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Journal articles on the topic 'Ludologi'
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Purnomo, SF Luthfie Arguby. "GRAB THE GARB: THE INFLUENCES OF TRANSLATION TECHNIQUES IN THE LUDOLOGICAL ASPECTS OF VIDEO GAME TRANSLATION (A Case Study of Square Enix’s Lightning Returns: Final Fantasy XIII)." IZUMI 4, no. 1 (January 2, 2015): 1. http://dx.doi.org/10.14710/izumi.4.1.1-9.
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Penelitian deskriptif kualitatif ini bertujuan untuk mengungkapkan tipe teknik penerjemahan dalam terjemahan garb, kostum dengan kekuatan khusus dalam Lightning Returns: Final Fantasy XIII, dan pengaruhnya terhadap aspek ludologi, mekanika game yang dalam hal ini merujuk kepada kekuatan khusus (ability) yang terkandung dalam garb yang diterjemahkan. Temuan penelitian menunjukkan bahwa hanya terdapat dua teknik penerjemahan yang digunakan dalam penerjemahan 93 nama garb yaitu pure borrowing (44 data) dan adaptasi (49 data). Dari 49 data adaptasi yang diperoleh, 40 adaptasi menunjukkan bahwa adaptasinya mampu mempertahankan aspek ludologi keikuatan khusus garb yang diperoleh dari pemahaman awal mengenai nama garb dan bentuk fisiknya. Sementara itu 9 adaptasi yang lain memberikan pengaruh negatif terhadap aspek ludologi karena putusnya keterkaitan antara makna nama garb dan ability yang dimilikinya. Temuan ini menandakan bahwa dalam penerjemahan video game, pesan yang dialihkan tidak hanya pesan lingustik tetapi juga pesan mekanis atau ludologis yang terdapat dalam elemen video game.Kata kunci: ludologi, teknik penerjemahan, garbs, Lightning Returns: Final Fantasy XIII
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Walther, Bo Kampmann. "Spillet i filmen - filmen i spillet: På sporet af en lucidografi." MedieKultur: Journal of media and communication research 19, no. 36 (September 5, 2003): 12. http://dx.doi.org/10.7146/mediekultur.v19i36.1232.
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Artiklen præsenterer en lucidografi, en lære om film og spil baseret på cinematografi (læren om film) og ludologi (læren om spil). Med denne lucidografi sammenligner forfatteren computerspil og film, og opstiller en systematik for spil-elementer i film (sceneopbygning, special effects m.m.) og film-elementer i spil (montage, trailer, cut-scenes, m.m.). Vi lever i ludologiens tidsalder, påstår forfatteren, og filmmediets leg med tid i film som Memento (2000), Mulholland Drive (2001) og Sliding Doors (1998) er inspireret af computerspillet, ligesom æstetikken i The Matrix (1999) og narrativiteten i Lola Rennt (1999) er funderet i computerspillet.
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Surdyk, Augustyn. "Ludology as Game Research in Language Pedagogy Studies / Ludologie als Spielforschung – angewandt in der Fremdsprachendidaktik." Kalbotyra 59, no. 59 (January 1, 2008): 261. http://dx.doi.org/10.15388/klbt.2008.7614.
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Bonenfant, Maude, and Thibault Philippette. "Ludologie médiatique." Recherches en Communication 49 (November 1, 2019): 1–7. http://dx.doi.org/10.14428/rec.v49i49.52123.
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Ce texte sert d'introduction au numéro thématique portant sur la Ludologie médiatique. Il contextualise ce champ de la ludologie tout en indiquant les ponts existant avec les études en communication et médiatiques. Il présente également les axes de recherche structurant les propositions reçues.
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VANDENBROUCKE, Caroline. "Archeologie van de ludologie." Terra Incognita 1 (June 1, 2006): 241–55. http://dx.doi.org/10.2143/ti.1.0.2015283.
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Montola, Markus. "Social Constructionism and Ludology." Simulation & Gaming 43, no. 3 (December 26, 2011): 300–320. http://dx.doi.org/10.1177/1046878111422111.
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Groppo, Pedro. "Narrative ludology: intermediality in adventure games." Em Tese 18, no. 3 (December 31, 2012): 96. http://dx.doi.org/10.17851/1982-0739.18.3.96-108.
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<p>This paper proposes to discuss how adventure games, a subgenre of video games, have become a new medium that manages to combine elements from literature, comics, and movies in order to present highly complex interactive narratives of their own. The phenomenon of intermediality within this plurimedial medium is discussed using Irina Rajewsky’s definitions of medial transposition, media combination and intermedial reference.</p>
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Mitrović, Biljana. "Ludology and narratology: Legend about the battle." Kultura, no. 168 (2020): 263–80. http://dx.doi.org/10.5937/kultura2068263m.
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The paper provides an overview and an analysis of the narratological and ludological approach to the study of video games and a review of the establishment of the fledgling field of game studies. The starting points of both theoretical positions, derived from the same literary theoretical corpus, are presented. The state of this discipline and the academic tensions in this field also indicate the ways in which academic community functions, as well as the mechanisms of their division or complication in the organizational and methodological plan. The ludological approach, which reduces the study of video games to the description and classification of rules and game mechanics, is regarded as reductionist, but also useful and applicable for understanding the specifics of video games. It is concluded that ludology, together with narratology and other academic disciplines in the field of humanities, forms a complete corpus of video game studies.
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Crogan, Patrick. "The Game Thing: Ludology and other Theory Games." Media International Australia 110, no. 1 (February 2004): 10–18. http://dx.doi.org/10.1177/1329878x0411000104.
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The current state of computer games studies is critically examined in this paper by means of an analysis of the recently released computer game, The Thing. Game studies is an emerging area of humanities scholarship, an emergence that exhibits characteristically ambivalent processes of defining its own object and staking out its own field of expertise from other areas of academic competence. A principal dynamic of these processes concerns the opposition between ‘ludological’ and narratological theorisations of the computer game. This opposition is examined for both its limitations and its productive potential by means of consideration of The Thing game and its relation to John Carpenter's cinematic iteration of the original short story from which it is adapted. This consideration leads away from the question of the specificity of the computer game object to some concluding speculations about the relation of contemporary computer games to the broader computer culture within which games are taking on an increasingly significant profile.
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Vargas-Iglesias, Juan J., and Luis Navarrete-Cardero. "Beyond Rules and Mechanics: A Different Approach for Ludology." Games and Culture 15, no. 6 (January 13, 2019): 587–608. http://dx.doi.org/10.1177/1555412018822937.
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Due to its affiliation with formalism, ludology, the scientific perspective prioritized in game studies, considers the rule–mechanic binomial to be an essential principle of any scholarly approach to video games. Nevertheless, the limitation of the game system order implies that, as a fundamental part of this epistemological approach, the empirical validity of its methodology is already being rejected. As such, this article attempts to shift the focus away from the rule–mechanic relation, and from a cybersemiotic perspective, to refocus it on a conceptualization of the human–machine relationship. In order to do so, the concept of convolution regarding said relation is defined, including both parts of the video game system in terms of signal processing. Likewise, this model is contrasted with a randomized total sample of 1,200 games ( N = 1,200, n = 300) in order to arrive at a set of conclusions about the behavior of the distinct video game genres in the indicated terms.
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Karadeniz, Oğuz Özgür. "Oyun İncelemelerinde Ludoloji - Narratoloji Tartışması ve Alternatif Kuramsal Arayışlar." Galatasaray Üniversitesi İleti-ş-im Dergisi, no. 27 (December 29, 2017): 57–78. http://dx.doi.org/10.16878/gsuilet.373236.
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Teixeira, Luís Filipe B. "Ludologia (Jogo #1/ Nível#1): do instinto aos jogos do Imaginário." Comunicação e Sociedade 4 (January 16, 2002): 163–79. http://dx.doi.org/10.17231/comsoc.4(2002).1289.
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Com o presente artigo pretende-se iniciar a investigação sobre o tema do jogo como fenómeno cultural no interior de uma nova disciplina (embora com raízes nos anos 30) que é a Ludologia que, nos estudos anglo-saxónicos toma, usual e recentementemente, a designação de «Game Studies». Aqui, ao contrário do que é geralmente feito, estudando-se o jogo e, em especial, os vídeo-jogos e/ou jogos electrónicos (e a nomenclatura é, teoricamente, discutível), respectivamente, ora numa perspectiva semiótica, ética, psicanalatíca, estética, política, económica, sociológica ou mesmo de estudo de géneros, preocupamo-nos em estudá-lo de modo mais abrangente e geral, enquanto uma das categorias fundamentais ao humano, constitutiva do Ser e do Pensar, tocando, por isso mesmo,todas essas facetas e mais algumas outras. Neste artigo, o tema do jogo é tratado, essencialmente, por relação com os jogos do imaginário e da fabricação figurativa e miméticapresente, nomeadamente, no juízo estético, iniciando-se com a apresentação schillerianado «instinto de jogo» por relação com a ludicidade estética e a categoria do Belo, passandopela análise do «jogo das faculdades» kantiano e desembocando na noção goethiana de metamorfose. Por fim, abre-se a análise ao problema da linguagem e da proliferação (neopagã) de imagens por relação com a afecção maquínica, fazendo com que a indústria cultural de jogos faça corresponder o imaginário dos jogos com os nossos jogos do imaginário.
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Walther, Bo Kampmann. "Towards a theory of pervasive ludology: reflections on gameplay, rules, and space." Digital Creativity 22, no. 3 (September 2011): 134–47. http://dx.doi.org/10.1080/14626268.2011.603734.
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Penix-Tadsen, Phillip. "Latin American Ludology: Why We Should Take Video Games Seriously (and When We Shouldn’t)." Latin American Research Review 48, no. 1 (2013): 174–90. http://dx.doi.org/10.1353/lar.2013.0008.
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Pereira, Paulo Silva. "The Ghost in the Machine: ludologia, narratologia e reinvenção da personagem na ficção interativa." Revista de Estudos Literários 10 (September 28, 2020): 621–45. http://dx.doi.org/10.14195/2183-847x_10_32.
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A Ficção Interativa é uma forma de experiência digital que confere ao jogador/interator poder de agenciamento (agency) por meio das suas decisões, com consequências diretas sobre a configuração narrativa da obra. Esta forma de medialidade veio trazer novos desafios e subverter noções tradicionais de representação narrativa (moldadas sobretudo a partir do campo da ficção impressa), na medida em que a estrutura não-linear abre caminho a percursos diferentes de ação, dependendo do desempenho e das escolhas do interator. Neste contexto, compreende-se que a natureza confi gurável da personagem, quer como entidade ficcional com determinadas propriedades diegéticas, quer como peça fundamental da mecânica do jogo, constitua objeto de crescente atenção por parte da comunidade académica e dos agentes envolvidos no desenvolvimento de videojogos e de Ficção Interativa. O processo de construção da personagem, independentemente do seu estatuto específico (PC: personagem jogável; NPC: personagem não-jogável), assume aqui uma especificidade própria e levanta problemas que habitualmente não surgem com outros produtos literários e culturais, mesmo do contexto contemporâneo. Mais do que prolongar o aceso debate em torno do grau de adequação deste meio para narrar histórias que levou à formação de duas abordagens teóricas distintas – a ludológica e a narratológica –, importa desenvolver um método holístico capaz de congregar diversos ângulos de análise, reconhecendo que os videojogos tendem a desenvolver modelos narrativos complexos, mas que não podem subsistir sem uma estrutura consistente e um sistema de regras. De modo particular, os projetos recentes de Ficção Interativa com recurso a dispositivos de Inteligência Artificial que permitem selecionar, com base em procedimentos computacionais, eventos de modo coerente segundo o tipo de intervenção do interator e tirar o máximo partido da tensão narrativa levantam novas questões no que respeita à ontologia da personagem, ao seu potencial de manifestação de efeitos estéticos e à sua capacidade de gerar envolvimento emocional.
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Kubiński, Piotr. "Videogames in the Light of Transmedia Narratology and the Concept of Storyworld." Tekstualia 4, no. 43 (April 1, 2015): 23–36. http://dx.doi.org/10.5604/01.3001.0013.4243.
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The article approaches videogames from the perspective of transmedia narratology. The fi rst part raises the question whether videogames can be treated and analyzed as a medium with a narrative potential, referring briefl y to the debate called „ludology vs. narratology”. The second part of the article concentrates on the concept of the storyworld and examines its usefulness in the context of selected videogame genres, with The Witcher 3: Wild Hunt as a specifi c example. The fi nal part enumerates the elements that contribute to the narrativity of videogames and points out the topics for further narratological investigations.
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Ouariachi, Tania, María Dolores Olvera-Lobo, and José Gutiérrez-Pérez. "Analyzing Climate Change Communication Through Online Games." Science Communication 39, no. 1 (February 2017): 10–44. http://dx.doi.org/10.1177/1075547016687998.
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In search of innovative approaches capable of connecting climate change issues with teenagers, scholars and practitioners have become interested in harnessing the potential of gaming for advancing climate change communication. This article aims to propose a set of criteria, validated by experts through the Delphi method, by which to analyze communicative features of online climate change games. The use of the criteria is illustrated with an evaluation of a sample of Spanish games to which we apply qualitative content analysis, narratology, and ludology techniques. Our findings reveal some positive communicative trends in terms of narratives, contents, and gameplay.
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Phillips, Amanda. "Negg(at)ing the Game Studies Subject." Feminist Media Histories 6, no. 1 (January 1, 2020): 12–36. http://dx.doi.org/10.1525/fmh.2020.6.1.12.
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This article traces a limited affective history of game studies in order to understand why marginalized scholars frequently feel unwelcome and uncomfortable in the field. Following the work of Clare Hemmings and Sara Ahmed, it digs into the inaugural issue of the journal Game Studies as well as the infamous narratology-versus-ludology debate to understand how the anxious and emotional rhetoric of the early game studies field imaginary created an environment hostile to the political perspectives of feminist studies and other political scholarly fields. It introduces the concept of “scholarly negging” to account for the gendered emotional manipulation enacted by men who seek to control the field's terms of conversation.
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Dooghan, Daniel. "Digital Conquerors: Minecraft and the Apologetics of Neoliberalism." Games and Culture 14, no. 1 (June 29, 2016): 67–86. http://dx.doi.org/10.1177/1555412016655678.
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The widespread popularity of sandbox games, and Minecraft in particular, may be a recent phenomenon, but their appeal may be much older. Rather than representing a wholly new development in gaming, these games may participate in a larger media ecology that flatters a neoliberal worldview. This research calls for greater attention to the coercive economic assumptions encoded in game mechanics. Drawing on scholarship in ludology, postcolonial studies, and phenomenology, it suggests that sandbox games like Minecraft habituate players to myths of empire and capital that rationalize political and economic inequality. More than simply offering a blank slate for player creation, Minecraft rewards players for assuming their entitlement to the world’s resources and thus their superiority over other inhabitants of the game world.
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Kouratoras, Michail. "Digital dramaturgy of cruelty: Antoine Artaud: Ludology and the plague metaphor in contemporary video games and new media." Journal of Gaming & Virtual Worlds 3, no. 2 (July 15, 2011): 107–23. http://dx.doi.org/10.1386/jgvw.3.2.107_1.
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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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Hayes, Aleshia T., Carrie L. Straub, Lisa A. Dieker, Charlie E. Hughes, and Michael C. Hynes. "Ludic Learning." International Journal of Gaming and Computer-Mediated Simulations 5, no. 2 (April 2013): 20–33. http://dx.doi.org/10.4018/jgcms.2013040102.
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New and emerging technology in the field of virtual environments has permitted a certain malleability of learning milieus. These emerging environments allow learning and transfer through interactions that have been intentionally designed to be pleasurable experiences. TLE TeachLivE™ is just such an emerging environment that engages teachers in practice on pedagogical and content aspects of teaching in a simulator. The sense of presence, engagement, and ludus of TLE TeachLivE™ are derived from the compelling Mixed Reality that includes components of off-the shelf and emerging technologies. Some of the noted features that have been identified relevant to the ludic nature of TeachLivE include the flow, fidelity, unpredicability, suspension of disbelief, social presence, and gamelike elements. This article explores TLE TeachLivE™ in terms of the ludology, paideic user experience, the source of the ludus, and outcomes of the ludic nature of the experience.
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Kokonis, Michalis. "Intermediality between Games and Fiction: The “Ludology vs. Narratology” Debate in Computer Game Studies: A Response to Gonzalo Frasca." Acta Universitatis Sapientiae, Film and Media Studies 9, no. 1 (December 1, 2014): 171–88. http://dx.doi.org/10.1515/ausfm-2015-0009.
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Abstract In the last ten or fourteen years there has been a debate among the so called ludologists and narratologists in Computer Games Studies as to what is the best methodological approach for the academic study of electronic games. The aim of this paper is to propose a way out of the dilemma, suggesting that both ludology and narratology can be helpful methodologically. However, there is need for a wider theoretical perspective, that of semiotics, in which both approaches can be operative. The semiotic perspective proposed allows research in the field to focus on the similarities between games and traditional narrative forms (since they share narrativity to a greater or lesser extent) as well as on their difference (they have different degrees of interaction); it will facilitate communication among theorists if we want to understand each other when talking about games and stories, and it will lead to a better understanding of the hybrid nature of the medium of game. In this sense the present paper aims to complement Gonzalo Frasca’s reconciliatory attempt made a few years back and expand on his proposal.
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SWANSON SÁNCHEZ, ROY. "Narración e interactividad en los videojuegos." Estudios λambda. Teoría y práctica de la didáctica en lengua y literatura. 1, no. 1 (February 5, 2016): 63–83. http://dx.doi.org/10.36799/el.v1i1.22.
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El presente trabajo es un fragmento de una investigación de tesis de posgrado cuyo objeto de estudio son los videojuegos, y su objetivo es analizar cómo estos representan una historia al mezclar procesos con estrategias narrativas. Aquí se propone encontrar un punto intermedio entre ludologos y narratologos. Los primeros consideran que los videojuegos únicamente pueden generar ficción; por otro lado, los segundos argumentan que son capaces de representar una narración. En este trabajo se adopta una perspectiva enfocada en comprender la organización de los procesos en el videojuego para así encontrar una solución a los conflictos que emergen entre narración e interacción.
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Navone, Santiago Luis. "La máscara de Ulises: videojuegos, narrativa y masculinidades." Nómadas, no. 44 (2016): 241–54. http://dx.doi.org/10.30578/nomadas.n44a13.
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El artículo reflexiona sobre la relación entre estructura de juego, narrativa y simbolización de la diferencia sexual dentro de tres videojuegos clásicos de la consola Nintendo de la década de los ochenta. Realiza un análisis situado en un cruce de caminos entre los aportes de los estudios de género, la ludología y la narratología, demostrando cómo dentro de la mecánica del juego, descansa una simbolización de la diferencia sexual que constituye una narrativa épica heroica masculina, y cómo las ambigüedades de género están presentes en el binomio sujeto-jugador, disparadas por la incorporación de lo femenino.
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Escandell Montiel, Daniel, and Miriam Borham Puyal. "Villains and Vixens: The Representation of Female Vampires in Videogames." Oceánide 12 (February 9, 2020): 85–93. http://dx.doi.org/10.37668/oceanide.v12i.29.
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Vampires populate our culture and have become a recurrent presence in fiction and the media. In all cases the inclusion of the vampire has given voice to “socio-culture issues faced in particular times and places; issues that may otherwise remain repressed” (Dillon and Lundberg 2017, 47). This socio-cultural subtext is complicated when the vampire is female, for she is now doubly othered by her gender. Her monstrosity is seen as twofold: as a vampire and as a transgressive woman. While many studies address female vampires in popular culture, their portrayal in videogames has been recurrently overlooked. Games potentially help shape gender attitudes in thousands of players; therefore, it is particularly relevant to examine the varied representations of these monstrous or othered female figures and to understand how they adhere to or challenge misogynistic readings of women and their bodies. In light of this, and interpreting videogames as a narrative medium, this article provides an analysis of significant vampiric videogames and discusses the female vampire in relation to violence against women and postfeminist agendas, following a narrative rather than ludology approach.
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Perfilov, Yu A. "COMPOSITIONAL FEATURES OF VIDEO GAME TEXTS DURING THE PERIOD OF 1970-1982." Bulletin of Udmurt University. Series History and Philology 30, no. 5 (October 27, 2020): 853–58. http://dx.doi.org/10.35634/2412-9534-2020-30-5-853-858.
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The article discusses the compositional features of the texts of games of various genres, presented on the Western market in the period of 1970-1982. The appeal to the topic of computer games is due to the fact that in domestic linguistics the texts of video games have been little studied at the moment, but in other branches of the humanities there is an active study of games in various aspects of science. Various points of view on the relative understanding of the game and the term “game” are presented in the context of philosophy, linguistics; methods for studying the texts of computer games, directions such as narratology and ludology and their differences are characterized. The topic of the direct dependence of the text of a video game on technological progress is touched upon: the placement of text inside the game or on other sources of information. On the material of such types of texts of video games as an interface, code, instructions, brochure, subtitle, etc., their compositional features are described.
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Thibault, Mattia. "Lotman and play: For a theory of playfulness based on semiotics of culture." Sign Systems Studies 44, no. 3 (December 2, 2016): 295–325. http://dx.doi.org/10.12697/sss.2016.44.3.01.
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The aim of the article is to introduce an approach to play based on semiotics of culture and, in particular, grounded in the works and ideas of Juri Lotman. On the one hand, it provides an overview of Lotman’s works dedicated to play and games, starting from his article on art among other modelling systems, in which the phenomenon of play is treated deeply, and mentioning Lotman’s articles dedicated to various forms of play forms, such as involving dolls and playing cards. On the other hand, it applies a few Lotmanian theories and ideas to playfulness in order to shed some light on this highly debated, as well as intriguing, anthropic activity. Thus, the paper approaches some of the core questions for a play theory, such as the definition of play, the cultural role of toys and playthings, the importance of unpredictability, the position held by playfulness in the semiosphere and, finally, the differences and commonalities between play and art. Lotman’s theories and works, often integrated by other existing semiotic or ludologic perspectives offer an extremely insightful and fresh take on play and illustrate the great heuristic potential of semiotics of culture.
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Izotova, Natalya. "Ludic effects in fiction: A case study of J.M. Coetzee’s Disgrace and its Russian and Ukrainian translations." SHS Web of Conferences 105 (2021): 01006. http://dx.doi.org/10.1051/shsconf/202110501006.
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This article discusses translation strategies involved in reproducing ludic effects in Russian and Ukrainian translations of Coetzee’s novel Disgrace. Ludic effects, embedded in the text, outline the potential result(s) of literary gaming. Created in different games, a number of ludic effects trigger ludic stylistics – a new heuristic area of linguistic “ludology”. The paper defines ludic stylistics as an artistic phenomenon manifested in literary text due to unconventional combinations of various linguistic means. In Coetzee’s Disgrace, ludic stylistics is the result of psychonarrative games aimed to transform plot-driven narratives into experience-centred. Psychonarrative games are governed by two principles – “external via internal” and semantic intrusiveness through semantic, plot-building, and compositional games represented at the macro- and microlevels of literary text. The study focuses on sematic games which enable construing new, emergent textual senses which bring the personage’s / narrator’s unceasing, obsessive experience of traumatic events to the fore. The paper looks at the translation strategies of rendering ludic effects in the translations of Coetzee’s Disgrace from two perspectives – intentional and receptive. The reproduction of such effects in Russian and Ukrainian translations of Disgrace is grounded in lexico-semantic, syntactic, associative-figurative, and functional equivalence, as well as respective loss, and gain.
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Willumsen, Ea C. "The Form of Game Formalism." Media and Communication 6, no. 2 (June 7, 2018): 137–44. http://dx.doi.org/10.17645/mac.v6i2.1321.
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This article explores how the concept of formalism and the resulting method of formal analysis have been used and applied in the study of digital games. Three types of formalism in game studies are identified based on a review of their uses in the literature, particularly the discussion of essentialism and form that resulted from the narratology-ludology debate: 1) formalism focused on the <em>aesthetic form</em> of the game artifact, 2) formalism as<em> game essentialism</em>, and 3) formalism as a <em>level of abstraction</em>, related to formal language and ontology-like reasoning. These three are discussed in relation to the distinctions between form and matter, in the Aristotelian tradition, to highlight how the method of formal analysis of games appears to be dealing with matter rather than form, on a specific fundamental <em>level of abstraction</em>, and in turn how <em>formal analysis </em>becomes a misleading concept that leads to unnecessary confusion. Finally, the relationship between <em>game essentialism </em>and the more computer science-centric approach to <em>ontology </em>is studied, to account for the contemporary trend of identifying the unique properties of games and opposing them with properties of, e.g., traditional storytelling media like literature and film, explored through their <em>aesthetic form</em>.
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El-Shimy, Dalia, and Jeremy R. Cooperstock. "User-Driven Techniques for the Design and Evaluation of New Musical Interfaces." Computer Music Journal 40, no. 2 (June 2016): 35–46. http://dx.doi.org/10.1162/comj_a_00357.
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The merits of user-driven design have long been acknowledged in the field of human–computer interaction (HCI): Closely involving target users throughout the lifecyle of a project can vastly improve their experiences with the final system. Thus, it comes as no surprise that a growing number of music technology researchers are beginning to incorporate user-driven techniques into their work, particularly as a means of evaluating their designs from the perspectives of their intended users. Many, however, have faced the limitations that arise from applying the task-based, quantitative techniques typically encountered in classical HCI research to the evaluation of nonutilitarian applications. The nature of musical performance requires that designers reevaluate their definitions of user “goals,” “tasks,” and “needs.” Furthermore, within the context of performance, the importance of creativity and enjoyment naturally supersedes that of efficiency, yet these concepts are more difficult to evaluate or quantify accurately. To address these challenges, this article contributes a set of key principles for the user-driven design and evaluation of novel interactive musical systems, along with a survey of evaluation techniques offered by new directions in HCI, ludology, interactive arts, and social-science research. Our goal is to help lay the foundation for designers of new musical interfaces to begin developing and customizing their own methodologies for measuring, in a concrete and systematic fashion, those critical aspects of the user experience that are often considered too nebulous for assessment.
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Akira Miura, Marco, Tiago Barros Pontes e. Silva, and Carla Denise Castanho. "Playtest e Design Science Research: ensaio sobre a avaliação do uso de jogos na perspectiva da Ciência do Design." Design e Tecnologia 11, no. 22 (June 30, 2021): 01–13. http://dx.doi.org/10.23972/det2021iss22pp01-13.
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A indústria dos videogames cresceu gradativamente nos últimos 50 anos para constituir uma das principais mídias digitais voltadas para o entretenimento. Embora o design de jogos esteja relativamente consolidado como campo de atuação, o foco dos estudos em ludologia tem se concentrado no estudo crítico dos jogos, cujas premissas nem sempre convergem com as necessidades práticas dos desenvolvedores de jogos. Nesse sentido, este trabalho propõe uma discussão teórica acerca da emergência de uma ciência do design de jogos que adote um método de pesquisa coerente com o processo de design. É adotada, portanto, a perspectiva da Design Science, proposta por Herbert Simon, que se baseia na natureza prática do design para a proposição de um campo epistemológico próprio. A partir da articulação de diversos autores relacionados, o estudo permitiu listar classes de problemas pertencentes ao campo do design do jogo e evidenciou o papel do playtest no processo de criação de heurísticas contingenciais para o design do jogo. A partir da discussão realizada, entende-se que a aplicação do método doDesign Science Research ao desenvolvimento e avaliação do jogo pode beneficiar particularmente o playtest por sugerir como etapa de desenvolvimento do artefato a definição dos mecanismos pelos quais o designer espera que o jogo alcance o seu objetivo. Assim, o relato apresenta uma base de conhecimento com potencial de ser diretamente aplicável ao desenvolvimento e à avaliação do uso de um jogo.
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Rosenbaum, Richard. "Toward a Renewed Theory of the Narreme." American Journal of Semiotics 35, no. 1 (2019): 187–215. http://dx.doi.org/10.5840/ajs201982255.
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From Propp’s functions to Levi-Strauss’s mythemes, from Greimas’s actants to Barthes’s narrative units, and beyond, numerous scholars of linguistics, comparative mythology, and narratology have proposed frameworks for identifying and systematizing the fundamental particles of narrative and describing how they interact. The term “narreme” was suggested by Eugèn Dorfman and has caught on, as the proposed basic unit of narrative structure, analogous to the “phoneme” in phonology; however, although the term has been deployed by many contemporary scholars (primarily within the context of ludology (or “game studies”), this has not yet led to definitions or descriptions of the narreme and its associated architecture that have been broadly accepted, nor has it produced any robust descriptive or generative model that has come into wide use. None of the proposed formulations provide a sufficient degree of precision or granularity, and none operate at a suitable level of abstraction to make generative research on the subject possible. Building on the insights of the aforementioned classic scholars in the fields of structuralist semiotics and cognitive studies, as well as contemporaries such as David Herman, Bruno Latour, Umberto Eco, and others, I propose a preliminary model of the narreme, its available values, permissible combinations, and codified conventional patterns within the construction of the narrative objects that the human mind instinctively recognizes as a “story”. My intent is to contribute to an atomic theory of narrativity that can be further developed and deployed as an apparatus for the analysis and creation of works of narrative art, in addition to possible uses in education and narrative-based therapies.
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Greenberg, Raz. "The Animation of Gamers and the Gamers as Animators in Sierra On-Line’s Adventure Games." Animation 16, no. 1-2 (July 2021): 83–95. http://dx.doi.org/10.1177/17468477211025665.
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Produced throughout the 1980s using the company’s Adventure Game Interpreter engine, the digital adventure games created by American software publisher Sierra On-Line played an important and largely overlooked role in the development of animation as an integral part of the digital gaming experience. While the little historical and theoretical discussion of the company’s games of the era focuses on their genre, it ignores these games’ contribution to the relationship between the animated avatars and the gamers that control them – a relationship that, as argued in this article, in essence turns gamers into animators. If we consider Chris Pallant’s (2019) argument in ‘Video games and animation’ that animation is essential to the sense of immersion within a digital game, then the great freedom provided to the gamers in animating their avatars within Sierra On-Line’s adventure games paved the way to the same sense of immersion in digital. And, if we refer to Gonzalo Frasca’s (1999) divide of digital games to narrative-led or free-play (ludus versus paidea) in ‘Ludology meets narratology: Similitude and differences between (video) games and narrative’, then the company’s adventure games served as an important early example of balance between the two elements through the gamers’ ability to animate their avatars. Furthermore, Sierra On-Line’s adventure games have tapped into the traditional tension between the animator and the character it animated, as observed by Scott Bukatman in ‘The poetics of Slumberland: Animated spirits and the animated spirit (2012), when he challenged the traditional divide between animators, the characters they animate and the audience. All these contributions, as this articles aims to demonstrate, continue to influence the role of animation in digital games to this very day.
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Szymański, Michał. "Computer Games in Art History. Traditional architecture and painting presented in virtual reality." E-methodology 5, no. 5 (April 23, 2019): 84–99. http://dx.doi.org/10.15503/emet.v5i5.449.
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Aim. The aim of the research is to show the applications of art reception in computer games. Moreover it is important to show the game as a visual object worth to analysis for art historian, because of complex structure and relations with traditional artistic media like architecture and painting. Many disciplines, like ludology, narratology and culture study research computer games, but we can see a large lack in the state of research in visual aspects of games, which should be supplemented.
Methods. The subject of study are five games belonging to different game genres. The first, Assasin’s Creed II is set in a historical context, the next Witcher III and Dark Souls embedded in the realities of fantasy and finally, two games in an independent games category. The basic method is iconographic identification of the object and comparative difference and similarity between original source of inspiration and transposition of this in computer media. Therefore basic tools gained from history of art are used, which are necessary for visual analysis of a piece of art. Also important is notion of a commonplace forming a frame for images from different media.
Results. Indicated examples show that classic art has a strong influence on numerous computer games. The citations and allusions from art brings an additional narration completing the story in the game. Objects of architecture or paintings also give symbolic meanings, influencing the interpretation of the whole game. Game developers oscillate between education in the history of art and the use of these references to create your own world.
Conclusion. The examples presented in the article are only part of the rich area of art inspirations that can be found in many games. This should become a contribution to further research, not only taking into account the indicated types of references, but also the visuality of the games themselves The visual complexity of the games would require separate, more extensive research that would bring a lot into the perception of games and researching them
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Oliva-Rota, Mercè. "Fame and Proffessional Success in «Operación Triunfo» and «Fama ¡a bailar!»." Comunicar 20, no. 39 (October 1, 2012): 185–92. http://dx.doi.org/10.3916/c39-2012-03-09.
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The main aim of this paper is to identify the values conveyed by «Operación Triunfo» and «Fama ¡a bailar!». Their popularity (especially among young people) and prescriptive nature (they convey life models by means of identifying problems and proposing objectives and solutions) make them relevant study objects. This paper focuses on how work and fame are depicted in «Operación Triunfo» and «Fama ¡a bailar!», two areas that have hardly been studied in Spain. In order to fulfil the objectives of this paper, these programmes were analysed using a methodology that combines narrative semiotics, audiovisual style and narrative form analysis, as well as ludology and game design theory. The analysis shows that these programmes depict professional success as personally and socioeconomically rewarding, although it is extremely difficult to achieve. To obtain this success, the contestants are transformed through education and celebritisation. Finally, in these programmes there is a conflict between talent and fame. This paper concludes that «Operación Triunfo» and «Fama ¡a bailar!» present fame as a life aspiration and also show the mechanisms used to produce it. The programmes depict modern society as meritocratic and evidence the importance of image in the modern workplace. Finally, they describe a «good worker» as someone passionate about their work, adaptable and capable of sacrificing his/her personal life.El presente artículo tiene como objetivo analizar los valores vehiculados por «Operación Triunfo» y «Fama ¡a bailar!». Su relevancia como objeto de estudio reside en su popularidad (especialmente entre los jóvenes) y su carácter prescriptivo (transmiten modelos de vida a partir de la identificación de problemas y la propuesta de objetivos y soluciones). Este artículo explora cómo representan el ámbito profesional y el concepto de la fama «Operación Triunfo» y «Fama ¡a bailar!», dos temas poco analizados hasta ahora en España. Para ello, se propone una metodología que combina la semiótica narrativa, el análisis de la enunciación audiovisual y el estudio de las reglas del concurso. El análisis revela que en estos programas se representan el éxito profesional como gratificante a nivel personal y socioeconómico, aunque también muy difícil de conseguir. Para alcanzarlo, los concursantes son transformados mediante el aprendizaje y la «celebritización». Finalmente, hay en estos programas una fuerte tensión entre el talento y la popularidad como formas de llegar al éxito. El artículo concluye que «Operación Triunfo» y «Fama ¡a bailar!» son programas que prescriben la fama como aspiración vital y reflexionan sobre su proceso de producción; transmiten una visión meritocrática de la sociedad actual; ponen en escena la importancia de la imagen en el entorno laboral y definen un buen profesional como alguien apasionado, maleable y capaz de sacrificar su vida personal.
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Luhova, Tetiana. "NARRATIVE AND STORYTELLING IN THE KNOWLEDGE STRUCTURE OF THE EDUCATIONAL BUSINESS VIDEO GAMES AS FACTORS OF THE SYNERGY OF INFORMATION TECHNOLOGIES AND SPIRITUALLY-ORIENTED PEDAGOGY." OPEN EDUCATIONAL E-ENVIRONMENT OF MODERN UNIVERSITY, no. 8 (2020): 42–59. http://dx.doi.org/10.28925/2414-0325.2020.8.6.
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The article touches on the issues of humanization of modern technologically advanced education, analyzes the synergy factors of information technology and spiritually-oriented pedagogy to prepare a new generation of humanist managers. For this, the role of narrative and storytelling in the process of creating educational computer games that form the competence of making managerial decisions is determined. An analysis of the knowledge structure of educational games on the basis of the proposed methodology for developing their plot shows the need to balance the processes of formalization of educational processes in the game, preserving narrative by referring to works of folk art, classical fiction as sources of implicit knowledge. The threats of formalization and automation of modern education are described. It has been found that “relay” learning is superficial, it does not contribute to the formation of critical and systemic thinking. As a result, this leads to the emergence of a generation of techno-button-managers. It is indicated that the preservation and effective translation of deep narratives containing educational humanistic meanings is a priority for designers of educational video games. The components of the game by D. Gray, game history and pedagogical strategies in the MDA model are compared, which made it possible to clarify the meaning of the terms “narrative”, “plot”, “storytelling”, to determine the place of their greatest actualization in the process of creating educational computer games. Considering the general tendency of the techno-environment to reduce, optimize and formalize, the task of preserving tacit knowledge, correct translation of it into over-formalized knowledge (morals, formulas) through effective storytelling, embodied in "active learning" of computer games, is crucial. In this case, the narrative plays the role of a base of spiritual-oriented knowledge, and with the help of storytelling it balances the spiritual-ethical meanings and educational results of a business video game. The meaning of the terms "narratives" and "storytelling" is considered, the Ukrainian-language terms-analogues are proposed. The importance of adhering to the principle of non-linear game plot for increasing the effectiveness of business games is revealed. The close relationship of business games with case studies, project- and problem-based training was emphasized. The correlation of narratology and ludology of the game is shown in the matrix of transformation of professional competencies and procedures for making managerial decisions into the rules of the game, their metaphorization and translation into script phrases. It is shown that the gamification of training exercises and situations is a synergy of creative and information-analytical work with databases and game design project documents. The core of educational game design is the balance of narrative and storytelling, explicit and implicit knowledge. This balance is achieved through effective collaboration and communication between all participants in the educational and business processes. Creation of virtual learning environments in which a future leader has an opportunity to formulate and comprehensively develop the competencies of business communication and managerial decision-making in situations of uncertainty and ethical dilemmas is a promising area of digital education.
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Whalen, Zach. "Ludology." M/C Journal 7, no. 2 (March 1, 2004). http://dx.doi.org/10.5204/mcj.2344.
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Over the recent holiday season, I more than once found myself in the position of explaining to a relative what it is that I do: “Oh, you study video games? But I thought you were in an English Department . . . I see.” The uncomfortably interdisciplinary field of “Game Studies” has been implicitly dealing with the same question in a quiet disciplinary turf war between scholars who attempt to bring games into existing academic discourse communities and scholars who see games as an entirely unique medium warranting independent academic infrastructures. The study of video games in the Academy is steadily taking shape, but the question of whose “turf” video games fall under is at the root of the most divisive controversies in the fledgling discipline of game studies. Espen Aarseth, noted critic of Cybertext fame, has warned of “colonisation” attempts by pre-existing disciplines: The greatest challenge to computer game studies will no doubt come from within the academic world. … Games are not a kind of cinema, or literature, but colonising attempts from both these fields have already happened, and no doubt will happen again. (n.pag.) Gonzalo Frasca and others have also frequently argued that video games represent a new medium that requires an entirely new critical vocabulary, a nascent disciplinary definition, and clear academic infrastructures. The so-called ludology vs. narratology debate over the nature of games (ludologists allegedly argue that games should be understood from the standpoint of “play” and narratologists allegedly argue that games should be studied for their narrative content) seems to offer a convenient dividing line for the debate on games studies relationship to the academy. However, as Frasca has recently argued, the ludology vs. narratology debate itself is questionably construed, and, as a matter of “turf” these positions seem to lack coherence or even an identifiable membership (Frasca 1). A useful critical tactic in approaching a difficult question is to ask, “What’s at stake?” What is at stake in the ludology debate? The answer has larger implications that I hope to address by broadening the question one step further. What is at stake in forming new disciplines? The fragile state of higher education seems to be a common topic in the United States with state budgets showing signs of weakness and the siphoning of funds away from “non-critical” areas like the humanities. It is a broad generalisation—but often true—that major universities divide their students and, often, the layout of the campus, so that Liberal Arts students have little contact with the “hard science” of the medical schools and engineering programs. Thus, for example, Computer Science is often separated physically and culturally from Psychology, English, or Journalism. With game studies potentially engaging all four disciplines, it is admittedly difficult to imagine a useful cooperation that utilised the collective resources of each department. The alternative, a hybrid department, has its own problems, however. Georgia Tech’s nascent Ph.D. program in Digital Media and Aarseth’s Department of Humanistic Informatics often meet with skeptical responses from academic colleagues and administration. Furthermore, the American university system is increasingly pragmatic in its stated goals and in its allotment of funds. As recent changes in my own university suggests, the continuation of support for departments and disciplines that tend toward esoteric or theoretical study depends on that department’s ability to produce a practical education product. English departments have traditionally found such a balance by assigning graduate students and junior faculty to teach the ubiquitous first-year writing courses, leaving senior faculty free to advance their own scholarship and the academic reputation of the university. Such a balance is difficult to imagine in a Game Studies program or department or even in a more broadly construed Department of New Media. Following the typical departmental model, a hypothetical Game Studies department would have to offer a required, first-year course in game production or game literacy to support the research of the senior faculty. This first-year course would also have to fit within a definition of “Liberal Arts” education such that it would be a general requirement. Game studies seems much more plausible as a field in academics if it is attached to an existing department because universities with tight and shrinking budgets are less likely to support a field with such a short history without a pressing demand for basic instruction in the area. Thus, the question of “turf” has returned. Video and computer games are a dominant part of our cultural knowledge, so the answer is clear in the question “What is at stake in Game Studies?” That is, the increasing distance between the academy and everyday experience, a model whose very hierarchy recalls outdated modernist or neo-classical snobbery and threatens to erode the existence of academics and higher education as we know them. Clearly, ignoring games and Game Studies is out of the question, but fitting the study of games within existing academic discourse can only be attempted from within the system. That is why the web-based academic journal Game Studies (http://www.gamestudies.org) is such an important development in the history of computer game studies. Surveying the list of recent contributors, one finds independent scholars, game designers, and scholars affiliated with institutes of higher education, and the majority of those representatives of the academy tend be in Communications or Cultural Studies departments. Furthermore, the form and scope of the journal mimics a humanities-oriented journal such as Postmodern Culture, and the types of articles investigate the culturally significant aspects of gaming rather than the technological architecture of games or trends in the game development industry. Thus, the de facto alignment of the journal Game Studies suggests an inclusive, liberal arts approach even if it is fundamentally interdisciplinary. Furthermore, the unifying focus on games allows scholars from a wide range of departments to bring their expertise—on, say, economics or law—to games despite Aarseth’s mistrust of such borrowing from pre-existing departments. But there is another sense of division among those who study games that parallels the “gamer” vs. “player” designation among the gaming community of itself. In the context of game study, there is a growing sense that games “belong” to the younger generation that has grown up taking the significance of games as a granted part of our existence. The community of gamers identifies itself as more involved than the casual “players,” and the sense of pride gamers associate with social status within game communities is a significant part of their lives. Sue Morris’s research on the social aspects of online gaming bears this out. As Morris argues, “an air of tongue-in-cheek-bravado” pervades in-game taunting and many secondary gaming texts (94). This language is in some ways related to ever present “flame wars” on Internet message boards or forums where participants perceived as naive are abused for their “n00b” status. Similarly, in the context of game study, those of us in the “Nintendo generation” now attempting to carve out our spot in academics often feel a sense of ownership of games which privileges our perspective over established media scholars who may have learned about games primarily through their children. This problem suggests both that the existing study of games in the academy may be too far removed from actual game playing, and that a cultural studies or literature model might be most appropriate for understanding the most fundamental question about games, namely “Why do they mean so much to us?” Whether the ludology approach is in fact superior to a “narratological” model ultimately matters little in the disciplinary turf war. What matters is whether ludology is sufficiently robust as a hypothetical academic discipline to offer the kind of diverse and valuable criticism that seems to be coming from a variety of existing disciplines. The answer, currently, seems to be “no,” and it may be that game studies is better off as a melting pot of diverse academic backgrounds, each contributing to the general knowledge and understanding of the problematic and compelling phenomenon of video games. Works Cited Aarseth, Espen. “Computer Game Studies, Year One.” Game Studies. 1:1. (2001): n.pag. 19 Jan. 2004. <http://www.gamestudies.org/0101/editorial.php>. Frasca, Gonzalo. “Ludologists Love Stories, Too: Notes from a Debate That Never Took Place.” Proceedings. Level Up 2003 Conference. <http://ludology.org/articles/Frasca_LevelUp2003.pdf>. Morris, Sue. “First-Person Shooters – A Game Apparatus.” Screenplay: Cinema/Videogames/Interfaces. Ed. Geoff King and Tanya Krzywinska. London: Wallflower Press, 2002. 81-97. Links http://www.gamestudies.org Citation reference for this article MLA Style Whalen, Zach. "Ludology" M/C: A Journal of Media and Culture <http://www.media-culture.org.au/0403/08-ludology.php>. APA Style Whalen, Z. (2004, Mar17). Ludology. M/C: A Journal of Media and Culture, 7, <http://www.media-culture.org.au/0403/08-ludology.php>
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Beck, Julia, and Frauke Herrling. "Playing Sue." Transformative Works and Cultures 2 (February 17, 2009). http://dx.doi.org/10.3983/twc.2009.093.
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Using ludology and narrative theory, we explore the concept of the Mary Sue in RPGs as well as in fandom. In fantasy RPGs, self-insertion and wish fulfillment are encouraged. However, the presence of a Mary Sue can still disrupt the gaming experience.
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Oktodila, Hasbi Thaufik, and Dhita Hapsarani. "Ethics of Biotechnology in Bioshock’s Interactive Narrative." KnE Social Sciences, August 1, 2019. http://dx.doi.org/10.18502/kss.v3i19.4854.
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The interactivity element in video games allows the process of delivering narration
through words and actions taken by the game player. The diversity of game design in
delivering stories leads to a debate between ludology (game-centered) and narratology
(narrative-centered). Ludology perceives game as ‘sets of rules’ because game itself
is a medium that is made up of rules. On the other hand, narratology views game
in terms of the narrative resulted from the rules. Narratology tends to reduce the
peculiarity of the medium because it does not take game rules into account, while
ludology ignores the narrative elements. However, in recent times, games combine
aspects of gameplay and narration to form an interactive narrative. One video game
that uses such combination is Bioshock (2007). The interactivity elements in this
game are not only for conveying the story, but also for allowing players’ participation
to determine the resolution of the story through the player’s interaction with the
character named Little Sister. Gameplay-wise, Little Sister acts as one of the main
resources that helps players complete the game. Narrative-wise, Little Sister who
is a chimera (a combination between animal and human) is a representation of
technological advancement. Positioned as resource both in the gameplay and the
narration, the game player’s treatment toward Little Sister implies ethical and moral
consequences. For these reasons, this article implements textual analysis to discuss
the characterization of Little Sisters displayed in the gameplay and the narration that
leads to the ethical and morality issues lies in biotechnology.
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Núñez-Pacheco, Rosa, and Phillip Penix-Tadsen. "Divergent theoretical trajectories in Game Studies: a bibliographical review." Artnodes, no. 28 (July 9, 2021). http://dx.doi.org/10.7238/artnodes.v0i28.380176.
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Video games have become important objects of study for different academic disciplines. From the birth of the medium in the mid-twentieth century to the present, video games have offered new and creative ways of approaching reality and fiction, and not only serve as entertainment, but also have significant cultural, social, and technological implications. The formal study of this medium is the purview of the field of game studies, which brings together the contributions of various disciplines. This paper presents a bibliographical review of several theoretical trajectories in game studies, reflecting on the relevance of early debates on narratology and ludology, and examining the ways these initial divisions of the field have branched beyond that debate. Over the past several years, the narratological line of critique has established links with other theories such as cognitivism, the theory of fictional worlds and the contributions of unnatural narratology to the analysis of new technologies; ludology, for its part, has grown through its adaptations to postcolonial and decolonial theories in cultural studies, as well as through its connections to critical race and gender studies. We conclude that as game studies has evolved as a discipline, its initial theoretical debates have undergone profound transformations that have brought depth to the analysis of games’ meaning and diversified to the tools and techniques we have for analysing games as digital and cultural artefacts.
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Hoge, Charles William. "Whodology: Encountering Doctor Who fan fiction through the portals of play studies and ludology." Transformative Works and Cultures 8 (May 5, 2011). http://dx.doi.org/10.3983/twc.2011.0262.
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The fan fiction that is inspired by the textual world of both the original and new series of Doctor Who seems to provide a paratextual world of its own that produces a fascinatingly multidirectional relationship with the narratives that inspire it. Specifically, an interrogation of the intersections of these two worlds yields compelling evidence that the textual world of the new incarnation of the television series is aware of the concerns that tend to be generated by the writers of fan fiction and has adapted its own world to accommodate, or at least acknowledge, many of those concerns. If the writing of Doctor Who fan fiction can be productively read as play and as a creative, ludic engagement, how might the heuristic of ludology be employed as a means to encounter these texts and the playful relationship they create with the textual world from which their content is inspired?
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Lambrow, Alexander. "The Seriousness of Play: Johan Huizinga and Carl Schmitt on Play and the Political." Games and Culture, November 29, 2020, 155541202097561. http://dx.doi.org/10.1177/1555412020975619.
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This article addresses the political dimensions of Johan Huizinga’s seminal work Homo Ludens: A study of the play element in culture (1938). More than just a foundational text in academic ludology, this text positioned itself as a polemic against the right-wing political discourse going on in contemporaneous Nazi Germany, represented chiefly by Carl Schmitt. Through his concept of play, Huizinga hoped to resolve what he perceived to be the confusion of play and seriousness among a group of reactionary theorists narrowly focused on the Schmittian Ernstfall, the “serious case” of inimical violence. This article analyzes the usage of the concepts of “play” and “seriousness” in Huizinga’s and Schmitt’s respective corpuses and, finally, places their work in dialogue in order to understand the difficulties involved in defining play as unserious and unpolitical.
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Avanço, Leonardo Dias, and José Milton de Lima. "Elementos para uma fundamentação filosófica da ludologia: critérios para investigação e aplicação do jogo no âmbito da educação." Educação Unisinos 24, no. 1 (July 15, 2020). http://dx.doi.org/10.4013/edu.2020.241.19.
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Hoydis, Julia. "Dialogues with the Machine, or Ruins of Closure and Control in Interactive Digital Narratives." Reading in Ruins: Exploring Posthumanist Narrative Studies 1, no. 1 (August 25, 2021). http://dx.doi.org/10.16995/olh.4695.
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The interrelations between literary studies, and posthumanism deserve attention beyond the focus on the representation of posthuman identities on the story level. To explore these, this article looks at examples of interactive digital narratives (IDN): Bandersnatch (2018), a ‘choose-your-own-adventure’-type instalment of Netflix’s dystopian SF-anthology series Black Mirror, the short film The Angry River (2017), which employs gaze-detection technology to determine what viewers get to see, and the serious multi-platform videogame The Climate Trail (2019), specifically designed to move players ‘into action’. Straddling the border between ludology and narrative to varying degrees, all offer the chance of ‘do overs’ and the exploration of complex patterns and processes. They raise questions about the co-production of pre-scripted meanings, about authorial and reader agency, conceptions of control, closure, and narrative (un)reliability. Thus, this article argues, they challenge ideas about the potential of narratives in and beyond posthuman digital environments.
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Maté, Diego. "Game studies: apuntes para un estado de la cuestión." Cuadernos del Centro de Estudios de Diseño y Comunicación, no. 98 (September 4, 2020). http://dx.doi.org/10.18682/cdc.vi98.3967.
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Al final de la década del 90 aparece una serie de trabajos dispersos que en el nuevo milenio habrían de conformar el campo de los game studies. Por primera vez, el juego y el videojuego cuentan con un territorio académico propio en el que indagar problemas específicos para los que se deben diseñar nuevas herramientas conceptuales. En este trabajo se revisan cuatro momentos de la historia del campo: sus primeros esbozos; la polémica entre la ludología y la narratología; el giro que implicó la observación de las prácticas sociales en las que se inscribe el videojuego; la recuperación de los estudios sobre el juego. Finalmente, se realizará un breve panorama de los game studies en la Argentina.
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Rossi, Luis. "Un análisis de los videojuegos como agenciamientos." Cuadernos del Centro de Estudios de Diseño y Comunicación, no. 110 (September 15, 2020). http://dx.doi.org/10.18682/cdc.vi110.4067.
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En los últimos años diversos estudios han abordado los límites y posibilidades de los videojuegos como expresión cabal de la industria cultural globalizada pero también como frontera resistente al capitalismo. No obstante, estas conceptualizaciones suelen omitir los rasgos fundamentales de los videojuegos como dispositivos o agenciamientos de las sociedades contemporáneas así como sus relaciones con los modos de subjetivación forjados en el engagement (ritornelo). Nuestra propuesta buscará recuperar los elementos que permiten pensar a los videojuegos como condensación de regímenes de signos (imágenes) y materialidades identificando las líneas (moleculares, molares y abstractas) que componen (re/territorializan) a los agenciamientos de juego digital (semióticas intensivas de la espacialidad, de las mecánicas y de la gameplay), así como sus posibles líneas de fuga (desterritorializaciones). Asimismo, si el modelo analítico encuentra sus fundamentos teóricos en el posestructuralismo francés, la investigación se apoyará en los principales aportes de la ludología aplicada. Por ello nuestro escrito estará basado en recorridos empíricos (grillas comparativas) sobre un corpus de 45 videojuegos producidos entre 2010 y 2016 en las Global Game Jams de la ciudad de Santa Fe.
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CUADRADO ALVARADO, ALFONSO. "La tragedia como motor narrativo de los videojuegos cinematográficos." Miguel Hernández Communication Journal 11 (July 24, 2020). http://dx.doi.org/10.21134/mhcj.v11i0.341.
Full textAbstract:
El cine y los videojuegos han mantenido de forma constante una relación ambivalente de rechazo, influencia y colaboración. Desde sus comienzos, la Ludología puso el centro de la experiencia del juego en su capacidad de ejercer el control y desarrollar amplia libertad en el mundo del juego. Esta visión ha hecho que se asimilara la ontología del videojuego con el tipo de actuaciones que fomentan libertad y control. Por el contrario, cualquier tipo de actuaciones vinculadas al placer estético de la narrativa han sido tildadas de opuestas a la esencia del juego y por ello propias de las narraciones o películas interactivas, manifestaciones siempre acompañadas de un tono peyorativo. Por ello es necesario realizar una revisión del estatuto ontológico del videojuego a través de la reformulación del significado de la actuación (agency). El artículo sigue los trabajos de Tanenbaum sobre la apertura del concepto de la actuación hacia la construcción de sentido y el compromiso con el personaje y la historia, y propone cómo el lenguaje cinematográfico y las fases esenciales de la tragedia aristotélica (compasión, temor y catarsis) son indispensables para entender el tipo de actuación de los videojuegos cinematográficos.
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Dena, Christy. "Finding a Way: Techniques to Avoid Schema Tension in Narrative Design." Transactions of the Digital Games Research Association 3, no. 1 (April 24, 2017). http://dx.doi.org/10.26503/todigra.v3i1.63.
Full textAbstract:
Game designers and game writers do not have the same understandings, processes, or approaches, and this impedes good practice. This is not due to the two modes being so different or incompatible however, as has been claimed now and in earlier narratology and ludology debates. Instead, this article argues that incompatibilities are due more to the schemas of creation: the mental models we are taught and create with, that thwart more integrated practices. We learn to create and think about games in one way, and narrative in another. This siloing is due to a predictable differentiation rhetoric that occurs at the emergence of a new medium: games are not stories, games are not films, VR is not film, X is understood by not being Y. This arbitrariness of difference facilitates a schism in the creator's mind, where elements, roles and industries become irreconcilable. Indeed, whole swathes of wisdom are put to the side in an effort to be recognised as different. When narrative is used in games, then, developers rely on external design grammars, where models from other artforms are imported and shoehorned. There have been attempts to reduce such siloing, but integration cannot happen merely through recognising common elements or traits within a game object. Instead, this article argues that a common understanding can be found through the common factor of the audience or player. To illustrate this point, two successful audience/player-centered approaches from filmmaking and education are outlined, along with a tweaking of the successful MDA framework, providing structures for creatives to avoid the problem of design schema tension and create better projects.
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Mitchell, Peta, and Angi Buettner. "Editorial." M/C Journal 7, no. 2 (March 1, 2004). http://dx.doi.org/10.5204/mcj.2328.
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Thirteen years ago, Kenichi Ohmae proclaimed that the world had become “borderless,” and the nation-state nothing more than a “bit actor” in a globalised economy. Around the same time, “interdisciplinarity” appeared as the prime strategy for breaking down the rigid stratifications of traditional disciplines, promising an equivalently borderless academe. However, despite the rhetoric of globalisation and interdisciplinarity, territorial boundaries—both physical and conceptual—remain in evidence and under contention. We chose Christy Collis’s article, “Australia’s Antartic Turf,” as our feature article because it foregrounds what we were most interested in: the collaboration between the physical and representational aspects of territory in the creation of “turf.” Ironically, as Collis notes, the territory she maps out—the Australian Antarctic Territory—is, in a physical sense, a “turfless space,” though it is one that is legally claimed as Australian turf. In this space, once again, we can see the collapsing of the literal and conceptual aspects of turf. Collis’s “anatomy” of Australia’s Antarctican space is exciting reading for questions of territorial claims and territorial representations and their implications. She informs us about the often forgotten complex geopolitical and legal aspects involved in such territory-making, and shows how these aspects, together with certain cultural spatialising technologies, have transformed vast areas of Antarctica into Australian sovereign space. As Collis’s article shows, the territories these practices mark out are not neutral spaces, but highly politicised turfs, themselves fragmented by conflicting interests and agendas. Eric D. Mason’s article, “Border-Building: Cultural Turf and the Maintenance of Hybridity,” examines the way in which, in the context of international capitalism, the border-eliding practice of hybridity is, paradoxically, fostered through the “strategic reinforcement of national and cultural borders.” The problems of this paradox are exemplified in “the idealistic American view of culture as a ‘melting pot’” in which disparate cultural identities are subsumed into a “greater national identity.” However, as Mason argues, the 9/11 attacks have shattered this homogeneous hybridity and “prompted a host of culturally-focused turf disputes ranging from the bombing of mosques to the deliberate dumping of French champagne.” In “Allegiance and Renunciation at the Border,” Brian J. Norman also addresses changes to U.S. immigration and citizenship policies post-9/11, but from a rhetorical standpoint. He examines the way in which the Bush administration responded to the attacks “with vigorous efforts to shore up national borders within a language of terrorism, evildoers, and the dire need for domestic security.” The Oath of Allegiance, he argues, is one such example of how rhetoric creates new political realities. Norman’s article, in this way, rethinks the figure of the immigrant and questions of citizenship within the context of state procedures, and considers these shifts as a result of newly inflamed discourses of terrorism and national security. This theme of the production and circulation of nationalism through language continues to run through Terrence Maybury’s article, “The Literacy Control Complex.” This article examines the literate domain and some of the changes it has experienced throughout the new media communications revolution. Maybury ultimately relates questions of literacy and its control to the concepts of sovereignty, territoriality, and nationalism. New media technologies are among the most effective and pervasive means for circulating and maintaining such politicised turfs, and, in “Transformations: A Nation State Responds,” Tim Dwyer looks specifically at these technologies in an Australian context. Dwyer addresses issues of “turf” as part of national debates about the institutional reshaping of media regulation at times of rapid changes within communications media. Using debates in Australia about how to merge the functions of the Australian Communications Authority and the Australian Broadcasting Authority as an example, he discusses social, technological, and politico-economic dimensions of regulatory policies. From these more geo-political and mediatised aspects of turf, our articles take a turn towards academic questions of disciplinary turf. Fred Mason’s story of his personal experiences of the academic “turf protection” maintained by traditional disciplines offers thoughts about interdisciplinarity and multidisciplinarity—those much-touted new prime strategies in cultural research. For Zach Whalen, games studies is a new field of cultural research at the edges of academe that must deal with the issues surrounding interdisciplinarity and multidisciplinarity raised by Fred Mason. He poses the question as to whether “ludology is sufficiently robust as a hypothetical academic discipline” to firmly establish games studies within the confines of the traditional university. He argues that the study of video games has been the subject of “a quiet disciplinary turf war between scholars who attempt to bring games into existing academic discourse communities and scholars who see games as an entirely unique medium warranting independent academic infrastructures.” Whalen’s conclusion is that, at present, ludology may not be able to resolve this turf war and, instead, games studies may be better considered as a “melting pot” of competing methodologies. Laurie Taylor’s article on the spaces of video games can be considered a telling counterpoint to Whalen’s for two reasons. First, Taylor shifts the focus from the disciplinary turf war of games studies to the internal turf spaces and violent turf wars within video games themselves. Second, her article exemplifies the way in which new fields of study carve out ideological territories that delimit critical language, critical practice, and the object of study. Taylor maintains that what has been lacking in the debate over violence in video games is an awareness of the relationship between the virtual game space and the physical space of play. She argues that “the internal game space of a video game cannot be examined outside of the space of play because the space of play dictates how the game is played and how the game space is to be read.” In some way, each of these articles portrays a “turf war,” which, by definition, relies upon competing claims for cultural, spatial, or intellectual exclusivity. However, the word “turf” itself is intrinsically transcultural, sharing an Indo-European root with the Sanskrit darbha or “tuft of grass.” Moreover, in this sense of the word, turf can be carved up and exploited, burned for fuel; however, as a living network of roots and soil, it is also resilient and transplantable. It is this aspect of “turf” that Michelle Dicinoski’s poem “Golf” draws out. Dicinoski’s poem gives us a living image of one such cultural grafting as she opens the geopolitics of “turf” up to the everyday, the tangible, the local, and the familial. In her humorous and personal way, Dicinoski distils the genealogy of “culture” that Raymond Williams maps out in Keywords. In the same way, we need to cultivate an attentiveness to the spatial metaphors we (and these articles) use to talk about knowledge. Traditional epistemology has been consistently defined in geographical terms—knowledge is surveyed and divided into fields, topics (from topos, or place), provinces, domains, realms, and spheres. Implied in this subdivision of epistemological territory is a mastery or dominance over knowledge, as the terms “subject” and “discipline” make evident. An awareness of these metaphors alerts us to the fact that the language we use is not neutral, apolitical, or simply academic. Critical encounters with “turf” are not mere rhetoric: they at once establish, erase, or contest borders both of knowledge and physical territory. Citation reference for this article MLA Style Mitchell, Peta & Buettner, Angi. "Editorial" M/C: A Journal of Media and Culture <http://www.media-culture.org.au/0403/01-editorial.php>. APA Style Mitchell, P. & Buettner, A. (2004, Mar17). Editorial. M/C: A Journal of Media and Culture, 7, <http://www.media-culture.org.au/0403/01-editorial.php>