Academic literature on the topic 'Video game fiction'
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Journal articles on the topic "Video game fiction"
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Maza, Antonio José Planells de la. "The expressive power of the Possible Worlds Theory in video games: when narratives become interactive and fictional spaces." Comunicação e Sociedade 27 (June 29, 2015): 289–302. http://dx.doi.org/10.17231/comsoc.27(2015).2102.
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The philosophical concept of possible worlds (Lenzen, 2004; Lewis, 1986) has been used in literary studies and narratology (Dolezel, 1998; Eco, 1979) to define the way in which we conceive different narrative possibilities inside the fictional world. In Game Studies, some authors have used this concept to explore the relationship between game design and game experience (Kücklich, 2003; Maietti, 2004; Ryan, 2006), while Jesper Juul (2005) has studied the fictional world evoked by the connection between rules and fiction. In this paper we propose a new approach to video games as ludofictional worlds - a set of possible worlds which generates a game space based on the relationship between fiction and game rules. In accordance with the concepts of minimal departure (Ryan, 1991) and indexical term (Lewis, 1986), the position of the player character determines his/her actual world and the next possible or necessary world. Lastly, we use this model to analyse the video game The Elder Scrolls V: Skyrim and show that the possible worlds perspective provides a useful, flexible and modular framework for describing the internal connections between ludofictional worlds and the interactive nature of playable game spaces.
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Bissell, Blake, Mo Morris, Emily Shaffer, Michael Tetzlaff, and Seth Berrier. "Vessel: A Cultural Heritage Game for Entertainment." Archiving Conference 2021, no. 1 (June 18, 2021): 1–6. http://dx.doi.org/10.2352/issn.2168-3204.2021.1.0.2.
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Museums are digitizing their collections of 3D objects. Video games provide the technology to interact with these objects, but the educational goals of a museum are often at odds with the creative forces in a traditional game for entertainment. Efforts to bridge this gap have either settled on serious games with diminished entertainment value or have relied on historical fictions that blur the line between reality and fantasy. The Vessel project is a 3D game designed around puzzle mechanics that remains a game for entertainment while realizing the benefits of incorporating digitized artifacts from a museum. We explore how the critical thinking present in solving puzzles can still encourage engagement of the story the artifacts have to tell without creating an historical fiction. Preliminary results show a preference for our in-game digital interaction over a traditional gallery and a desire to learn more about the artifacts after playing.
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Steinkuehler, Constance. "Massively Multiplayer Online Gaming as a Constellation of Literacy Practices." E-Learning and Digital Media 4, no. 3 (September 2007): 297–318. http://dx.doi.org/10.2304/elea.2007.4.3.297.
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The claim that video games are replacing literacy activities that is bandied about in the American mainstream press is based not only on unspecified definitions of both ‘games' and ‘literacy’ but also on a surprising lack of research on what children actually do when they play video games. In this article, the author examines some of the practices that comprise game play in the context of one genre of video games in particular — massively multiplayer online games (MMOGs). Based on data culled from a two-year online cognitive ethnography of the MMOG Lineage (both I and II), the author argues that forms of video game play such as those entailed in MMOGs are not replacing literacy activities but rather are literacy activities. In order to make this argument, the author surveys the literacy practices that MMOGamers routinely participate in, both within the game's virtual world (e.g. social interaction, in-game letters) and beyond (e.g. online game forums, the creation of fan sites and fan fiction). Then, with this argument in place, she attempts to historicize this popular contempt toward electronic ‘pop culture’ media such as video games and suggest a potentially more productive (and accurate) framing of the literacy practices of today's generation of adolescents and young adults.
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Jatmiko, Rahmawan. "Fictional Characters’ Heroism in Assassin’s Creed III Video Game in the Perception of Indonesian Video Gamers." NOBEL: Journal of Literature and Language Teaching 8, no. 1 (April 3, 2017): 35–48. http://dx.doi.org/10.15642/nobel.2017.8.1.35-48.
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Assassin’s Creed is a historical fiction video game developed and published by Ubisoft. This video game has been so far considered as one of the most violent video games. Assassin’s Creed III is the third sequel of which plot is set in a fictional history of real world events and follows the centuries-old conflict between the Assassins and the Templars. Based on this study, the plot, characters, characterization, and scenes in Assassin’s Creed III are deemed to be able to give positive teachings to the young generation, despite the fact that there are violent and sadistic scenes in the story. Haytham Kenway, who is “evil” protagonist in Assassin’s Creed Forsaken, is portrayed as an expert in using weapons, since he was kid. Separated from his family, Kenway was taken by mysterious mentor, who trained him to be the most deadly killer. Comparisons with classic characters such as Oedipus, Hamlet, or Indonesian legendary character Sangkuriang are intentionally made to sharpen the analysis. The finding of this study is that heroic value might be found in either protagonist or antagonistic characters, whose roles involved numerous violent actions. Comments from the official website and social media which claim that Assassin’s Creed has brought negative impacts on the consumers might not be totally true.
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Falkenhayner, Nicole. "Futurity as an Effect of Playing Horizon: Zero Dawn (2017)." Humanities 10, no. 2 (April 27, 2021): 72. http://dx.doi.org/10.3390/h10020072.
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Futurity denotes the quality or state of being in the future. This article explores futurity as an effect of response, as an aesthetic experience of playing a narrative video game. In recent years, there has been a growing interest in the ways in which video games are engaged in ecocriticism as an aspect of cultural work invested in the future. In the presented reading of the 2017 video game Horizon: Zero Dawn, it is argued that the combination of the affect creating process of play, in combination with a posthumanist and postnatural plot, creates an experience of futurity, which challenges generic notions of linear temporal progress and of the conventional telos of dystopian fiction in a digital medium. The experience of the narrative video game Horizon Zero Dawn is presented as an example of an aesthetic experience that affords futurity as an effect of playing, interlinked with a reflection on the shape of the future in a posthumanist narrative.
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Haggis, Mata. "Creator’s discussion of the growing focus on, and potential of, storytelling in video game design." Persona Studies 2, no. 1 (May 17, 2016): 20–25. http://dx.doi.org/10.21153/ps2016vol2no1art532.
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The video game industry, by its wider reputation, is not commonly regarded for its deep and thoughtful experiences. In its common media presence it is represented as frequently dealing with content that is excessively violent and usually expressing themes and genres that are otherworldly: science-fiction, horror, or fantasy. However, the broad reputation of video games’ reputation is not wholly deserved, partly due to an arthouse-esque movement growing rapidly alongside the larger, traditional releases. In the last decade, and five years especially, there have been an increasing number of games which tell personal stories that are either inspired by life or that are autobiographical and that defy that broader reputation. These games are often highly concerned with creating vivid and believable characters, telling personal stories, or conveying emotional experiences using interaction to enhance the narrative. This article discusses some of the key titles in this area, the debates in video game culture surrounding them, and some of the choices made in the development of the author's own narrative game experience 'Fragments of Him'.
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Guttenbrunner, Mark, Christoph Becker, and Andreas Rauber. "Keeping the Game Alive: Evaluating Strategies for the Preservation of Console Video Games." International Journal of Digital Curation 5, no. 1 (June 22, 2010): 64–90. http://dx.doi.org/10.2218/ijdc.v5i1.144.
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Interactive fiction and video games are part of our cultural heritage. As original systems cease to work because of hardware and media failures, methods to preserve obsolete video games for future generations have to be developed. The public interest in early video games is high, as exhibitions, regular magazines on the topic and newspaper articles demonstrate. Moreover, games considered to be classic are rereleased for new generations of gaming hardware. However, with the rapid development of new computer systems, the way games look and are played changes constantly. When trying to preserve console video games one faces problems of classified development documentation, legal aspects and extracting the contents from original media like cartridges with special hardware. Furthermore, special controllers and non-digital items are used to extend the gaming experience making it difficult to preserve the look and feel of console video games.This paper discusses strategies for the digital preservation of console video games. After a short overview of console video game systems, there follows an introduction to digital preservation and related work in common strategies for digital preservation and preserving interactive art. Then different preservation strategies are described with a specific focus on emulation. Finally a case study on console video game preservation is shown which uses the Planets preservation planning approach for evaluating preservation strategies in a documented decision-making process. Experiments are carried out to compare different emulators as well as other approaches, first for a single console video game system, then for different console systems of the same era and finally for systems of all eras. Comparison and discussion of results show that, while emulation works very well in principle for early console video games, various problems exist for the general use as a digital preservation alternative. We show what future work has to be done to tackle these problems.
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Galanina, Ekaterina V., and Elena O. Samoylova. "“GAME-RELATED PHENOMENA” AS MODERN MYTHMAKING." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 40 (2020): 5–19. http://dx.doi.org/10.17223/22220836/40/1.
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The relevance of the subject “game-related phenomena” is associated with the increasing importance of new cultural phenomena in modern culture (cosplay, let’s play, video blogging, fan art, fan fiction), which nonetheless rarely become the subject of cultural and philosophical reflection. We suggest exploring “game-related phenomena” from the standpoint of modern mythmaking. The concept of “game-related phenomena” is proposed to denote a number of sociocultural phenomena related to video games, but which are not their immediate part (cosplay, let’s play, fan fiction, fan art, e-sports, etc.). The object of this research are cosplay and let’s play. The purpose of the article is to analyze these cultural practices as forms of modern mythmaking manifestation. It should be noted that there are very few works devoted to the study of “game-related phenomena” through the perspective of modern mythological consciousness. Cosplay is a specific practice of creating and wearing a costume that allows fans reconstruct the image of a fictional character in popular culture. In this work we highlighted the main approaches to the study of cosplay: cosplay as (1) a way of constructing an identity; (2) a form of escapism; (3) a mass culture phenomenon; (4) a subculture. We have also presented a critical reflection on a number of existing approaches. Let’s play is a video created by users in the process of walking through a particular video game, combining gameplay and commenting it. Main results of the research. Firstly, we have proven the imaginative nature of cosplay. A cosplayer is an active participant in the creative reality transformation and myth construction. A cosplayer appropriates cultural texts and images, creatively processes them, creating one’s own myth on their basis, which attracts the audience. Secondly, we have revealed mythological identification of a reality image and reality itself, as well as the work of the mystical participation. Mythological images created by a cosplayer are thought of as quite real, one can quite feasibly interact with them. The image depicted by a cosplayer is at the same time the original, which introduces him/her and the audience to something larger, for example, to the fictional world, to the fandom, etc. Mythological images and meanings constructed in the framework of cosplay have a sacred meaning. Thirdly, we have shown the interconnections of cosplay with archaic mysteries, carnival performances, medieval theatrical performances that transmitted the sacred into the real world. The cosplay phenomenon itself, in our opinion, is rooted in archaic ritualized practices within which the mythological narrative attained its being. However, unlike archaic mysteries, cosplay is more eclectic and kaleidoscopic in terms of constructing images with different semantic and symbolic content. Fourthly, we can interpret the let’s play as online storytelling. Like a myth narrator, a let’s player narrates on one’s own behalf, constructing one’s own story not based on the original source. Let’s play from the standpoint of studying forms of modern mythmaking appears before us as a space of imagination, creativity, and playing with the original source. A let’s player makes secondary marking of video game elements, building on new meanings and meanings based on them, which allows you give new meanings to original narratives. So, we have come to the conclusion that such “game-related phenomena” such as cosplay and let’s play can be considered as forms of modern mythmaking.
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Novikov, Vasily N. "Aesthetics of Interactivity: Between Game and Film. To Watch or to Play?" Journal of Flm Arts and Film Studies 10, no. 1 (March 15, 2018): 54–63. http://dx.doi.org/10.17816/vgik10154-63.
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Abstract: According to recent research, video games are recognized as a new kind of art in the 21st century. Is it possible to distinguish the concepts of "entertainment" and "art" when dealing with this phenomenon? The purpose of this article is to analyze the significance of the game in contemporary society, to characterize the dominant features of "personal management" of a work of art, and to consider the influence of game aesthetics on the language of up-to-date cinema. The digital age, new technologies, computer modeling, and virtual aesthetics modernized the classical thesis of "life as a game" into a new philosophical concept. There are more and more attempts in succession to create a full-fledged virtual reality where a person could feel oneself be an individualized god, commanding over all the processes taking place with the one and ones life. The ultimate goal is the creation of such a global "game world" in which every person would be able to try oneself in any social role or avatar, building relationships with anyone, playing and enjoying it. So this desire for an interactive fusion of game forms with the objective reality that we are accustomed to is forming a rich and multilayered cultural platform nourishing diverse areas of contemporary art. The game industry has gone a long way of its development as a form of art. Nowadays video games and movies imitate each other and combine mixed aesthetic trends - the boundary between the Game and the Film is being increasingly blurred. On the one hand, games tend to the cinema, using professional directing, scriptwriting and cast. On the other hand, mainstream fiction of gaming technologies attracts many filmmakers looking for new artistic forms, concepts and visual mechanics that are interesting and relevant for the contemporary mass audience.
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Basaraba, Nicole. "A communication model for non-fiction interactive digital narratives: A study of cultural heritage websites." Frontiers of Narrative Studies 4, s1 (November 22, 2018): s48—s75. http://dx.doi.org/10.1515/fns-2018-0032.
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AbstractInteractive digital narrative (IDN) is an umbrella term used to encompass the various formats of digital narrative such as hypertext fiction, transmedia stories, and video games. The study of IDNs transverses the disciplines of narratology, game studies, and media studies. The main question this article addresses is how does the digital medium affect narrative in cultural heritage websites? This question is examined by proposing a new communication model that considers the role of digital media — the Creator-Produser Transaction Model — and adapting existing “tools” of narrative analysis into a “narratological toolkit” for the study of non-fiction IDNs. The transaction between creators and produsers and how an IDN narratological toolkit can be applied are exemplified through the analysis of three cultural heritage websites: Open Monuments (“Otwarte Zabytki”), Belgian Refugees of 1914–1919, and Storymap.
Dissertations / Theses on the topic "Video game fiction"
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Rutherford, Kevin J. "Playing/Writing: Connecting Video Games, Learning, and Composition." Miami University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=miami1281125116.
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Stanisic, Biljana. "Fantasy versus Reality: How video game and book genres associate with creative thinking." Thesis, Linnéuniversitetet, Institutionen för psykologi (PSY), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-85441.
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Video games have suffered a negative reputation regarding their influence on children and adolescents, in comparison to its “well-behaved” counterpart, books. Nevertheless, the world of video games is much more diverse than imaginable – from fantasy to reality – and it is possible that different types of video games have different effects on human cognition and behavior. To fill a gap in research, fantasy and non-fantasy genres were the focal point of the correlational study. In this study, we analyze how video game playing habits, video game genre preference, book reading habits and book reading preferences are correlated with creative thinking. Construal level theory explains the importance of psychological distances in enhancing creativity. Fantasy and fiction content, as well as role play, are theorized to be part of creativity due to generation of distance and abstract thinking. Creativity was measured by insight problems and a categorization task. Abstract thinking was also measured by the Behavioral Identification Form. The questionnaire was given out to 154 students during lunch hours at a university in Sweden, throughout the period of March 2019. The results indicated that preference in a genre, whether gaming or literature, did not indicate significant differences in creative thinking. However, the consumption and habit of playing role-play games showed a significant correlation to creativity in comparison to its “rival” – action games. Results showed the same effects for fiction literature versus non-fiction. Theoretical and practical implications for organizations and the workplace are discussed, as well as limitations of the study.
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Jespersdotter, Högman Julia. "Repeating Despite Repulsion: The Freudian Uncanny in Psychological Horror Games." Thesis, Malmö universitet, Malmö högskola, Institutionen för konst, kultur och kommunikation (K3), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-42829.
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This thesis explores the diverse and intricate ways the psychological horror game genre can characterise a narrative by blurring the boundaries of reality and imagination in favour of storytelling. By utilising the Freudian uncanny, four video game fictions are dissected and analysed to perceive whether horror needs a narrative to be engaging and pleasurable. A discussion will also be made if video game fictions should be considered in the literary field or its own, and how it compares to written fiction in terms of interactivity, engagement, and immersion.
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Mérard, Aurélien. "La figure du posthumain : pour une approche transmédiale." Thesis, Bordeaux 3, 2018. http://www.theses.fr/2018BOR30048/document.
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Ce travail s’attache à étudier les figures de la posthumanité en s’appuyant sur un corpus transmédial et transnational et à répondre à deux questions principales : Peut-on, au travers de la figure du posthumain, percer à jour les désirs et les angoisses de l'homme de ce millénaire encore naissant ? Comment l'expérience de pensée posthumaine, mise en mouvement par la fiction, questionne-t-elle la notion même d'humanité ? Dans un premier temps, il met en relief les liens existant entre la posthumanité et ce territoire homogène et récurrent dans le corpus, qu’on nommera à la suite d'Antonio Negri et Michael Hardt, l’Empire. Dans un second temps il s’intéresse à la plasticité du corps et de l’esprit posthumains, à la façon dont leurs multiples avatars se déploient à travers le temps ainsi qu’aux raisons qui sous-tendent cette extrême plasticité. Enfin, dans un dernier mouvement, il s’attelle à montrer que, loin de s’inscrire dans un imaginaire radicalement nouveau, le post-humain procède en fait du réagencement ou de la reconfiguration d’un imaginaire anthropologique déjà bien ancré dans l’inconscient collectifThis work focus on the study of the posthuman figures. It is based on a transmedial and transnational corpus. It seeks to answer two key questions : can we expose, through the posthuman figure, the desires and the anguishes of this still rising millennium’s man ? How the posthuman thought experiment, set into motion by the fiction, challenge the very concept of humanity ? As a first step, this work emphasizes on the links that exist between posthumanity and this homogeneous and reccuring, in our fictions, territory that Antonio Negri and Micharl Hardt call Empire. Then, it’s interested in the plasticity of the posthuman bodies and minds, in the way that their numerous avatars expand through time as well as the reasons that underlie this extreme plasticity. Lastly, he tries to show that the posthuman do not fall into a dramatic new imagination, but that it proceeds, in fact, of the reordering or the reconfiguration of a anthropological imagination already well rooted in the collective unconscious
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Wood, Hannah. "Video game 'Underland', and, thesis 'Playable stories : writing and design methods for negotiating narrative and player agency'." Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/29281.
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Creative Project Abstract: The creative project of this thesis is a script prototype for Underland, a crime drama video game and digital playable story that demonstrates writing and design methods for negotiating narrative and player agency. The story is set in October 2006 and players are investigative psychologists given access to a secure police server and tasked with analysing evidence related to two linked murders that have resulted in the arrest of journalist Silvi Moore. The aim is to uncover what happened and why by analysing Silvi’s flat, calendar of events, emails, texts, photos, voicemail, call log, 999 call, a map of the city of Plymouth and a crime scene. It is a combination of story exploration game and digital epistolary fiction that is structured via an authored fabula and dynamic syuzhet and uses the Internal-Exploratory and Internal-Ontological interactive modes to negotiate narrative and player agency. Its use of this structure and these modes shows how playable stories are uniquely positioned to deliver self-directed and empathetic emotional immersion simultaneously. The story is told in a mixture of enacted, embedded, evoked, environmental and epistolary narrative, the combination of which contributes new knowledge on how writers can use mystery, suspense and dramatic irony in playable stories. The interactive script prototype is accessible at underlandgame.com and is a means to represent how the final game is intended to be experienced by players. Thesis Abstract: This thesis considers writing and design methods for playable stories that negotiate narrative and player agency. By approaching the topic through the lens of creative writing practice, it seeks to fill a gap in the literature related to the execution of interactive and narrative devices as a practitioner. Chapter 1 defines the key terms for understanding the field and surveys the academic and theoretical debate to identify the challenges and opportunities for writers and creators. In this it departs from the dominant vision of the future of digital playable stories as the ‘holodeck,’ a simulated reality players can enter and manipulate and that shapes around them as story protagonists. Building on narratological theory it contributes a new term—the dynamic syuzhet—to express an alternate negotiation of narrative and player agency within current technological realities. Three further terms—the authored fabula, fixed syuzhet and improvised fabula—are also contributed as means to compare and contrast the narrative structures and affordances available to writers of live, digital and live-digital hybrid work. Chapter 2 conducts a qualitative analysis of digital, live and live-digital playable stories, released 2010–2016, and combines this with insights gained from primary interviews with their writers and creators to identify the techniques at work and their implications for narrative and player agency. This analysis contributes new knowledge to writing and design approaches in four interactive modes—Internal-Ontological, Internal-Exploratory, External-Ontological and External-Exploratory—that impact on where players are positioned in the work and how the experiential narrative unfolds. Chapter 3 shows how the knowledge developed through academic research informed the creation of a new playable story, Underland; as well as how the creative practice informed the academic research. Underland provides a means to demonstrate how making players protagonists of the experience, rather than of the story, enables the coupling of self-directed and empathetic emotional immersion in a way uniquely available to digital playable stories. It further shows how this negotiation of narrative and player agency can use a combination of enacted, embedded, evoked, environmental and epistolary narrative to employ dramatic irony in a new way. These findings demonstrate ways playable stories can be written and designed to deliver the ‘traditional’ pleasure of narrative and the ‘newer’ pleasure of player agency without sacrificing either.
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Blake, Greyory. "Good Game." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5377.
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This thesis and its corresponding art installation, Lessons from Ziggy, attempts to deconstruct the variables prevalent within several complex systems, analyze their transformations, and propose a methodology for reasserting the soap box within the display pedestal. In this text, there are several key and specific examples of the transformation of various signifiers (i.e. media-bred fear’s transformation into a political tactic of surveillance, contemporary freneticism’s transformation into complacency, and community’s transformation into nationalism as a state weapon). In this essay, all of these concepts are contextualized within the exponential growth of new technologies. That is to say, all of these semiotic developments must be framed within the post-Internet sphere.
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Burgess, Elizabeth. "Understanding interactive fictions as a continuum : reciprocity in experimental writing, hypertext fiction, and video games." Thesis, University of Manchester, 2015. https://www.research.manchester.ac.uk/portal/en/theses/understanding-interactive-fictions-as-a-continuum-reciprocity-in-experimental-writing-hypertext-fiction-and-video-games(5202be2d-db6d-4791-aa53-004072ffa4a7).html.
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This thesis examines key examples of materially experimental writing (B.S. Johnson’s The Unfortunates, Marc Saporta’s Composition No. 1, and Julio Cortázar’s Hopscotch), hypertext fiction (Geoff Ryman’s 253, in both the online and print versions), and video games (Catherine, L.A. Noire, The Elder Scrolls IV: Oblivion, and Phantasmagoria), and asks what new critical understanding of these ‘interactive’ texts, and their broader significance, can be developed by considering the examples as part of a textual continuum. Chapter one focuses on materially experimental writing as part of the textual continuum that is discussed throughout this thesis. It examines the form, function, and reception of key texts, and unpicks emerging issues surrounding truth and realism, the idea of the ostensibly ‘infinite’ text in relation to multicursality and potentiality, and the significance of the presence of authorial instructions that explain to readers how to interact with the texts. The discussions of chapter two centre on hypertext fiction, and examine the significance of new technologies to the acts of reading and writing. This chapter addresses hypertext fiction as part of the continuum on which materially experimental writing and video games are placed, and explores reciprocal concerns of reader agency, multicursality, and the idea of the ‘naturalness’ of hypertext as a method of reading and writing. Chapter three examines video games as part of the continuum, exploring the relationship between print textuality and digital textuality. This chapter draws together the discussions of reciprocity that are ongoing throughout the thesis, examines the significance of open world gaming environments to player agency, and unpicks the idea of empowerment in players and readers. This chapter concludes with a discussion of possible cultural reasons behind what I argue is the reader’s/player’s desire for a high level of perceived agency. The significance of this thesis, then, lies in how it establishes the existence of several reciprocal concerns in these texts including multicursality/potentiality, realism and the accurate representation of truth and, in particular, player and reader agency, which allow the texts to be placed on a textual continuum. This enables cross-media discussions of the reciprocal concerns raised in the texts, which ultimately reveals the ways in which our experiences with these interactive texts are deeply connected to our anxieties about agency in a cultural context in which individualism is encouraged, but our actual individual agency is highly limited.
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Peyron, David. "La construction sociale d'une sous-culture : l'exemple de la culture geek." Thesis, Lyon 3, 2012. http://www.theses.fr/2012LYO30089.
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Cette étude porte sur la « culture geek » et son émergence en tant que sous-culture et identité culturelle revendiquée en France depuis le milieu des années 2000. En effet, ce mouvement d’abord américain a fait une entrée remarquée dans l’espace public qui incite à s’interroger sur sa réalité sociologique. Les geeks sont abordés ici comme fans de mondes imaginaires fantastiques (science-fiction, fantasy…), passionnés de nouvelles technologies et en tant que public premier et fondateur du processus de convergence culturelle théorisé par Henry Jenkins. La montée en visibilité du phénomène geek est ainsi liée dans cette étude à celle de pratiques médiatiques associées à ce processus (fanfictions, démocratisation des outils numériques, œuvres transmédiatiques et immersives, etc.). Dans ce cadre, le tournant réflexif (vers un sentiment d’appartenance à une identité collective) et la mode médiatique autour de la culture geek ces dernières années trouvent leurs racines dans les moments fondateurs de la convergence culturelle (depuis les pulps fictions et la naissance des comic books jusqu’à la sortie de Star Wars, du Seigneur des anneaux, des premiers jeux de rôles et jeux vidéo). Mais cela doit aussi à la radicalisation récente des croisements médiatiques, des pratiques participatives, de la mondialisation des partages liée aux technologies numériques et au passage des identités prescrites aux identités choisies dans les sociétés contemporaines marquées par l’individualismeThis dissertation is about « geek culture » and the emergence of this subcultural identity in recent years in France. This movement, born in North America, has entered the public sphere in a spectacular way and it encourages us to study its sociological reality. Geeks are seen here as fans of imaginary worlds (science-fiction, fantasy…), new technologies lovers, and as first and original audience of the process of cultural convergence defined by Henry Jenkins. The increasing visibility of the geek phenomenon is connected to many practices associated with this process (fanfictions, wide use of digital technology, transmedia and immersive storytelling, etc.). From this point of view, the reflexive moment (the feeling of being part of a collective identity) and the geek trend are both rooted by the beginnings of cultural convergence (from the pulp fictions, and the birth of comic books, to the release of Star Wars, the Lord of the Rings and the first role-playing or video games). It also has to do with the recent growth of links between media, with the success of participatory culture, the possibility of worldwide share thanks to digital technologies and the shift from preassigned identities to chosen ones in our individualistic society
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Grayson, Neil R. "The Bit - Collected Stories." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555428898931184.
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Dupont, Florian. "Les marqueurs des univers fictifs populaires : outils stratégiques du marketing, de l’économie et de la consommation des fictions audiovisuelles de divertissement (1995-2015)." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA099/document.
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Films, séries télévisées ou jeux vidéo, les fictions audiovisuelles populaires encouragent et alimentent la consommation de produits culturels variés, apparentés instinctivement à un univers fictif, une marque, un genre ou une organisation spécifique. L’analyse de ce réflexe au moment de la réception permet de mettre au jour les mécanismes établissant les liens entre les œuvres, au moyen du concept central de marqueur, élément en apparence anodin dans la fiction mais fondant une allusion compréhensible sous certaines conditions. L’étude des stratégies de réduction du risque mises en place par les organisations produisant les fictions audiovisuelles montre que les marqueurs jouent un rôle essentiel dans la conception, la production et la mise sur le marché de ces produits culturels, sans en garantir systématiquement le succès, difficilement mesurable. Ces stratégies autorisent, voire encouragent un usage et une appropriation ludique des marqueurs qui conditionnent l’exploration des univers fictifs (parfois génériques) de la culture populaire par ses publics, et sa réutilisation par ses créateursBe they video games, movies or TV shows, popular audiovisual fictions encourage the consumption of diverse cultural works, instinctively linked to a specific fictitious universe, brand, genre or organisation. Analyzing this audience’s reflex leads to the inner working of how cultural products are linked together, thanks to an apparently innocuous element which indeed supports an allusion. This marker, as we will call it, can be understood as such only under certain conditions. When it is, it can play a central role in the risk-reduction strategies implemented by entertainment industries during the design, production and marketing of mainstream fictions, with no guarantees of of a success that can hardly be summed up by box-office numbers. These strategies, in turn, promote a playful use of markers in fictions, allowing the audience’s exploration of popular culture universes, and their recycled use as allusions by creative teams in the TV show, film and video game industries
Books on the topic "Video game fiction"
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Spence, Paul B. Equipment guide: Red Shift, science fiction roleplaying game. 2nd ed. Lexington, Ky: Grendel Roleplaying, 2003.
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Publishing, Herobrine. Diary of a Minecraft Zombie: Back to Scare School. Sydney: Zack Zombie, 2015.
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Onwumechili, Chuka. "Sport fiction, Fantasy, and video games." In Sport Communication, 268–84. Abingdon, Oxon ; New York, NY : Routledge, [2018]: Routledge, 2017. http://dx.doi.org/10.4324/9781315270920-20.
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Mackey, Margaret. "Entering the Fiction: The Subjunctive and the Deictic Centre." In Narrative Pleasures in Young Adult Novels, Films, and Video Games, 76–94. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230316621_5.
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"◾ Game Narratives." In Science Fiction Video Games, 40–51. A K Peters/CRC Press, 2014. http://dx.doi.org/10.1201/b17460-5.
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"◾ Game Design." In Science Fiction Video Games, 52–57. A K Peters/CRC Press, 2014. http://dx.doi.org/10.1201/b17460-6.
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"Fiction." In The Routledge Companion to Video Game Studies, 460–67. Routledge, 2014. http://dx.doi.org/10.4324/9780203114261-67.
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Wheeler, J. "Writing for Interactive Fiction." In Writing for Video Game Genres, 201–17. A K Peters/CRC Press, 2009. http://dx.doi.org/10.1201/b10641-20.
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Young, Michael F., Stephen T. Slota, Roger Travis, and Beomkyu Choi. "Game Narrative, Interactive Fiction, and Storytelling." In Video Games and Creativity, 199–222. Elsevier, 2015. http://dx.doi.org/10.1016/b978-0-12-801462-2.00010-2.
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Klug, Chris. "Writing for Science-Fiction and Fantasy Games." In Writing for Video Game Genres, 127–36. A K Peters/CRC Press, 2009. http://dx.doi.org/10.1201/b10641-13.
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Pereira, Joe. "Beyond Hidden Bodies and Lost Pigs." In Cases on Digital Game-Based Learning, 50–80. IGI Global, 2013. http://dx.doi.org/10.4018/978-1-4666-2848-9.ch004.
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Interactive Fiction is a text-based genre of video game which blends participatory storytelling, the exploration of virtual worlds, and logical puzzle-solving. As it is a form of electronic literature as well as a form of video game, and it is compatible with the principles of second language acquisition, it can be used for digital game-based language learning. This chapter presents a case study on the perceptions of learners of English as a foreign language on the use of Interactive Fiction to practise language skills, particularly as a means of improving reading for fluency. The games played by the learners were 9:05 and Lost Pig, and the results produced by the study provided positive evidence towards the use of Interactive Fiction as an engaging language learning tool.
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Krzywinska, Tanya. "Formations of Player Agency and Gender in Gothic Games." In Women and the Gothic. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9780748699124.003.0015.
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This last chapter explores the connections between the design of player agency and formations of gender in Gothic video games. The conditions of player agency drain power from the more radical and subversive gender formations often found in Gothic fiction itself but in some games a more subtle, ambiguous or subversive approach to player agency is taken. Here alternative methods and contextualising representations are deployed by game designers to create models of player agency that do not, through the usual trope of mastery, align with dominant notions of masculinity or a phallic economy. The focus in this chapter is therefore mainly on the role of players in the thick of the Gothic game text and the gendered, contextual economy of the power (or powerlessness) that they are afforded. Such games actively invite the interest of women and girl players. Certain iterations of Gothic can be used very effectively in games to disquieten and demythologise the thoughtless formations of agency and gender that are perpetuated by many games directed at men and boy players, and may be termed ‘Female Gothic’ because of the way they show gender to be constructed or performed.