Journal articles on the topic 'Pokémon HeartGold (Computer game)'

While it is important to frame Pokémon Go in terms of locative and AR design, it is equally important to frame the gameplay and format of two decades of the series’ games. Pokémon is a platform—a software and hardware layer requiring knowledge and experience to navigate. The games and products have become more successful with time, not less, and have built cultures of play knowledge, information gathering, and consumption practices that are unique to the Pokémon name. This essay will explain and expand on these game dynamics in order to illustrate the clear connections from Pokémon Go to the rest of Pokémon game history. Specifically, exploring how the games reveal elements in incremental fashion, while simultaneously hiding and obscuring a more complex layer for advanced players to find.

Pokémon Go is a hugely popular hybrid reality game (HRG) that enables players to occupy a space that is simultaneously physical and digital. The general aim of Pokémon Go is to discover and then capture Pokémon. This article reports on an original research project designed to explore the impact of Pokémon Go on spatiality and sociability. The project was conducted between May 2017 and July 2017, using an online survey which received 375 responses from users of Pokémon Go geographically spread across the globe. Drawing on the concept of the “playeur” as an established approach to understanding the effects of locative play on spatiality and sociability, this research follows three lines of enquiry. First, the research examines whether the intermingling of play and ordinary life might encourage players to spend more time outside in public spaces, and how this mode of play is experienced. Second, the research explores whether the game mechanics of Pokémon Go might lead players to traverse their environment using modified routes, as well as to frequent new places. Third, the research examines whether the praxis of Pokémon Go might enable new forms of sociability to emerge that extend beyond earlier HRGs.

The main purpose of this study is to analyze the effects of using Pokémon GO for 10 weeks on the cognitive performance (memory, selective attention, concentration, and creative imagination) and emotional intelligence (well-being, self-control, emotionality, and sociability) of Taiwanese primary students in the fifth and sixth grade. A mixed experimental design was used, with a control group (CG; n = 62) that did not use Pokémon GO, and an experimental group ( n = 61) that used Pokémon GO for 10 weeks. Confounders were age, sex, education level of the family, number of computers in the home, daily study time, and Internet access. The results showed that the players spent about 40 minutes/day on this game during this period. Boys played more and won more points in the game than girls. Compared against their peers, the players playing Pokémon GO showed a significant increase in their selective attention ( p = .025), concentration levels ( p = .004), creative imagination ( p < .001), emotionality ( p = .001), and sociability levels ( p = .005) but not memory, well-being, or self-control (all p > .05). It is concluded that Pokémon GO, in a playful way, could positively affect their cognitive performance (selective attention, concentration levels, and creative imagination) and improve their social relationships. However, if future researchers would like to ascertain whether Pokémon GO is a useful viable cognitive and social approach or not, more randomized controlled trial studies will be needed to compare Pokémon GO with traditional teaching approaches and educational methods.

We compare here some features of the emerging uses of Pokémon GO with earlier, though less successful, location-aware collection games such as Mogi. While mobility patterns are relatively similar, Pokémon GO brings about a distinctive augmented-reality dimension to the game experience, though it does not harness the social networking power of such location-aware game platforms to the same extent as earlier games.

Even while digital games are played by millions, game cultures have remained in the margins of public life, to a certain degree. Pokémon GO is part of a new wave of phenomena that are about to change that situation. As a location-based game, it encourages people to play digital games out in the open, visiting public places. The ludic mindset and playful practices first developed while interacting with Pokémon GO may provide a basis for more complex skill sets and cultural practices that will be needed in broader cultural ludification developments, and for the next steps of entering the Ludic Society. The phenomenal success of Pokémon GO also highlights the importance of the meaningfully implemented links between technology, gaming content, and culture.

This piece provides an explanation to the early success of Pokémon GO. It proposes an argument about how this game exemplifies a computational culture of play. By drawing on philosophy of technology (Floridi, 2013) and game design research (Montola, Stenros, & Waern, 2009), this article argues that the success of Pokémon GO is the result of the development of a play experience and a computational interface for a reality that is already augmented. These interfaces open new possibilities for digital play in public, but they also raise concerns regarding corporate appropriation of public spaces.

Purpose The purpose of this study is to examine the aspects of the Pokémon GO game that influenced travelers to use the app, and to pinpoint aspects of the mobile augmented reality (MAR) game that can memorably engage with them like a travel guide and influence individual traveler experience during and after usage. This current study specifically focused on examining the behavioral intentions to use the MAR app as a travel guide in the future. Design/methodology/approach Descriptive methods were used, with a target population for this study consisting of smartphone users who had downloaded Pokémon GO and had played the game. An exponential non-discriminative sample, snowball sampling method, was chosen by selecting a group of respondents who have played the game and using those to help identify other respondents in the target population who have played the game. A 15-item survey instrument drawing from industry insights and academic literature was created for the purpose of the study. Findings The number of downloads, length of usage and frequency of game play declined between the months of July and September. However, a 71 per cent majority of surveyed respondents still had the app on their smartphone at the time of the study. The Pokémon GO app offered all four realms of experiences – educational, entertainment, esthetic and escapist – and enhanced the overall user experience. This study revealed that a majority (77 per cent) of the respondents would be interested in using Pokémon GO as a travel guide. Furthermore, a majority (73 per cent) of respondents stated that they would be interested in using an MAR game as a travel guide in the future. Research limitations/implications For all its interaction with the real world, Pokémon GO is still just an early version of an MAR app, and does not offer a fully immersive and interactive AR experience. The study used snowball sampling due to its exploratory and may not be able to guarantee the representative nature of the sample. Concerning the research method used, such methods were necessary for a review of an existing MAR app as a travel guide to further fill some gaps in literature. Practical implications This study bridged the gap between theory and practice by offering key insights specifically into customers’ intentions to use the Pokémon GO game or other customized MAR game as a travel guide in the hospitality and tourism industry. Pokémon GO and similar MAR games could potentially change the way destinations are marketed in the tourism industry. This current study pinpointed five exploitable qualities of MAR technology and how hospitality and tourism businesses can use them to tap into this new global and social phenomenon. Social implications Pokémon GO and similar MAR games bring people together. In fact, unlike social media, where users are spending significant amounts of time just browsing without posting or interacting with others, MAR games create face-to-face interactions. MAR games enhance real-life social interaction, which might signify a social media trend back toward real world networking and meeting with friends. Originality/value Since the early 2000s, several qualitative and a few quantitative studies have been done to explore (MAR) applications as a travel guide; however, none of them have reviewed a MAR game app that can be offered as a travel guide. That makes this a pioneer study, investigating an existing MAR app that was not created with this use in mind and examining the intentions to use it as a travel guide.

Around every new media technology debates circle about whether the technology is bringing people socially closer or pushing us further apart. According to popular press accounts, Pokémon GO players are absorbed into a game world on their phone with no attention or interest in the “real” world around them. But coupled with these accounts are stories of people exploring their neighborhoods and of marriage proposals in the midst of Pokémon hunting. This article puts Pokémon GO into a longer context of mobile technologies and sociospatial practice to explore the kinds of social interactions that can emerge around and through the use of Pokémon GO. In particular, the article explores how people can use the platform as both an involvement shield and social catalyst.

None of the elements that contribute to the phenomenon of Pokémon Go are particularly new. Augmented-reality and location-based games, artworks, and marketing campaigns have existed for well over a decade. Meanwhile, the Pokémon franchise of videogames, trading cards, comic books, and anime has existed for more than two. Even the data that Pokémon Go is built from is generated by players of Niantic’s earlier locative game, Ingress. If there is nothing “new” about the phenomenon of Pokémon Go, then what is there to learn from its rapid ascension in the cultural zeitgeist? In this article I maintain that it is the increased ubiquity of the smartphone and its tendency to reconfigure existing media and cultural practices that has allowed the novelty of augmented reality and the nostalgia of Pokémon to converge in a perfect storm of branding, design, preexisting data, and established technologies.

Abstract The purpose of this study is to provide insights into player experiences and motivations in Pokémon Go, a relatively new phenomenon of location-based augmented reality games. With the increasing usage and adoption of various forms of digital games worldwide, investigating the motivations for playing games has become crucial not only for researchers but for game developers, designers, and policy makers. Using an online survey (N = 1190), the study explores the motivational, usage, and privacy concerns variations among age and gender groups of Pokémon Go players. Most of the players, who are likely to be casual gamers, are persuaded toward the game due to nostalgic association and word of mouth. Females play Pokémon Go to fulfill physical exploration and enjoyment gratifications. On the other hand, males seek to accomplish social interactivity, achievement, coolness, and nostalgia gratifications. Compared to females, males are more concerned about the privacy aspects associated with the game. With regard to age, younger players display strong connotation with most of the studied gratifications and the intensity drops significantly with an increase in age. With the increasing use of online and mobile games worldwide among all cohorts of society, the study sets the way for a deeper analysis of motivation factors with respect to age and gender. Understanding motivations for play can provide researchers with the analytic tools to gain insight into the preferences for and effects of game play for different kinds of users.

Most of the discussion about Pokémon Go has focused on the end-user and the playful nature of the game. Experts have mentioned the game’s commercialism, but they have done so mostly by talking about the data collection practices of the app developers. This commentary piece takes a different approach by examining how businesses have used Pokémon Go’s “lures” to attract foot traffic. The main goal of the article is to show how the ludic, digital wayfaring of location-based games can be used by individual places to attract players. While the focus is on business owners, I will also address how game mechanics could also be used to encourage prosocial behaviors such as voting (in noncompulsory voting countries).

All games contain conflict, and all good games have uncertain outcomes. Whether conflict over resources, knowledge, or territory, to name a few types, games challenge players to overcome obstacles in interesting and fun ways. Pokémon Go challenges players to find and capture Pokémon, which requires time, patience, skill, and the freedom to access the game map (i.e., spaces in the real world) to its fullest extent. When players are denied full access, either through a technical glitch in the game—like when a server crashes or when networks become unavailable—or through real or imagined threats of violence or harassment, the game becomes inherently unfair. How might we make sense of issues of accessibility, privilege, and race raised by the game? When players say “I might die if I keep playing” (Akil, 2016), what might we learn about the limits of mobility and the ways in which pervasive play comes to be embedded in society?

This special commentary for Mobile Media & Communication seeks to put these divisive debates in context. Through the lens of Pokémon GO, we can understand and critically interpret a variety of issues involved in the politics and practice of playful mobile media. These issues move across debates around location-aware technologies in constructions of privacy (Coldewey, 2016; Cunningham, 2016), risk and surveillance (Machkovech, 2016; Mishra, 2016) to the role of mobile media in commodifying (Evangelho, 2016) and expanding the social, cultural, and creative dimensions of play (Isbister, 2016; Mäyrä, 2012). As the mobile media and game theorists in this commentary highlight, the game sits at the nexus of several technological and cultural trajectories: the playful turn; the ubiquity of location-based and haptic mobile media (and apps and games); innovative game design; the effects of digital mapping technologies; the intertwining of performative media games and art; our individual and collective memories of playworlds and transmedia universes; the increasing importance of issues concerning privacy and risk in public spaces; the ongoing augmentation of place and space; and the politics embedded in this hybrid experience of the lifeworld.

The free-to-play mobile game Pokémon GO’s (PGO) use of real-world mapping encourages play in public spaces, opening up the possibility of greater engagement with other players, local communities, and surrounds. This study conducted a series of interviews ( N = 15) and collected online social forum reports of gameplay ( N = 880), in order to determine what the social outcomes of play may be and what mechanisms might be facilitating the social connectedness. Thematic analysis revealed that playing PGO produced a sense of belonging, linked to a sense of place, as well as facilitating conversations with strangers and strengthening social ties. This was due to the use of accessible technology able to be integrated into daily routines, shared passion for the game, and mechanics that encouraged players out of their homes. “Shared passion” was tied to the nostalgic connection many players felt for the franchise. This study shows how gameplay can build social connectedness through real-world engagement.

In July 2016, Niantic Labs released the hybrid/augmented reality game Pokémon Go. Due to the game’s sudden enormous success, many mobile phone users all over the world could experience for the first time playing a hybrid reality game. Hybrid reality games, however, are not new. For at least 15 years, researchers and artists experiment with the affordances of location-based mobile technology to create playful experiences that take place across physical and digital (i.e., hybrid) spaces. Blast Theory’s Can You See Me Now?, developed in 2001, is one of the first examples. Yet for a long time, these games remained in the domain of art and research, and had therefore a very limited player community. Previous research has identified three design characteristics of hybrid reality games: mobility, sociability, and spatiality; and three main aspects to analyze these games: the connection between play and ordinary life, the relevance of the play community, and surveillance. With hybrid reality games’ commercialization and popularity, some of the issues that have been at the core of these games for over a decade will remain the same, while other aspects will change. This paper uses Pokémon Go as an example of a hybrid/augmented reality game to explore the main social and spatial issues that arise when these games become mainstream, including mobility, sociability, spatiality, and surveillance.

Purpose As mobile augmented reality (AR) games enter the maturity stage, understanding how to improve players’ continuance use intention with mobile AR games is critical. Drawing upon the uses and gratifications (U&G) theory, the purpose of this paper is to investigate the effects of four major gratifications – content, process, social and technology – and other factors on continuance intention to play mobile AR games. Design/methodology/approach Data collected from 280 Pokémon Go players were used to address research questions. Partial least squares method was employed to assess the relationships in the model and multigroup analysis was conducted based on survey participants’ demographics and their gaming experience. Findings Content gratification (i.e. catching Pokémon), process gratification (i.e. entertainment), game knowledge and achievement drive players’ continuance use intention. However, social and technology gratifications do not influence players’ continuance use intention. Multigroup analysis suggests that mobile AR game developers should capitalize on the fact that different types of gratifications prompt continuance use intention of different user segments in terms of demographics and experience in general mobile games and Pokémon Go. Originality/value The user behavior of mobile AR games has been studied at the early stage of the games, with less attention to variable continuance use intentions across different user segments. This paper attempts to fill the gap by extending the U&G theory to continuance use intention of mobile AR games at the maturity stage and further investigating the importance of player heterogeneity in continuance use intention with mobile AR games. The findings of this study contribute to the literature on U&G, continuance use intention and mobile AR games.

Purpose The purpose of this paper is to identify the determinants of players’ continuance intentions to play Pokémon GO (PG) and ultimately make in-app purchases, mainly from the perspectives of psychological, social and gaming motivational factors. Design/methodology/approach The research model was empirically assessed based on 362 validated responses from current players of PG in Malaysia. Analysis was carried out using the partial least squares path modeling method. Findings The results indicated that enjoyment, network externalities, community involvement and the need-to-collect significantly influence players’ continuance intention. Furthermore, the findings reveal that flow and nostalgia have indirect effects on players’ continuance intention, which in turn significantly influences their purchase intention. Originality/value This study provides empirical support for an integrated model for understanding the antecedents of the players’ behavioral intentions that incorporates psychological, social and gaming motivational factors in the context of an augmented reality mobile game.

With the exception of Pokémon Go, relatively little is known about other Mobile Augmented Reality (MAR) games, and the attitudes of middle-aged and elderly adults towards them are hitherto poorly examined. The aim of this research is to examine the opinions of young, middle-aged, and elderly adults about the location-based MAR game Ingress. The responses to questions related to Ingress were collected from 24 adult players aged 20–60 from Greece and subsequently were analyzed by means of content analysis, both qualitatively and quantitatively, using the Jaccard index of similarity. Our findings showed that opinions of young people (20–35) agree more with those of elderly adults (>52) than with those of the intermediate age group of 36–51. It was also revealed that knowledge of geography facilitates the ability to play the game better, the game’s scenario is very interesting to adults, and the feeling of playing locally in a global game is also appreciated by all age groups. Along with these findings, with this research, it was shown that (a) content analysis is a valuable method for exploring opinions and attitudes of adult users towards MAR games and (b) Jaccard indices can be used to quantitatively explore themes emerging from content analysis.

Introduction: A 12-year-old boy – all him Lucas – is in the middle of a boss fight. This is a challenging test, in which he must beat an enemy harder than any he has encountered before. Through hours and hours of play, he has prepared for this moment. Now, he must combine and apply all of his skills to perform at his very best. If you were to try to speak to him, he would probably be so immersed in the game world that he would not even notice you. Tomorrow at school, however, he will tell his friends how he beat the boss and advanced in the game. He will be considered one of the experts within his peer group. He and his friends will then spend their breaks discussing strategies for the game, perhaps looking up YouTube videos of their favorite Internet celebrities playing the game. If it is anything like I was at that age, he will probably be thinking more on that day about the game than about the lesson his teacher has prepared about European Explorers. His teacher – call her Sally – notices this. She also knows that Lucas is not a special case; after all, most kids of his age in Norway regularly play digital games (Medietilsynet 2018). Sally would like to know if it is possible to design learning activities for her students in a way that connects the learning to what matters to them, making the topics they cover in class seem more relevant. At the same time, she wonders what it is about these computer games that enables an 11-year-old to remember hundreds of Pokémon, as well as details about how they evolve, their strengths, and where to find them (Gee 2005), while they struggle to put letters together correctly or to remember where to place Italy on a map. Perhaps, she thinks, games involve some learning principles that could be utilized when designing her lessons?

Augmented reality (AR)–based applications have been growing in prominence. Pokémon Go, one of the most popular AR game applications, has been engaging in strategic partnership with businesses. The game combines geospatial elements with gamification practices to incentivize user movement in the physical world. In this study, we examine the value of such strategic partnerships between Pokémon Go and associated businesses. Specifically, we use data of the online reviews for a firm to study consumer engagement and consumer perception after the release of the game on its associated businesses. We find that restaurants associated with Pokémon Go do indeed enjoy a higher level of consumer engagement and more positive consumer perception. We also find that characteristics of the business significantly moderate this impact overall. Using a parsimonious analytical model, we also demonstrate the mechanism behind these results. Our study provides insights into consumer economic behavior in the context of AR applications. We further inform the business owners and policymakers regarding the potential value of such strategic business partnerships with such applications.

AbstractThis study presents the issues why gamers prefer mobility-augmented reality games to other types of game and what specific characteristics cause them to invest a large amount of their time on tireless game-play. Furthermore, the appeal of mobility-augmented reality games was studied to solve the above mentioned issues. Then, how human–computer interaction based on mobility-augmented reality games was promoted to create a new marketing mode was explored. Then, Pokémon GO, as the worldwide major mobility-augmented reality game, was selected as the research target in this study. The researcher interviewed 9 experts, collected 235 Knasei words from 33 articles, and surveyed 335 gamers through a questionnaire to collect the data about users’ preferences. A preference-based study was believed to disclose the motivated reasons for the appeal of mobility-augmented reality games. The researcher analyzed the gathered Kansei concepts and questionnaires using the two-stage procedures, including evaluation grid method (EGM) and Quantification Theory Type I. During the first stage the hierarchy of the relationship among the types of appeal factors, the reasons for users’ preferences, and the explicit design characteristics of Pokémon GO present the semantic structure of appeal and were determined using EGM through the accumulation of the review of articles and the interviews of experts. During the second stage the strongest two original evaluation items of Pokémon GO are determined as “social interaction” and “scenario interaction” based on the statistical analysis of Quantification Theory Type I, and their corresponding “upper-level” and “lower-level” considerations are proved to have influence on them. Finally, the paper found that the popularity of Pokémon GO can be ascribed to the design of the innovative models of game interaction, which targets the psychological preferences of gamers. This means that the interaction model between a customer and an enterprise can be developed outside the box and a new type of marketing can be formed. The study proved that the innovative models of interaction successfully drove gamers’ motivations to play Pokémon GO. Designers and researchers of mobility-augmented reality games can absorb important information through this study. This study enriches the field of mobile communication, online marketing, and human–computer interaction in cyberspace.

This paper explores how the playing of Pokémon Go can cause power to be assembled, and team-based expressions of territoriality to manifest. By playing the game, players become embedded within digital assemblages of power, which they reproduce through their interactions with other players, game features, and public spaces. When digital assets—such as gyms—are indexed to public spaces, players work together in teams to compete for digital ownership, and control, of these assets. In turn, this leads to the forging of a team-based sense of territoriality that is pervasive, and maximized by consolidating the power of the assemblage. Qualitative data are presented to empirically explore how playing Pokémon Go in Singapore can encourage players to forge a team-based sense of territoriality, which in turn results in the (dis)assembling of power. To conclude, I call for closer consideration of the implications of digital assemblages of power for everyday life.

As one of the more visible manifestations of the boom in new media, computer games have attracted a great deal of attention, both from the popular press, and from academics. In the case of the former, much of this coverage has focussed on the perceived danger games pose to the young mind, whether that danger be physical (in terms of bodily atrophy due to inactivity) or social (in terms of anti-social and even violent behaviour, caused by exposure to specific types of content). The massacre at Columbine High School in the United States seems to have further fuelled these fears, with several stories focusing on the fact that the killers were both players of violent video games (Dickinson 1999; Hansen 1999). These concerns have also found their way into political circles, promoting a seemingly endless cycle of inquiries and reports (for example, see Durkin 1995; Durkin and Aisbett 1999). Academic discourse on the subject has, perhaps somewhat surprisingly, tended to adopt a similar line, tracing out a return to the dark days of media effects theory. This is especially true of those studies that focus on the psychological aspects of computer game usage. For example, Scott (1995) conducted a study specifically aimed at investigating "to what extent, if any, aggressive computer game playing would have on individuals of different personality composition, and in which particular aspects of aggressiveness this might be experienced" (Scott 1995, 122). Similarly, Ballard (1999) examined the relationship between gender and violent computer games arguing that the level of violence depicted in a game directly affects the interaction between players of different genders. Almost without exception, these studies come from the experimental tradition of media research, often employing laboratory experiments in order to test their hypotheses. As the problems with this methodology have been covered extensively elsewhere (for example, see Hall 1982; Murdock and Golding 1977; Lowery and DeFleur 1983) I will not go into detail here, except to point out that most experimental research underestimates the importance of physical context in media use. Other studies have attempted to approach the subject from a more qualitative perspective, often utilising theories derived from post-structuralism to examine the construction of identity in games. For example, Alloway and Gilbert (1998) explore relationship between computer games and notions of masculinity, arguing that simplistic notions of effects dramatically underestimate the sophistication of the readers. Similarly, Beavis (1998) argues that it is necessary to more fully explore the relationship between games players and games before engaging in debates about the social benefits or dangers of the medium. According to Beavis: Other studies have attempted to approach the subject from a more qualitative perspective, often utilising theories derived from post-structuralism to examine the construction of identity in games. For example, Alloway and Gilbert (1998) explore relationship between computer games and notions of masculinity, arguing that simplistic notions of effects dramatically underestimate the sophistication of the readers. Similarly, Beavis (1998) argues that it is necessary to more fully explore the relationship between games players and games before engaging in debates about the social benefits or dangers of the medium. According to Beavis: However, while arguments like that of Beavis clearly take the debate in another direction, in many cases the writers find themselves mired in the same ideological paradigm as the effects theorists. While stressing the need for a more nuanced conceptualisation of the game-player relationship, Beavis also implies that games are potentially destructive, stating that "young people need to be helped to critique and resist the subject positions and ideologies of video games" (Beavis, 1998). In response, the games industry itself has launched several attacks on the academic community, many of which, ironically, are framed in the kind of aggressive terminology the researchers are themselves concerned about. For example, Green argues, But for a group of academics to draw sweeping conclusions about an industry they are so obviously clueless about, based on a ludicrous, half-assed experiment that sounds like something out of a Simpsons episode, adds absolutely nothing to the discussion. (136) While it could be argued that Green's "from the hip" response itself adds little to the dialogue, it does serve to highlight one of the more surprising aspects of the computer games debate. As Green asserts, it is apparent that many of the scholars conducting research into computer games seem to know very little about the subject they are studying, a situation analogous to television researchers watching only cinematic films. Indeed, given the descriptions some researchers give of particular games, it is doubtful that they have actually played the game themselves, raising questions about the extent to which they are authorities in the area. This paper is, at least in part, aimed at rectifying this situation, by providing some broad commentary on the specific characteristics of the game medium. For the sake of convenience, I will be focussing mainly on games available on home consoles such as the Sony Playstation, and will restrict my argument to single-player games. Computer games are clearly a distinct form of media; while many are played through established technology like televisions and computers, there would seem to be something intrinsically different about their mode of address. This is primarily a function of their interactivity; unlike most forms of media, computer games respond to direct input from their audience. However, at the same time, games also display characteristics that are, at least superficially, similar to existing media forms. While games are often categorised according to the type of action required of the player (eg shooting, driving, puzzle-solving etc), they can also readily be categorised into the same genres used for other entertainment media such as films and video cassettes. Games can be based on sports, action, drama, comedy and even music, although admittedly the broad category of "simulation" game has no direct counterpart in film and video, except, perhaps philosophically, for documentary. Film and television genres are traditionally defined in terms of a set of key textual characteristics, with iconography, setting and narrative being perhaps the most obvious. Applying these notions to computer games it soon becomes clear why the generic classifications used for other media have been so easily adapted to the new medium. For example, the iconography of an action film like Face Off (explosions, guns, corpses etc) can all be found in an action game such as Syphon Filter. Similarly, the settings of horror films like I Know What You Did Last Summer (old houses, dark alleys etc) are all faithfully reproduced in horror games like Resident Evil. These correlations are true of most filmic genres and computer games, to such an extent that there is a growing trend in crossover production of "game of the film" (eg. Tomorrow Never Dies, Die Hard, Independence Day) and "film of the game" (Pokémon, Mortal Kombat) texts. When we turn our attention to narrative, however, the situation becomes somewhat more complex. Like films and television programs, games usually have definite beginning and end points, but what happens between these points seems, at least superficially, to be dramatically different. Regardless of their genre, films and television programs are self-propelling entities; the actions of the characters drive the narrative forward toward some kind of resolution. In the case of a television series, this resolution might only be partial, but at the end of the program's duration there is still some kind of finality to the narrative process, albeit temporary. Games, on the other hand, are designed for extended and often repeated playing, and as such necessarily resist narrative closure, and therefore have to provide pleasure for the player in other ways. In some cases, games adopt a strategy that is similar in many ways to episodic television; the game is divided in into several "sub-games", with overall narrative resolution only being achieved through the successful completion of the sub-games. A good example of this is Dreamworks' Medal of Honor, a first-person action game set is World War Two. In order to complete the game, players must successfully carry out a series of missions, which are themselves divided into several tasks. In keeping with the action orientation of the genre, these tasks usually involve destroying some piece of military equipment, and players are rewarded based upon their proficiency in carrying them out. What is especially interesting about games like Medal of Honor is their ability to create an illusion of narrative freedom; players can effectively dictate the course the narrative takes depending on how they perform certain tasks. Resident Evil and its sequels take this concept one step further, creating a virtual gaming environment in which the player is seemingly free to go wherever they want. However, while the players are free to dictate the narrative flow at the level of what I have termed the sub-game, completion of the overall game (and therefore narrative closure) requires the player to follow a rigidly pre-established path through the game's levels. Players could in theory spend days wandering the desolate landscape of Resident Evil 2, but they just wouldn't get anywhere. Other genres of game present different problems in terms of narrative progression, and indeed some would argue that certain games progress without possessing a narrative at all. Racing games are the most obvious example of this; driving around the same track for up to 80 laps does not constitute a narrative as it is traditionally conceptualised. However, racing games are increasingly adopting narrative conventions in order to deepen the gaming experience. Formula One 99, for example, allows the player to take the place of any of the drivers from the 1999 Formula One season, accruing points depending on finishing position in the same way as the real championship. In this context, each race operates as a sub-game, and the successful completion of each race allows the game as a whole to be completed. A slightly different take on the idea of a racing narrative is taken by Gran Turismo, a game that quickly became the most successful title from Sony's Polyphony Digital. Over the traditional racing format, Polyphony superimposed a narrative based on the game's own fictional economy. Players begin the game with enough credits to purchase a low-performance vehicle, which can then be upgraded as players win races and earn enough credits to afford the necessary parts. In this way, Gran Turismo generates a narrative that is described by the player's quest to constantly purchase faster and better cars, a narrative which, given the game's 400-car menu, can take months to reach its conclusion. One aspect of computer game narratives that has surprisingly received little attention to this point is the introductory video: the short animated sequence used to set the scene for the game that follows. Typically, these sequences are created entirely from computer generated images, and in terms of genre, perform a similar function to film trailers. As well as introducing the main characters, introductory videos inform the player about the type of game they're about to play, whether it be a racing game like Gran Turismo or a sports simulation like Cricket 2000. More importantly, introductory videos also work to discursively position the player within the narrative, providing them with information about the subject positions they are permitted to assume. For fighting-based action games like Tekken and its sequels, the introductory video provides information about all the characters in the game, telling the player that they can assume any one of the multiple identities the game offers. Other games, like Medal of Honor, are much more restrictive in terms of their subject possibilities, allowing the player to adopt only one role in the single-player version. In fact, the introductory video for Medal of Honor explicitly positions the player in a very narrowly-defined role, using a first person voice over to instruct the player that they will be acting as a particular American soldier, "Jimmy Patterson". However, even games that offer very limited latitude in terms of subject positioning can still be open to radical interpretation. The very interactivity that differentiates games from other forms of audio-visual media means that players can actively "read against" the narrative provided for them, driving the game toward new (but still inherently limited) conclusions. For example, players of Medal of Honor can attempt to achieve the game's goals through stealth rather than violence, a tactic which, interestingly, always results in a lower score. Similarly, players of some racing games can usurp the game's internal logic, substituting the goal of a race win with one of vehicular destruction. The key here is that pleasure seems to be derived through a complex relationship between the player-driven narrative and the narrative imposed by the game engine. This notion of the "resistant" reading of game narratives serves to demonstrate that the relationship between the player and game text is more complex than it at first appears; certainly it is more complex than simple media effects studies imply. 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Formula One 99. Sony Playstation Game. Psygnosis, 1999. Gran Turismo. Sony Playstation Game. Polyphony Digital, 1999. I Know What You Did Last Summer. Film. Sony Pictures, 1997. Independence Day. Sony Playstation Game. Fox Interactive, 1998. Mortal Kombat. New Line Pictures, 1995. Pokémon. Film. Warner Brothers, 1999. Resident Evil. Sony Playstation Game. Capcom, 1997. Resident Evil 2. Sony Playstation Game. Capcom, 1998. Syphon Filter. Sony Playstation Game. Sony Interactive, 1999. Tekken. Sony Playstation Game. Namco, 1997. Tomorrow Never Dies. Sony Playstation Game. Electronic Arts, 1999. Citation reference for this article MLA style: Mark Finn. "Computer Games and Narrative Progression." M/C: A Journal of Media and Culture 3.5 (2000). [your date of access] <http://www.api-network.com/mc/0010/narrative.php>. Chicago style: Mark Finn, "Computer Games and Narrative Progression," M/C: A Journal of Media and Culture 3, no. 5 (2000), <http://www.api-network.com/mc/0010/narrative.php> ([your date of access]). APA style: Mark Finn. (2000) Computer games and narrative progression. M/C: A Journal of Media and Culture 3(5). <http://www.api-network.com/mc/0010/narrative.php> ([your date of access]).