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Journal articles on the topic 'Ludology'
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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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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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González, Alina, Nadine Núñez, and Alfredo Segura. "Expériences techno-créatives pour dé-lire la littérature avec un jeu numérique épistémique, LBH 2.0." Çédille, no. 25 (2024): 359–91. http://dx.doi.org/10.25145/j.cedille.2024.25.14.
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At the confluence of the didactics of creativity, the pedagogy of emotion and the ludology of learning, this article presents, in a co-actional and multicultural approach, the first conclusions of a collaborative research oriented by the design of a 2D video game LBH 2.0 (©2017), original adaptation of The Human Beast of Zola by students BTS (Brevet de technicien supérieur) and IUT (Institut universitaire de technologie). In the joint FLM and FLE learning space, we question the contribution of ludology to theteaching of literature on literary LBH 2.0 at the University of Castile-La Mancha (Spain) aims to revitalize the literary reading experience as a play-test.
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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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Pugachev, Andrei A. "Analysis of Russian and global game studies: ludology vs. narratology." RUDN Journal of Studies in Literature and Journalism 27, no. 4 (December 15, 2022): 823–32. http://dx.doi.org/10.22363/2312-9220-2022-27-4-823-832.
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The author reviews the past-to-present academic literature on game studies from the perspective of ludology and narratology. The academic study of video games has grown substantially since 2001 - the year Game Studies started publishing its first articles. Yet both ludology and narratology remain a particularly new field, especially in the Russian academic field, and many of its discussed themes have yet to attain widespread recognition. The academic articles published between 2017 and 2022 were reviewed to provide understanding of the current state of the research on ludology and narratology in various research areas. The corpus was gathered by searching publications in international database Scopus. Each article was categorized according to the type of database, period of time, the country of publication, the field of study and the frequency of citations. The applied method of quantitative research allows tracking the development of research within five years in the field of game studies. Several proposals for further research in this field were put forward. The main hypothesis of this work is that one type of methodology is more applicable than the other, considering the background. The author concludes that one type of methodology can prevail in research - depending on the region of the published article.
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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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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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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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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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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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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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Chen, Lei, David Dowling, and Christopher Goetz. "At the nexus of ludology and narratology: Advances in reality-based story-driven games." F1000Research 12 (January 11, 2023): 45. http://dx.doi.org/10.12688/f1000research.129113.1.
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Story-driven games are growing in popularity across a wide range of genres. However, the narrative potential of video games is still being debated, particularly in light of the so-called tension between gameplay and storytelling. This study proposes that rules and game mechanics perform narrative semiotic functions, offering a ludic grammar of interactive storytelling. Case studies of four representative games show through exploratory player action shaped by rules, the medium of video games can generate meanings that traditional media cannot, thereby better achieving their narrative goals.
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Aldape, Javier. "The Mustang Diaries." Revista Panamericana de Comunicación 4, no. 2 (December 16, 2022): 21–34. http://dx.doi.org/10.21555/revistapanamericanadecomunicacin.v4i2.2699.
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Can a form of play be used to portray the past in popular culture? Can a person engage in such an act and acquire agency of a particular time in history? Play constitutes many forms—but for the sake of this paper, it will be used in the context of video games. Using the two main schools of thought for the study of these, narratology and ludology, I intend to highlight the potential for games to not only recreate history but also interact with events and how they can provide new ways of understanding history. I will focus mainly on the Mexican Revolution and the U.S.-Mexico border relations in Rockstar’s epic western: Red Dead Redemption 1.
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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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Kluev, Artem, Julia Marinina, Shmeleva Natalia, Marina Aksenova, and Anna Merzlyakova. "Videogames and problems of media translation in the context of comparison of narratology and ludology." E3S Web of Conferences 420 (2023): 06033. http://dx.doi.org/10.1051/e3sconf/202342006033.
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The article studies the possibility of translating a video game into other types of media, as well as the possibility of a reverse process. Research results received within the framework of the narratological theory of video games and the ludological theory of video games are used as methodological ground. The authors rely on the concept of translation presented in the works of B. Latour. The main provisions and conclusions are formulated by comparing ludological and narratological approaches to the problem of transferring a video game to other media types (cinema), as well as the reverse process. Basic concepts are identified, key points of methodological interest are set out. The article provides illustrative examples of video game translation into cinema, as well as examples of reverse translation, that are commented and explained in the context of the given methodologies. The conclusion is made about the prospects for investigating the issue in the context of media research and media practice.
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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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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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Valja, Heikka. "Games in the Finnish art teachers’ curriculum." International Journal of Education Through Art 18, no. 2 (June 1, 2022): 191–207. http://dx.doi.org/10.1386/eta_00094_1.
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This article takes part in the discussion that revolves around games and gaming and presents an example on how they have been implemented to the curriculum of Finnish art teacher training. The article explores the results of a nationwide survey for art teachers concerning games and gaming and how it supported the curriculum design for pre-serving art education students. The most significant addition to the curriculum was a master’s-level course ‘Games, Gaming and Game Design’. The article presents the course in detail and how it has evolved during four semesters between 2017 and 2020. The theoretical framework for the curriculum design was built on Deweyan pragmatist aesthetics and constructionist ludology. The article suggests that games and gaming are an integral part of art education and best addressed in a holistic manner, not only as visual representations or tools for learning.
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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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Bartos, Rafał. "THE MOTIF OF WAR IN TABLETOP ROLE-PLAYING GAMES: AN EXPLORATORY STUDY." Art Research of Ukraine, no. 23 (November 28, 2023): 75–78. http://dx.doi.org/10.31500/2309-8155.23.2023.299211.
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This article explores the prominent motif of war in tabletop role-playing games (TTRPGs) through the analysis of popular games such as Dungeons & Dragons, Warhammer fantasy role playing game. The author argues that the motif of war is a prevalent theme in RPGs due to its ability to prompt players to engage in epic battles and quests and to develop complex storylines. The article draws upon theoretical frameworks such as narratology and ludology to analyze how the motif of war shapes player experiences in these games and how it contributes to the evolution of TTRPGs as a genre. Through the analysis of game mechanics and thematic elements, the author demonstrates that the motif of war serves both as a source of conflict and a means of creating immersive gameplay experiences. The article concludes with a reflection on the implications and potential future directions of studying war in RPGs.
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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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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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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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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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Hodge, Karl. "Choosing to be gay: Authentic outcomes, agency and identity in Life Is Strange1." Northern Lights: Film & Media Studies Yearbook 22, no. 1 (June 1, 2024): 45–58. http://dx.doi.org/10.1386/nl_00047_1.
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Life is Strange is a modern classic of storytelling in games that allows players to make consequential choices at the level of action as well as at the level of narrative. But does it also allow players to play as their authentic selves, or does it constrain them within frameworks of ethics that are assumed by its authors? This study uses an approach that combines elements of ludology, the focus on games as systems that are altered by players through a mechanistic interface, and the application of structuralist narratology. The latter allows us to textually analyse Life is Strange as a case study of a progression game with emergence characteristics, in which mechanics are treated as functional units of narrative. In addition, we draw from a unique quantitative source. Every choice made by players of Life is Strange is recorded and available to see in the public domain. This allows us to compare the narrative structure encoded into the game at the level of action, with the choices players made at the level of narrative. The outcome shows that players subverted hegemonic expectations, within affordances created for them by the game developers, demonstrating an unexpected level of player agency.
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Surdyk, Augustyn. "Ludologia – naukowe badania gier. Przeszłość, teraźniejszość, przyszłość." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 33, no. 42 (July 3, 2023): 49–69. http://dx.doi.org/10.14746/i.2023.33.42.3.
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The aim of the article is to present similarities and differences in the approaches to the field of ludol- ogy (also known as games research, game studies) in Poland and abroad, on the basis of an analysis of publications and papers presented at conferences of two representative contemporary academic ludological associations – the Polish Polskie Towarzystwo Badania Gier (Games Research Associa- tion of Poland), and the Digital Games Research Association. The achievements of these societies are comparable because of their similar period of activity. The subject of the analysis is the scope of research declared by both associations, the topics of papers presented at international academic conferences organised by them, and the topics of articles occurring in their publications. For the purposes of the analysis, two crucial categories concerning games of all types have been introduced to enable further study of selected texts: the distinction between digital and non-digital games – the former ones refer to electronic games of all types (requiring electricity and based on electronics), and the latter, to any other kinds of games (in some cases also requiring electricity but not electronics). In the analysis, four main thematic categories of papers and articles have been established: (1) texts concerning research in the sphere of digital games, new technologies, new media and related phenomena; (2) texts concerning research on non-digital games and related phenomena; (3) texts concerning other aspects of games and ludology including research on non-specific kinds of games or, quite contrary, concerning different types of games (digital and non-digital) in a particular approach (e.g. educational aspects), methodology of games research, issues common to all games (e.g. players, gameplay, winning/ losing etc.); (4) reviews, reports, forewords, introductory articles and lectures, texts on outstanding scholars etc. The aim of the quantitative analysis is to show the proportions of research devoted to digital games and other issues concerning games research carried out by Polish and foreign ludologists.
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Innamuri, Raviteja, Aditya Deshbandhu, and Dheeraj Kattula. "Developing a ludic framework for counteracting interventions for dementia: A narrative and analytic review." Annals of Geriatric Education and Medical Sciences 9, no. 1 (July 15, 2022): 1–5. http://dx.doi.org/10.18231/j.agems.2022.001.
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As the field of medicine tries to tap into various facets of gamification, the potential of video games and gaming-based interventions has become a hotbed of interesting activity in the Dementia circles of medical research. This paper, exploratory in nature is a bid to find common grounds for the fields of neurosciences, psychology, and psychiatry with the sub-field of ludology in a hope to find unique insights from the benefits of interdisciplinary research and extrapolating findings from gaming addiction.From the perspective of game studies, the paper will draw from elements of concepts like flow, immersion and engagement in a bid to understand the various tools that can be of use if people ailing from neurocognitive disorders were to engage in gaming activity. This paper will lay the framework that will enable the beginning of a matching gaming exercises based on cognitive deficits and psychological profiling of clients diagnosed with neurocognitive disorders and advance the fields of neurosciences and psychology.By combining the findings from existing studies and original work this paper will propose both a means to study the possible effects of gaming-based interventions and suggest ways to streamline and optimize the use of gamification in patient care.
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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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Kodencheri, Anupama, and Gandhapodi K. Chithra. "CARNIVALESQUE, CREATIVITY, AND THE BECOMINGS: A CRITICAL ASSESSMENT OF THE POLITICS OF RESISTANCE IN BATMAN: ARKHAM ASYLUM." Creativity Studies 17, no. 1 (February 9, 2024): 59–72. http://dx.doi.org/10.3846/cs.2024.17447.
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There is a growing academic interest in respect for critical game studies from the domains such as cultural studies, literature, ludology, and gender studies. However, the research done on videogames from the perspective of the political discourse is not broad enough. Rocksteady Studios’ Batman: Arkham Asylum (2009, director Sefton Hill) is a franchise that has redefined the superhero videogame genre. Although previous Batman transmedia adaptations would usually portray Gotham City as the prime location to narrate the story from the perspective of Batman, the videogame utilizes the carceral setting of Batman to subvert the traditional narratives and makes it completely a Joker’s (character) game. Therefore, this version of storytelling carries a character with a more nuanced demeanor and a setting with socio-political influence. The current paper examines the underlying structural inequality present in Batman using Giorgio Agamben’s bare life theory and the subsequent discourse of resistance using the theoretical framework of Mikhail Bakhtin. The analysis reveals the various carnivalesque elements present in the game and illustrates how the game takes advantage of them to mount an attack against the bare life status of the antagonists that are usually seen in Batman transmedia universe. Furthermore, the paper elaborates on the posthuman traits of Joker’s becoming through a Gilles Deleuze-inspired perspective.
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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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Reyes, Ian, and Suellen Adams. "Screening Play: Rules, Wares, and Representations in “Realistic” Video Games." Eludamos: Journal for Computer Game Culture 4, no. 2 (November 4, 2010): 149–66. http://dx.doi.org/10.7557/23.6041.
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In highlighting the apparatus as the keystone for the magic circle of video gaming, we displace players—the subject of ludology—and “text”—the subject of narratology. This is not to deny the importance of players’ agency or the meanings of texts in video gaming; rather it is to reconsider these with regard to the screening of player from played inherent in the gaming apparatus. To better understand the situation of homo ludens in these more mediated play spaces, we turn to Jacques Lacan’s account of “split” subjectivity and retread it by explaining how it may well explain the operation of a magic circle spanning three dimensions of screen-play: rules (Symbolic dimension), representations (Imaginary dimension), and wares (Real dimension). In the end, we come around to the other space of Huizinga’s theory—the connections with the non-game world—to show that the value of video game play is also found beyond the apparatus, that the experience and enjoyment of video games are affected in part by social reality and, in turn, social reality is being affected by the experience and enjoyment of video games. Arriving at this point by first theorizing the video game apparatus, however, highlights matters of video game design more so than issues of audience or textual analysis. To illustrate this perspective, we conclude by defining three ways to analyze video games in terms of “realism,” proposing three types of video game realism: representational, simulative, and inverse.
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McLean, James. "Kingdom(s) Come." Kingdom Hearts Special 15, no. 25 (September 22, 2022): 58–75. http://dx.doi.org/10.7202/1092426ar.
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Over twenty years since its original release, Final Fantasy VII (Square 1987) fans continue to debate the video game’s world and characters as they are mixed and remixed into new licensed products. This article explores the fan metanarrative that circulates the story, ludology, and industry discourses that bind Final Fantasy VII. It will demonstrate how fan practices operate within community spaces to locate, present, and police both knowledge and meanings about a fictional world that itself is continually being reshaped by the transmedia production milieu. This article explores the ongoing fan debates circulating characters Cloud, Tifa, and Aerith from Final Fantasy VII, and their respective remixing into the Kingdom Hearts franchise. Through a discourse analysis (Gee, 2007) of online Western fan bases, published above-the-line production interviews (Mayer et al. 2009), and self-reflexive experiences (Hills 2002), I seek to demonstrate the complexity of fan practices and how they attempt to locate (and generate) narrative coherency. I will argue that fans do not simply enjoy games for their variance in gameplay and story but seek a better understanding of a growing fictional world that is complex and is subject to sanctioned rewrites. Drawing on Eiji Ōtsuka’s theories on world and variation (2010), this article will demonstrate how fans can function as textual barristers in their attempts to untangle the media mix (Steinberg, 2012) of Final Fantasy VII through its ongoing reiterations, adaptations, and world-sharing with Kingdom Hearts series.
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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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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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Vella, Daniel, and Magdalena Cielecka. "“You Won’t Even Know Who You Are Anymore”: Bakthinian Polyphony and the Challenge to the Ludic Subject in Disco Elysium." Baltic Screen Media Review 9, no. 1 (December 1, 2021): 90–104. http://dx.doi.org/10.2478/bsmr-2021-0009.
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Abstract When approaches to the notion of the ‘self’ as it exists in the game have been discussed in game studies – for instance, through work in existential ludology or through discussions of agency – the ‘self’ in question, explicitly or implicitly, has tended to be the rational, stable, unified and coherent self of the humanist tradition. By fracturing the ludic subject into a set of contrasting and conflicting voices, each with their own apparent motivations and goals, Disco Elysium presents a challenge to this singular and unified understanding of selfhood. That this challenge is situated within the representation of a figure who, at face value, seems to represent the very locus of the authoritative, self-possessed subjectivity of humanism – not only a straight, middle-aged white man, but also a figure of police and colonial authority – strengthens the game’s critical slant. Drawing on theories of ludic and virtual subjectivity, this paper will approach Disco Elysium with a focus on this undermining of stable and unitary understanding of subjectivity. First, the game will be considered in relation to the tradition of film noir, and the way the genre both established and subverted the figure of the detective as the avatar of stable, rational, authoritative masculine selfhood. Next, its treatment of the theme of amnesia will be considered, drawing a parallel to Jayemanne’s (2017) reading of Planescape: Torment to examine how the loss of memory creates structures of discontinuity and rupture in the represented ludic self. Finally, Bakhtinian notions of polyphony will be invoked to address the game’s plurality of different voices not (as it is usually present) in a dialogue between individual subjects but within a single, fragmented subjectivity.
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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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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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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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Schweighauser, Philipp. "Doubly Real: Game Studies and Literary Anthropology; or, Why We Play Games." Eludamos: Journal for Computer Game Culture 3, no. 2 (October 26, 2009): 115–32. http://dx.doi.org/10.7557/23.6001.
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Few game studies scholars will regret that the infelicitous ludology vs. narratology debate has been left behind. However, one misconception concerning the nature of literary theory continues to haunt game studies. If Gonzalo Frasca (correctly) observes that "Ludologists Love Stories, Too" (2003), I wish to point out that his conciliatory gesture seriously threatens to distort the concerns of literary theorists in ways that make their reflections on human sense-making indeed seem of very limited use to game studies scholars. If we truly want to know in what respects game studies can profit from literary theory without jeoparidizing the strategies of distinction a still emergent field such as game studies needs to position itself vis-à-vis dominant theoretical paradigms--and which Espen J. Aarseth calls for in his editorial to the first issue of Game Studies (2001)--we need to be aware of two things. First, narratologists make up only a fraction of the literary-theoretical community. And the narratologists most often cited by game studies scholars usually practice a structuralist version of narratology that has come under sustained critical scrutiny since the late 1960s. Second, not all literary scholars are concerned with narrative. Of course, they often study narrative texts such as novels and short stories, but they also study plays, poems, and other non-narrative texts. More importantly, even when they do study narrative texts, literary scholars--be they narratologists or not--are not always interested in the forms and functions of stories.This essay argues that game studies can profit from reflections on issues other than narrative by a literary theorist whose work has been unduly reduced to those concerns. In Cybertext: Perspectives on Ergodic Literature (1997), Aarseth refers to the work of Wolfgang Iser as one influential model of literary communication that does not help explain the specific forms and functions of nonlinear, multicursal computer games. More specifically, Aarseth argues that Iser's notion of Leerstellen (blanks) cannot account for the kinds of openings cybertexts offer their users. Yet the later work of Iser is a much more promising avenue of exploration for ludologists. Iser's The Fictive and the Imaginary: Charting Literary Anthropology (1993) develops what is arguably the most sustained theory of fictionality available today. While honed in the study of literary texts, Iser's theory can tell us much about the cultural work of fiction in a variety of media without leveling the distinctions between different cultural practices. As such, Iser's later work does not provide yet another framework for reading games as stories but challenges games studies scholars to rethink some of their central concepts, in particular 'play,' 'simulation,' and 'immersion.' Moreover, it invites us to ask whether the rhetoric of distinction that much game studies scholarship still employs to stake out its claims has outlived its usefulness, serving less as an effective defense mechanism than as an obstacle to cross-disciplinary fertilization.
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Philippette, Thibault, and Maude Bonenfant. "médias sous couleur des sciences du jeu." Recherches en Communication 49 (February 15, 2023): 153–57. http://dx.doi.org/10.14428/rec.v49i49.74653.
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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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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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Szymala, Jacek. "Chess movies między ludologią a historią wizualną – wprowadzenie do zagadnienia. Od Gorączki szachowej (1925) po Gambit królowej (2020)." Homo Ludens, no. 1 (14) (December 30, 2021): 185–206. http://dx.doi.org/10.14746/hl.2021.14.11.
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Celem artykułu jest sklasyfikowanie tzw. chess movies – filmów szachowych, o szachach i szachistach. W tekście wymieniono i scharakteryzowano wybrane tytuły spośród 83 ujętych w zestawieniu filmograficznym. Autor proponuje interdyscyplinarne ujęcie badawcze łączące elementy ludologii i historii wizualnej. Każdy film mówi coś o czasie, w którym powstał, w tym o historii szachów i ich postrzeganiu w danym okresie historycznym
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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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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.