/bf02763689.

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M. Graham, Joseph. "Narrative Therapy for Treating Video Game Addiction." International Journal of Mental Health and Addiction 12, no. 6 (March 4, 2014): 701–7. http://dx.doi.org/10.1007/s11469-014-9491-4.

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Nawrocka, Ewa Barbara. "Strategies in the translation of the narrative in "Pillars of Eternity"." Beyond Philology An International Journal of Linguistics, Literary Studies and English Language Teaching, no. 17(2) (October 20, 2020): 131–55. http://dx.doi.org/10.26881/bp.2020.2.06.

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The present article is devoted to the translation of the narrative in the RPG game entitled Pillars of Eternity. The narrative of the game comprises texts such as the main story, dialogs, journals, books, poems and item lore. Since these texts are essentially literary in nature, they require a creative and covert approach to translation supplemented by local semantic, syntactic, and pragmatic strategies. The article examines the texts shaping the narrative and the strategies which conspire to achieve the ultimate goal of the narrative: player immersion in the game world.

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Park, Byungchul, and Duk Hee Lee. "The Interplay between Real Money Trade and Narrative Structure in Massively Multiplayer Online Role-Playing Games." International Journal of Computer Games Technology 2017 (2017): 1–8. http://dx.doi.org/10.1155/2017/3853962.

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A narrative structure is one of the main components to constitute the genre of Massively Multiplayer Online Role-Playing Games (MMORPGs). Meanwhile Real Money Trade (RMT) enables a player to adjust an ex post level of challenge by skipping the narrative structure of a game. However, RMT may concurrently disturb a player who enjoys game following the narrative structure hierarchically. In pursuance of developing the knowledge about the relationship between RMT and the usage of MMORPG, we investigate the role of the strictness of predetermined narrative structure. We present the dual structure of societies to describe a player that arbitrarily decides to reside in a virtual society. Then we adopt the social nominalism to explain how individual motif of playing a game is expanded to the nature of game. Finally, we argue that a game with weakly predetermined narrative structure is more positively associated with RMT volume, since these games arouse a player’s sentiment of fun by relying more on their socially oriented motivation. With empirical evidence from the Korean MMORPGs market, we proved the hypothesis.

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Sanna-Mari Äyrämö. "Narrative Constitution for Instructional Game Design: A Semiotic-Cognitive Model of Narrative." Storyworlds: A Journal of Narrative Studies 8, no. 2 (2016): 53. http://dx.doi.org/10.5250/storyworlds.8.2.0053.

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Munhoz, Daniela Rosito Michella, Luciane Maria Fadel, Carla Galvão Spinillo, Ana Emília Figueiredo de Oliveira, Katherine Marjorie Mendonça de Assis, and Dilson José Lins Rabêlo Júnior. "A Human Centred-Design Approach to a Serious Game in Health Training for the Open University of the Unified Health System (UNA-SUS/UFMA) in Brazil." European Journal of Teaching and Education 2, no. 3 (December 30, 2020): 24–34. http://dx.doi.org/10.33422/ejte.v2i3.493.

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A serious game is a media based on the narrative of a game focused on learning. The narrative of a game brings elements and mechanics that motivate the participation and engagement of the players. This is because games are a constant in human development as they formalize cultural activities with social function, being full of meanings. Moreover, the possibilities found in the game narratives contribute to the construction of more participatory plots, since the player can act actively in the course of the story. The narrative and engagement of serious games are of prime importance to distance learning in the health field. In Brazil, the Open University of the Unified Health System (UNA-SUS/UFMA) develops serious games as educational resources to train health professionals. This paper presents the design process of the Clinical Case Game, a serious game for diagnosis and treatment of medical conditions, addressed to doctors in Brazil. A multidisciplinary and human-centred design approach was adopted to develop the game. It involved medical doctors, educators, IT professionals, information designers and game designers, who coordinated the team and acted on the balance of the dynamics involved, that is, the narrative and playful pleasure. The methodology employed consisted of a workshop; content and prototype production; prototype testing with users; and refinements for the final version of the game. The results suggested that narrative unity must be coherent for serious games on health and highlight the relevance of serious games as high potential resources in the educational process.

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Qin, Hua, Pei-Luen Patrick Rau, and Gavriel Salvendy. "Measuring Player Immersion in the Computer Game Narrative." International Journal of Human-Computer Interaction 25, no. 2 (February 10, 2009): 107–33. http://dx.doi.org/10.1080/10447310802546732.

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Malegiannaki, Irini A., Thanasis Daradoumis, and Symeon Retalis. "Teaching Cultural Heritage through a Narrative-based Game." Journal on Computing and Cultural Heritage 13, no. 4 (December 8, 2020): 1–28. http://dx.doi.org/10.1145/3414833.

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Marchiori, Eugenio J., Javier Torrente, Ángel del Blanco, Pablo Moreno-Ger, Pilar Sancho, and Baltasar Fernández-Manjón. "A narrative metaphor to facilitate educational game authoring." Computers & Education 58, no. 1 (January 2012): 590–99. http://dx.doi.org/10.1016/j.compedu.2011.09.017.

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Hsueh-Min Chang and Von-Wun Soo. "Planning-Based Narrative Generation in Simulated Game Universes." IEEE Transactions on Computational Intelligence and AI in Games 1, no. 3 (September 2009): 200–213. http://dx.doi.org/10.1109/tciaig.2009.2034638.

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Dickey, Michele D. "Game Design Narrative for Learning: Appropriating Adventure Game Design Narrative Devices and Techniques for the Design of Interactive Learning Environments." Educational Technology Research and Development 54, no. 3 (June 2006): 245–63. http://dx.doi.org/10.1007/s11423-006-8806-y.

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Lester, James C., Eun Y. Ha, Seung Y. Lee, Bradford W. Mott, Jonathan P. Rowe, and Jennifer L. Sabourin. "Serious Games Get Smart: Intelligent Game-Based Learning Environments." AI Magazine 34, no. 4 (December 15, 2013): 31–45. http://dx.doi.org/10.1609/aimag.v34i4.2488.

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Intelligent game-based learning environments integrate commercial game technologies with AI methods from intelligent tutoring systems and intelligent narrative technologies. This article introduces the CRYSTAL ISLAND intelligent game-based learning environment, which has been under development in the authors’ laboratory for the past seven years. After presenting CRYSTAL ISLAND, the principal technical problems of intelligent game-based learning environments are discussed: narrative-centered tutorial planning, student affect recognition, student knowledge modeling, and student goal recognition. Solutions to these problems are illustrated with research conducted with the CRYSTAL ISLAND learning environment.

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Lind, Stephanie. "Music as temporal disruption in Assassin’s Creed." Soundtrack 11, no. 1 (August 1, 2020): 57–73. http://dx.doi.org/10.1386/ts_00005_1.

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The Assassin’s Creed video game series incorporates real-world historical elements. While some historically derived musical elements are referenced from the time period and geographic setting of the game, in the first game of the series, Assassin’s Creed 1 (2007), these historical snippets are subsumed within a modern musical setting emphasizing digital sound. The effect is a bleeding-over of ancient with modern that mirrors the plot of the game. This new spin on the time travel narrative creates a disconnect for the player and invokes disruption in a number of ways: through plots, visual distortions and sound/music effects. Musically, disruptions invoke a sense of aural discomfort in the player, which mimics aspects of the game narrative such as the protagonist’s physical distress. In order to better understand the interrelationship between these components, this article uses graphic transcriptions to categorize the musical, visual and narrative functions into fiction, interface and hypervisual/hypersonic components.

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Naul, Emily, and Min Liu. "Why Story Matters: A Review of Narrative in Serious Games." Journal of Educational Computing Research 58, no. 3 (July 8, 2019): 687–707. http://dx.doi.org/10.1177/0735633119859904.

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Literature has shown that immersive learning environments such as digital educational games and simulations often incorporate storytelling elements in their designs as narrative can be an effective way of making learning more meaningful to students. The purpose of this study is to review the literature on the role narrative can play in the experience of a learner engaging in learning games and to synthesize research on features of story that have demonstrated success in these learning environments. The findings have shown that distributed narrative, intrinsically integrated fantasies, empathetic characters and virtual agents, and adaptiveness or responsivity are four characteristics of game narratives found to be effective. Several learning game analyses were performed to illustrate how these games used narrative to foster greater immersion, engagement, motivation, and learning. Finally, a narrative design strategy for serious games is suggested which integrates the effective narrative features as shown in the example games, along with two analysis frameworks, Game Discourse Analysis and Narrative Centered Informant Design. The findings of this study should provide much-needed insights to designers and researchers who are involved in creating immersive learning environments.

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Carr, Diane. "Bodies That Count: Augmentation, Community, and Disability in a Science Fiction Game." Journal of Literary & Cultural Disability Studies: Volume 14, Issue 4 14, no. 4 (October 1, 2020): 421–36. http://dx.doi.org/10.3828/jlcds.2020.28.

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The article examines the overlaps between disability studies and digital game studies through an analysis of the science fiction digital game Deus Ex: Mankind Divided. Using an adaptation of Mitchell and Snyder’s work on disability and narrative prosthesis in literature, the power implied by erasure-by-metaphor is considered, as are issues of migration, appropriation, and the grotesque. By examining ability, disability, and tangibility in relation to the game’s rules, game-play, and narrative elements, this analysis demonstrates the relevance of disability theory to science fiction games.

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Paliy, O. "THE NARRATIVE STRUKTURE OF THE NOVEL BY MILAN KUNDERA IMMORTALITY." Comparative studies of Slavic languages and literatures. In memory of Academician Leonid Bulakhovsky, no. 36 (2020): 222–38. http://dx.doi.org/10.17721/2075-437x.2020.36.18.

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Novel Immortality of the famous Czech writer-emigrant Milan Kundera represents an organic combination of the Czech and West European tendencies of the novel development as well as demonstrates an adaptation process of the latest practice in the Czech literature, where emigrant literature plays a great role. The article studies poetics of the novel on the plot, composition and narrative levels. It is examined the philosophical and aesthetic character of the book, the interpenetration of the epic narrative forms and essay, the author’s communicative strategies. Intertextual and game modus of the novel is considered while game character is opposed to existential subject. Special attention is paid to the narrative composition of text characterized by the underlined subjectivity of narrative manner, the method of author’s mask, the meta-narrative judgments, the simultaneous use of different narrative forms.

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Medovarski, Andrea. "Boxing Ain’t No Game: Clement Virgo’s Poor Boy’s Game as Canadian Racial Counter-narrative." TOPIA: Canadian Journal of Cultural Studies 22 (April 2010): 117–37. http://dx.doi.org/10.3138/topia.22.117.

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Yap, Christopher Michael, Youki Kadobayashi, and Suguru Yamaguchi. "Conceptualizing Player-Side Emergence in Interactive Games." International Journal of Gaming and Computer-Mediated Simulations 7, no. 3 (July 2015): 1–21. http://dx.doi.org/10.4018/ijgcms.2015070101.

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The concept of emergence exists in many fields such as Philosophy, Information Science, and Biology. With respect to the modern video game, emergence can potentially manifest as emergent narrative and/or gameplay. In this paper, the authors engage in a critical discussion about what it means for an interactive video game to have emergence. The authors frame the discussion of emergence as a close critical look at the games Papers, Please and Gone Home. From these analyses, the authors propose a concept of “Player-side emergence in games,” in which emergence in the form of narrative is expressible and observable in games which rely not on the game software itself, but also upon the complex system of the human mind for reconstruction of the game experience and a subsequent expression of emergence. The authors contend that such an emergent design consideration is potentially useful for designers who are trying to address the trade-off of Ludo-Narrative Dissonance.

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Shi, Yen-Ru, and Ju-Ling Shih. "Game Factors and Game-Based Learning Design Model." International Journal of Computer Games Technology 2015 (2015): 1–11. http://dx.doi.org/10.1155/2015/549684.

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How to design useful digital game-based learning is a topic worthy of discussion. Past research focused on specific game genres design, but it is difficult to use when the target game genre differs from the default genres used in the research. This study presents macrodesign concepts that elucidates 11 crucial game-design factors, including game goals, game mechanism, game fantasy, game value, interaction, freedom, narrative, sensation, challenges, sociality, and mystery. We clearly define each factor and analyze the relationships among the 11 factors to construct a game-based learning design model. Two application examples are analyzed to verify the usability of the model and the performance of these factors. It can assist educational game designers in developing interesting games.

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FRANKLIN, Gustavo Leite, Brunna N. G. V. PEREIRA, Nayra S. C. LIMA, Francisco Manoel Branco GERMINIANI, Carlos Henrique Ferreira CAMARGO, Paulo CARAMELLI, and Hélio Afonso Ghizoni TEIVE. "Neurology, psychiatry and the chess game: a narrative review." Arquivos de Neuro-Psiquiatria 78, no. 3 (March 2020): 169–75. http://dx.doi.org/10.1590/0004-282x20190187.

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Abstract The chess game comprises different domains of cognitive function, demands great concentration and attention and is present in many cultures as an instrument of literacy, learning and entertainment. Over the years, many effects of the game on the brain have been studied. Seen that, we reviewed the current literature to analyze the influence of chess on cognitive performance, decision-making process, linking to historical neurological and psychiatric disorders as we describe different diseases related to renowned chess players throughout history, discussing the influences of chess on the brain and behavior.

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Kerr, Douglas JR, Frank P. Deane, and Trevor P. Crowe. "Pilot study of a serious board game intervention to facilitate narrative identity reconstruction in mental health recovery." Health Psychology Open 7, no. 1 (January 2020): 205510292090562. http://dx.doi.org/10.1177/2055102920905628.

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This quasi-experimental study explores the effects of a narrative coaching board game intervention aimed at enhancing participants’ sense of self-mastery as part of facilitating narrative identity reconstruction. Three mixed analyses of variance compared differences between clinical ( n = 31) and non-clinical ( n = 31) groups over time on a measure of mastery. There were no significant group-by-time interaction effects, but both groups demonstrated a statistically significant improvement in mastery over time. From a complex adaptive system perspective, changes may indicate adaptive growth in recovery. A serious board game may be a useful way of facilitating narrative identity reconstruction in recovery.

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Sf. Luthfie Arguby Purnomo, Dyah Nugrahani, Sf Lukfianka Sanjaya Purnama,, SF Luthfie Arguby Purnomo, and Dyah Nugrahani. "Let the Game Begin: Ergodic as an Approach for Video Game Translation." Register Journal 9, no. 2 (January 30, 2017): 107. http://dx.doi.org/10.18326/rgt.v9i2.696.

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This paper attempts to propose ergodic as an approach for video game translation. The word approach here refers to an approach for translation products and to an approach for the translation process. The steps to formulate ergodic as an approach are first, Aarseth’sergodic literature is reviewed to elicit a basis for comprehension toward its relationship with video games and video game translation Secondly, taking the translation of Electronic Arts’Need for Speed: Own the City, Midway’s Mortal Kombat: Unchained, and Konami’s Metal Gear Solid, ergodic based approach for video game translation is formulated. The formulation signifies that ergodic, as an approach for video game translation, revolves around the treatment of video games as a cybertext from which scriptons, textons, and traversal functions as the configurative mechanism influence the selection of translation strategies and the transferability of variables and traversal function, game aesthetics, and ludus and narrative of the games. The challenges countered when treating video games as a cybertext are the necessities for the translators to convey anamorphosis, mechanical and narrative hidden meaning of the analyzed frame, to consider the textonomy of the games, and at the same time to concern on GILT (Globalization, Internationalization, Localization, and Translation).

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Armstrong, Michael B., and Richard N. Landers. "An Evaluation of Gamified Training: Using Narrative to Improve Reactions and Learning." Simulation & Gaming 48, no. 4 (May 15, 2017): 513–38. http://dx.doi.org/10.1177/1046878117703749.

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Background and Aim.Gamification is growing in popularity in education and workplace training, but it is unclear which game elements are conducive to learning. The theory of gamified learning suggests that one type of gamification, the addition of game fiction/narrative, can be used to improve learning outcomes, and the Technology-Enhanced Training Effectiveness Model (TETEM) suggests individual differences impact the strength of this effect. From this theoretical basis, this study gamified a training module with game fiction in order to improve outcomes over the original training. Results and Conclusion. In a study of 273 learners, trainees were significantly more satisfied with training enhanced with game fiction over the control text ( d = 0.65) but did not differ in declarative knowledge scores by condition. Further, trainees in the control condition scored higher on procedural knowledge than trainees in the game fiction condition, although the effect was smaller ( d = −0.40). Thus, the use of narrative improved reactions to training but at some cost to training effectiveness. Attitudes toward game-based learning were also tested as a moderator of the condition-outcome relationship.

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Bradford, Wesley J. "Exploring the Narrative Implications of Emerging Topics in The Legend of Zelda." Journal of Sound and Music in Games 1, no. 4 (2020): 1–21. http://dx.doi.org/10.1525/jsmg.2020.1.4.1.

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The musical palette and gameplay format of The Legend of Zelda: Breath of the Wild is significantly different from earlier games in the Legend of Zelda series. The unique narrative organization of this game interacts with the different musical style to suggest a new mode of storytelling within the franchise. This article examines the narrative structure of Breath of the Wild, then groups various contrasting musical elements into emerging topics that are key elements within the game’s narrative structure. In particular, the mechanistic topic is tied to ancient technology, while a contrasting nature topic denotes the living creatures of the gameworld. These topical cues give players important information about their in-game surroundings by linking locations, characters, and events through a completely player-driven narrative discourse.

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Purnama, SF Lukfianka Sanjaya, SF Luthfie Arguby Purnomo, and Dyah Nugrahani. "Let the Game Begin: Ergodic as an Approach for Video Game Translation." Register Journal 9, no. 2 (December 1, 2016): 107. http://dx.doi.org/10.18326/rgt.v9i2.107-123.

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This paper attempts to propose ergodic as an approach for video game translation. The word approach here refers to an approach for translation products and to an approach for the translation process. The steps to formulate ergodic as an approach are first, Aarseth’sergodic literature is reviewed to elicit a basis for comprehension toward its relationship with video games and video game translation Secondly, taking the translation of Electronic Arts’Need for Speed: Own the City, Midway’s Mortal Kombat: Unchained, and Konami’s Metal Gear Solid, ergodic based approach for video game translation is formulated. The formulation signifies that ergodic, as an approach for video game translation, revolves around the treatment of video games as a cybertext from which scriptons, textons, and traversal functions as the configurative mechanism influence the selection of translation strategies and the transferability of variables and traversal function, game aesthetics, and ludus and narrative of the games. The challenges countered when treating video games as a cybertext are the necessities for the translators to convey anamorphosis, mechanical and narrative hidden meaning of the analyzed frame, to consider the textonomy of the games, and at the same time to concern on GILT (Globalization, Internationalization, Localization, and Translation).KeywordsErgodic ; Translation Approach; Video Game Translation ; Textonomy; Anamorphosis

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Purnama, SF Lukfianka Sanjaya, SF Luthfie Arguby Purnomo, and Dyah Nugrahani. "Let the Game Begin: Ergodic as an Approach for Video Game Translation." Register Journal 9, no. 2 (December 1, 2016): 107. http://dx.doi.org/10.18326/rgt.v9i2.1148.

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This paper attempts to propose ergodic as an approach for video game translation. The word approach here refers to an approach for translation products and to an approach for the translation process. The steps to formulate ergodic as an approach are first, Aarseth’sergodic literature is reviewed to elicit a basis for comprehension toward its relationship with video games and video game translation Secondly, taking the translation of Electronic Arts’Need for Speed: Own the City, Midway’s Mortal Kombat: Unchained, and Konami’s Metal Gear Solid, ergodic based approach for video game translation is formulated. The formulation signifies that ergodic, as an approach for video game translation, revolves around the treatment of video games as a cybertext from which scriptons, textons, and traversal functions as the configurative mechanism influence the selection of translation strategies and the transferability of variables and traversal function, game aesthetics, and ludus and narrative of the games. The challenges countered when treating video games as a cybertext are the necessities for the translators to convey anamorphosis, mechanical and narrative hidden meaning of the analyzed frame, to consider the textonomy of the games, and at the same time to concern on GILT (Globalization, Internationalization, Localization, and Translation).KeywordsErgodic ; Translation Approach; Video Game Translation ; Textonomy; Anamorphosis

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Bodi, Bettina, and Jan-Noël Thon. "Playing stories?" Frontiers of Narrative Studies 6, no. 2 (January 12, 2020): 157–90. http://dx.doi.org/10.1515/fns-2020-0012.

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Abstract Drawing on Janet Murray (1997), Katie Salen and Eric Zimmerman (2004), and other previous proposals, this article conceptualizes player agency as the possibility space for “meaningful” choice expressed via player action that translates into avatar action, afforded and constrained by a videogame’s design. It further distinguishes between four core dimensions of agency thus conceptualized: First, spatial-explorative agency is afforded by those elements of a videogame’s design that determine the player’s ability to navigate and traverse the game spaces via their avatar. Second, temporal-ergodic agency is afforded by those elements of a videogame’s design that determine the player’s options for interacting with the videogame as a temporal system. Third, configurative-constructive agency is afforded by those elements of a videogame’s design that allow the player to configure their avatar and/or (re)construct the game spaces. Fourth, narrative-dramatic agency is afforded by those elements of a videogame’s design that determine the player’s “meaningful” impact on the unfolding story. The article then moves on to analyze two case studies of independently developed videogames: ZA/UM’s role-playing game Disco Elysium (2019), whose complex nonlinear narrative structure primarily affords configurative and narrative agency, and System Era Softworks’s sandbox adventure game Astroneer (2019), whose procedurally generated game spaces and “open” game mechanics primarily afford explorative, constructive, and dramatic agency.

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Koenitz, Hartmut. "What Game Narrative Are We Talking About? An Ontological Mapping of the Foundational Canon of Interactive Narrative Forms." Arts 7, no. 4 (September 20, 2018): 51. http://dx.doi.org/10.3390/arts7040051.

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There have been misunderstandings regarding “narrative” in relation to games, in part due to the lack of a shared understanding of “narrative” and related terms. Instead, many contrasting perspectives exist, and this state of affairs is an impediment for current and future research. To address this challenge, this article moves beyond contrasting definitions, and based on a meta-analysis of foundational publications in game studies and related fields, introduces a two-dimensional mapping along the dimensions of media specificity and user agency. Media specificity describes to what extent medium affects narrative, and user agency concerns how much impact a user has on a narrative. This mapping is a way to visualize different ontological positions on “narrative” in the context of game narrative and other interactive narrative forms. This instrument can represent diverse positions simultaneously, and enables comparison between different perspectives, based on their distance from each other and alignment with the axes. A number of insights from the mapping are discussed that demonstrate the potential for this process as a basis for an improved discourse on the topic.

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Reisner, Thomas A. "R. Rawson Wilson, In Palamedes’ Shadow : Explorations in Play, Game and Narrative Theory." Études littéraires 25, no. 1-2 (April 12, 2005): 219–24. http://dx.doi.org/10.7202/501008ar.

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Falkenhayner, Nicole. "Futurity as an Effect of Playing Horizon: Zero Dawn (2017)." Humanities 10, no. 2 (April 27, 2021): 72. http://dx.doi.org/10.3390/h10020072.

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Futurity denotes the quality or state of being in the future. This article explores futurity as an effect of response, as an aesthetic experience of playing a narrative video game. In recent years, there has been a growing interest in the ways in which video games are engaged in ecocriticism as an aspect of cultural work invested in the future. In the presented reading of the 2017 video game Horizon: Zero Dawn, it is argued that the combination of the affect creating process of play, in combination with a posthumanist and postnatural plot, creates an experience of futurity, which challenges generic notions of linear temporal progress and of the conventional telos of dystopian fiction in a digital medium. The experience of the narrative video game Horizon Zero Dawn is presented as an example of an aesthetic experience that affords futurity as an effect of playing, interlinked with a reflection on the shape of the future in a posthumanist narrative.

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Swearingen, Kyoung, Scott Swearingen, Fede Camara Halac, Sruthi Ammannagari, and Matt Hall. "The Woods." Proceedings of the ACM on Computer Graphics and Interactive Techniques 4, no. 2 (July 30, 2021): 1–7. http://dx.doi.org/10.1145/3465616.

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While loneliness in our real lives is increasingly recognized as having dire physical, mental, and emotional consequences, cooperative games have been shown to build empathy and provide positive social impact. In this paper, the authors present "The Woods," a local cooperative, mixed-reality game using augmented reality and 4-channel audio spatialization panning that provides players with face-to-face interactions in pursuit of a shared goal. This paper discusses the narrative, mechanical, and sonic components of the game, as well as the game's development process and the players' experiences. The goal of our team is to develop a narrative-driven AR game that promotes collaborative problem-solving and engages players in an emergent physical and digital experience.

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Kubiak, Adam. "Narrative Interfaces, Identity of The Game and The Integrity of The Interfaces." Panoptikum, no. 24 (October 20, 2020): 80–101. http://dx.doi.org/10.26881/pan.2020.24.02.

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The paper aims to address an issue of the game’s identity in the context of narrative interfaces and their integrity. Following the approach of Jenkins (2002), Bizzocchi (2007, 2011) and Koenitz (2015, 2018) I propose there to address said topic by attention paid to the integrity of the narrative interfaces design and their role in the presentation and experience of “the game” as particular “that game”. Especially in the context of attempts to recreate specific experience (remake/revival, sequel and sibling identity), for which main example is the game Planescape Torment and its revival (Enhanced Edition) and “spiritual successor” Tides of Numenera. The short study on said example, as I argue, shows that the main issue has a multilayered nature (including technology, studio politics, artistic design, license legal limitations and such), and the integrity of the interfaces, especially these which may be identified as the “core” ones, is an important part of them and seemingly small and mere changes, may break it completely. And while the storytelling may deliver literally “the same” story, a changed (or broken) integrity of narrative interface’s design cannot be restored. Creating in effect a different experience, and in essence: a different game. However, keeping said core integrity intact allows to sustain the game identity (and its experience) allowing extending existing mechanics, additional layers of gameplay etc.

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Whaley, Ben. "Who Will Play Terebi Gēmu When No Japanese Children Remain?" Games and Culture 13, no. 1 (September 24, 2015): 92–114. http://dx.doi.org/10.1177/1555412015606533.

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This article examines the Japanese action puzzle game Catherine, arguing that the game presents a social narrative that comments on Japan’s pressing issue of a declining birthrate and aging population. It also theorizes a strategy for player involvement based on “distanced” (self-reflexive and meta) engagement. Through an examination of the narrative, characters, and gameplay, supplemented with national fertility survey data from Japan, the article argues that Catherine subverts classic game tropes and fosters player engagement with a socially relevant diegesis. Simultaneously, the unique meta-gameplay elements utilize what I term “distanced engagement” to encourage the player to critically self-reflect on both the game scenario and their role as a player. In this way, the article considers how the unique relationship between story and distanced engagement allows video games like Catherine to function as impactful and interactive social narratives.

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Burgess, Jacqueline, and Christian M. Jones. "“Is It Too Much to Ask That We’re Allowed to Win the Game?”: Character Attachment and Agency in the Mass Effect 3 Ending Controversy." Bulletin of Science, Technology & Society 37, no. 3 (October 2017): 146–58. http://dx.doi.org/10.1177/0270467618819685.

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The interaction between the concepts of character attachment, agency, and choice in a video game narrative was investigated using BioWare’s Mass Effect trilogy. Posts on a BioWare forum discussing the depiction of their player characters in the ending sequences of Mass Effect 3, the final game in the trilogy, were downloaded and analyzed using thematic analysis. Players demonstrated emotional attachment for the characters and narrative and expected to see the consequences of their choices play out, as in the previous games. Furthermore, players conflated winning the game with achieving a narratively satisfactory ending for the game world and its characters indicating emotional consequences for players that developers should consider when designing games with a high degree of player choice and agency. However, for some players character attachment is incongruous as they described Shepard as “acting out of character,” which needs further research.

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Brenskott, Krzysztof. "Jak czytać planszówki? Gry planszowe zorientowane na narrację a powieści hipertekstowe." Wielogłos, no. 3 (45) (2020): 161–80. http://dx.doi.org/10.4467/2084395xwi.20.026.12834.

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How to Read Board Games: The Similarities between Narrative-Oriented Board Games and Hypertext Novels In Storytelling in the Modern Board Game: Narrative Trends from the Late 1960s to Today, Marco Arnaudo describes how board games can create narratives by using the tools that ludology and postclassical narratology provide. The way narratives emerge from tabletop games is extremely unique and interactive: they are created through the synergy of the game rules, material components, and actions undertaken by players. Board games, treated as transmedial narrative systems in which the text is entangled in various relations with images, sounds, or the ludic aspects of games, can become an area of research in literary studies. The aim of this paper is to demonstrate that a scholar can effectively use knowledge of hypertext novels or ergodic literature to study narrative-oriented board games.

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Sanfelice, Vinicius Oliveira. "A Bigger Splash to the Narrative." Études Ricoeuriennes / Ricoeur Studies 9, no. 1 (September 4, 2018): 90–107. http://dx.doi.org/10.5195/errs.2018.360.

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The objective of this article is to offer an example of a work of art identified with what Paul Ricœur named polysemy or linguistic density. Some works of art exemplify a metaphoricity in their constitution and the metaphor would be a privileged model for the analysis of figurative art and of allusive figuration. I believe that the painting A Bigger Splash by David Hockney has an image game that is also a language game: the aesthetic figuration as semantic link between the verbal and the non-verbal, between the poetic and the pictorial. I argue that figuration through metaphoricity also exemplifies an ambiguity in Ricœur’s philosophy of language, and the distinction between the field of the pre-narrative and the narrative of the artwork clarify the aesthetic aspect of his theory of metaphor. The advantage of my example is that the immanent analysis of the metaphoric constitution of the work of art is compatible with the isolation of its narrative elements. The metaphoric redescription in painting should not be automatically extended to the narrative refiguration.

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Rahman, Najat. "Apocalyptic Narrative Recalls and the Human: Rawi Hage'sDe Niro's Game." University of Toronto Quarterly 78, no. 2 (April 2009): 800–814. http://dx.doi.org/10.3138/utq.78.2.800.

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Gillespie, Gerald, and R. Rawdon Wilson. "In Palamedes' Shadow: Explorations in Play, Game, and Narrative Theory." Comparative Literature 46, no. 1 (1994): 94. http://dx.doi.org/10.2307/1771617.

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Mastey, David. "Slave Play, or the Imperial Logic of Board Game Narrative." Caribbean Quarterly 65, no. 3 (July 3, 2019): 367–87. http://dx.doi.org/10.1080/00086495.2019.1640941.

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Sun, Min-ju, and Do Yeon Won. "Study the narrative change of the game through 'Auto Play'." Journal of Digital Contents Society 19, no. 10 (October 31, 2018): 1927–36. http://dx.doi.org/10.9728/dcs.2018.19.10.1927.

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Mallon, Bride. "Towards a taxonomy of perceived agency in narrative game-play." Computers in Entertainment 5, no. 4 (March 2008): 1–15. http://dx.doi.org/10.1145/1324198.1324202.

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Ranasinghe, Nimesha, Koon Chuan Raymond Koh, Nguyen Thi Ngoc Tram, Yan Liangkun, Kala Shamaiah, Siew Geuk Choo, David Tolley, et al. "Tainted: An olfaction-enhanced game narrative for smelling virtual ghosts." International Journal of Human-Computer Studies 125 (May 2019): 7–18. http://dx.doi.org/10.1016/j.ijhcs.2018.11.011.

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Joyce, Lindsey. "Creating Collaborative Criteria for Agency in Interactive Narrative Game Analysis." Computer Games Journal 4, no. 1-2 (June 2015): 47–58. http://dx.doi.org/10.1007/s40869-015-0004-x.

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Szeto, Mindy D., Daniel Strock, Jarett Anderson, Torunn E. Sivesind, Victoria M. Vorwald, Hope R. Rietcheck, Gil S. Weintraub, and Robert P. Dellavalle. "Gamification and Game-Based Strategies for Dermatology Education: Narrative Review." JMIR Dermatology 4, no. 2 (August 30, 2021): e30325. http://dx.doi.org/10.2196/30325.

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Background Game-based approaches, or gamification, are popular learning strategies in medical education for health care providers and patients alike. Gamification has taken the form of serious educational games and simulations to enable learners to rehearse skills and knowledge in a safe environment. Dermatology learners in particular may benefit from gamification methods, given the visual and procedural nature of the field. Objective This narrative review surveys current applications of gamification within general medical training, in the education of dermatology students, and in dermatology patient outreach. Methods A literature search was performed using PubMed, Google Scholar, and ResearchGate to access and review relevant medical education- and dermatology-related gamification studies published in peer-reviewed journals. Two independent researchers with education and experience in dermatology screened publications to select studies featuring a diversity of gamification approaches and study subjects for in-depth examination. Results A total of 6 general medical education–related and 7 dermatology-specific gamification studies were selected. Gamification generally increased motivation and engagement, improved reinforcement of learning objectives, and contributed to more enjoyable and positive educational experiences compared to traditional modes of instruction. Enhancing examination scores, building confidence, and developing stronger team dynamics were additional benefits for medical trainees. Despite the abundance of gamification studies in general medical education, comparatively few instances were specific to dermatology learning, although large organizations such as the American Academy of Dermatology have begun to implement these strategies nationally. Gamification may also a provide promising alternative means of diversifying patient education and outreach methods, especially for self-identification of malignant melanoma. Conclusions Serious games and simulations in general medical education have successfully increased learner motivation, enjoyment, and performance. In limited preliminary studies, gamified approaches to dermatology-specific medical education enhanced diagnostic accuracy and interest in the field. Game-based interventions in patient-focused educational pilot studies surrounding melanoma detection demonstrated similar efficacy and knowledge benefits. However, small study participant numbers and large variability in outcome measures may indicate decreased generalizability of findings regarding the current impact of gamification approaches, and further investigation in this area is warranted. Additionally, some relevant studies may have been omitted by the simplified literature search strategy of this narrative review. This could be expanded upon in a secondary systematic review of gamified educational platforms.

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Journal articles on the topic 'Game-narrative'

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