Relevant bibliographies by topics / Video game narration

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Video game narration'

Author: Grafiati
Published: 4 June 2021
Last updated: 9 February 2022

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Journal articles on the topic "Video game narration"

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Beyvers, Sarah E. "The game of narrative authority: Subversive wandering and unreliable narration in The Stanley Parable." Journal of Gaming & Virtual Worlds 12, no. 1 (March 1, 2020): 7–21. http://dx.doi.org/10.1386/jgvw_00002_1.

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This article explores how players’ attempts at subversive wandering in The Stanley Parable (2013) render the game’s narration unreliable and thus reveal its comments on the nature of ‘agency’ in video games. Unreliability brings the act of narration itself to the fore and exposes its mechanisms of manipulation. Players of The Stanley Parable may seek to contradict the voice-over narration subversively. They must find out, however, that, even though the narrator’s authorial omniscience and power are an illusion, they cannot break away from the predetermined path the game lays out. The narrator and the player are constantly fighting over who gets to tell the story and who therefore wins the game of narrative authority. Subversive wandering, as will be theorized in this article, exposes the impossibility of true player agency in the game’s set structure and comments on how player movement and interaction construct parts of a game’s narrative.
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Anagnostou, Kostas, and Anastasia Pappa. "Video Game Genre Affordances for Physics Education." International Journal of Game-Based Learning 1, no. 1 (January 2011): 59–74. http://dx.doi.org/10.4018/ijgbl.2011010105.

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In this work, the authors analyze the video game genres’ features and investigate potential mappings to specific didactic approaches in the context of Physics education. To guide the analysis, the authors briefly review the main didactic approaches for Physics and identify qualities that can be projected into game features. Based on the characteristics of the didactic approaches each video game genre’s potential for narration and simulation and affordances for reflection and assessment are evaluated, providing examples of specific games that adhere to those requirements and ways they can be utilized in educational contexts. The paper concludes by discussing the implications on serious game design and integration of games for Physics education in school environments and suggests topics for future research.
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Kerttula, Tero. "“What an Eccentric Performance”: Storytelling in Online Let’s Plays." Games and Culture 14, no. 3 (November 21, 2016): 236–55. http://dx.doi.org/10.1177/1555412016678724.

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In this article, I examine the phenomenon called Let’s Play (LP) and conduct a narrative analysis on two LPs made of Sierra Entertainment’s Phantasmagoria games. The LPs tell viewers a story different from the one told in the games, that is, they tell the story of the player rather than that of the game. In that story, the experience of playing a video game is revealed to the audience. This story would be hidden without the player-narrators know as LPs around the world. I conduct my analysis by describing seven different narrative elements that form the narration of a LP and explain how these elements together form this story of the player.
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Colăcel, Onoriu. "Speech Acts in Post-Apocalyptic Games: The Last of Us (2014)." Messages, Sages, and Ages 4, no. 1 (August 1, 2017): 41–50. http://dx.doi.org/10.1515/msas-2017-0004.

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Abstract Among everything else post-apocalyptic video games have come to stand for, notions of in-group versus out-group communication are paramount. The Last of Us (2014, Naughty Dog/Sony Computer Entertainment) is a case in point. I look into the game’s use of subtitles and didactic texts in order to find out to the extent speech acts shape the player’s understanding of what the video game is. As an understudied aspect of video games, HUD or menu elements, as well as characters’ exchanges and voice-over narration, disclose what it is like to be alive, dead or in-between. Essentially, they show the tensions between the avatar and the gamer: the hero makes all of the decisions by himself and the player has to abide or stop playing all together. The avatar’s identity comes alive through speech acts, while the player is left outside decision-making processes. Survival horror gaming, with a religious twist, gives insight into the in-game discussion on the representation of the zombie rather than on the zombie experience as such. On screen, the interplay between speech acts and written language amounts to a procedural language, which suggests that variability in language creates an environment conducive to learning. Particularly, language use is all about group values and communication styles that should help gamers tell apart friends from enemies, good from evil and, finally, people from zombies.
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Hadaegh, Bahee, and Venus Torabi. "Borges’s “The Intruder” Remediated: Adaptation to Silver/Cyber Screens." Khazar Journal of Humanities and Social Sciences 21, no. 3 (November 2018): 136–53. http://dx.doi.org/10.5782/2223-2621.2018.21.3.136.

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The present article is a critical scene for studying Ghazal 1975, an Iranian film by Masud Kimiai and Natalie Bookchin’s videogame, The Intruder 1999, both adapted from Borges’s short story, “The Intruder”. Exploiting Linda Hutcheon’s A Theory of Adaptation (three modes of engagement in a story), the concentration is on showing how Borges’s story, as a telling mode (print), is remediated into showing (film) and interactive (video game). Ghazal exercises both fidelity criticism and appropriation regarding contextualization and adaptability, whereas The Intruder is a game of narration and interaction simultaneously, where the significance lies at studying the game’s “narrative mode” as a show case of Cyber Literature. The effort is aimed at scrutinizing how literary adaptations as forms of remediation a
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Ganzha, Anhelina. "Polyphonizm of narrative in documentary film (On the case of films about P. Tychyna, M. Rylskyi, V. Sosiura)." Culture of the Word, no. 90 (2019): 150–64. http://dx.doi.org/10.37919/0201-419x-2019.90.13.

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Narratives in cinema text are seen as narratives of interrelated events occurring within specific space-time frames involving the author, narrator and characters. The intermedical nature of documentary filmmaking complicates its analysis in the coordinates of any research paradigm. However, among the universal categories of reception of film narratives, polyphonicism should be singled out as a means of creating a holistic view of a cultural product. The article offers the authorʼs vision of realization of the polyphonism of the film narrative in the documentaries “I Call You” (2006), “Poeta Maximus” (2008), “So No One Loved” (2008) from the series “Game of Fate”. It is concluded that there is a certain plot-compositional scheme of organization of audiovisual polyphonic narrative in the series. Among the specific figures of the screen narration in the analyzed documentary tapes we see transposition (eg, transition from the direct speech of the presenter to a voice-over commentary on a movie quote), overlay (simultaneous use of the “chronicle of the epoch” with the off-screen reading of an excerpt from an artistic text), photos and video snippets).
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Szewerniak, Magdalena. "Nostalgiczny wymiar muzeów gier wideo." Prace Kulturoznawcze 21, no. 4 (October 30, 2018): 119–34. http://dx.doi.org/10.19195/0860-6668.21.4.7.

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Nostalgic aspect of video games museumsThe article is a result of a field research conducted in Computerspielemuseum in Berlin, Arcade Hry in Prague and Video Games Consoles Museum in Karpacz Poland. The exhibition arrangements in each of these places led to a question about nostalgic aspect of the museums, in which the traditional layout and narration of exposition contrast with the interactive space.The notion of nostalgia is the center of my research. There are however different concepts of nostalgia as a form of memory among the researchers studying this subject. The point that emerges is the understanding of the past that we long for.I am interested also in how the distance between the visitor and the exhibition is at once maintained and broken. This leads to the question about it being the crucial cause of awakening our nostalgia. That is why I attach importance both to the exhibition arrangement and the modes of visitors’ experience. I also consider the affective aspect of this project, in which playing the game is one of the aforementioned modes of experiencing the exhibition. I argue that the engagement video games require is the main reason why we remember our experiences, therefore it is more likely to trigger our nostalgic emotions.
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Alidini, Stefan. "To be or not to be: Shakespeare and video games." Kultura, no. 168 (2020): 281–302. http://dx.doi.org/10.5937/kultura2068281a.

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The paper analyses video games in the context of new media and considers their artistic potential from the perspective of Game Studies. Using to Be or Not to Be, an adaptation of Shakespeare's Hamlet as an example, the paper presents a theoretical examination of the game's structural, textual and narrative features and ludic elements, so as to elucidate the principles of adaptation and transformation of a literary text into a new digital form, as well as the advantages and the disadvantages of such processes. Trust in the narrative, along with adequate game mechanics and the player's perception have proven to be crucial for accomplishing intention of the game. At the same time, the analysis serves as a basis for interpretive framework that would lead to affirming the aesthetic potential of video games and thus give rise to uncovering the artistic potential of other algorithmic structures.
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Purnama, SF Lukfianka Sanjaya, SF Luthfie Arguby Purnomo, and Dyah Nugrahani. "Let the Game Begin: Ergodic as an Approach for Video Game Translation." Register Journal 9, no. 2 (December 1, 2016): 107. http://dx.doi.org/10.18326/rgt.v9i2.107-123.

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This paper attempts to propose ergodic as an approach for video game translation. The word approach here refers to an approach for translation products and to an approach for the translation process. The steps to formulate ergodic as an approach are first, Aarseth’sergodic literature is reviewed to elicit a basis for comprehension toward its relationship with video games and video game translation Secondly, taking the translation of Electronic Arts’Need for Speed: Own the City, Midway’s Mortal Kombat: Unchained, and Konami’s Metal Gear Solid, ergodic based approach for video game translation is formulated. The formulation signifies that ergodic, as an approach for video game translation, revolves around the treatment of video games as a cybertext from which scriptons, textons, and traversal functions as the configurative mechanism influence the selection of translation strategies and the transferability of variables and traversal function, game aesthetics, and ludus and narrative of the games. The challenges countered when treating video games as a cybertext are the necessities for the translators to convey anamorphosis, mechanical and narrative hidden meaning of the analyzed frame, to consider the textonomy of the games, and at the same time to concern on GILT (Globalization, Internationalization, Localization, and Translation).KeywordsErgodic ; Translation Approach; Video Game Translation ; Textonomy; Anamorphosis
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Purnama, SF Lukfianka Sanjaya, SF Luthfie Arguby Purnomo, and Dyah Nugrahani. "Let the Game Begin: Ergodic as an Approach for Video Game Translation." Register Journal 9, no. 2 (December 1, 2016): 107. http://dx.doi.org/10.18326/rgt.v9i2.1148.

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

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Host, Mark Ivan. "Final Fantasy X and Video Game Narrative: Re-Imagining the Quest Story." Cleveland, Ohio : Cleveland State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=csu1242246706.

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Thesis--(M.A.)Cleveland State University, 2009
Abstract. Title from PDF t.p. (viewed on June 11, 2009). Includes bibliographical references (p. 42-44). Available online via the OhioLINK ETD Center. Also available in print.
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Ljungvall, Anton. "Video Game Narratives in Swedish EFL Teaching : A Study of How the Use of Video Game Narratives Could Potentially Aid or Hinder Swedish EFL Teaching." Thesis, Jönköping University, Högskolan för lärande och kommunikation, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-52297.

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This study aims to explore the potential benefits and disadvantages of utilizing video game narratives in Swedish EFL teaching. The subject is approached through a qualitative literature review of previous research on the use of video games in the process of L2 acquisition. The results are then discussed from a sociocultural perspective, in relation to the frameworks introduced in the background and to the Swedish steering documents. The results indicate that video games are likely to be part of many students’ out-of-school experiences of the English language and that playing video games can be seen as an example of extramural language learning. The results also highlight how engaging in multiplayer video game narratives can aid L2 acquisition by for example increasing motivation, expanding learner vocabulary and by providing learners with strategies for discourse management such as politeness, humor and small talk. The collaborative and interactive nature of the video game narrative and of video game communities is also shown to align well with the Swedish steering documents that promote social interaction and the development of communicative competence. However, direct classroom implementation of video games is problematized by the fact that not all students have previous experience or tools for interacting with the video game format of storytelling and that gender discrepancies in video game consumption could lead to boys benefiting more than girls from language learning through video game narratives.
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Rempulski, Nicolas. "Synthèse dynamique de superviseur pour l'exécution adaptative d'applications interactives." Thesis, La Rochelle, 2013. http://www.theses.fr/2013LAROS407/document.

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Cette thèse a pour objectif de proposer des solutions aux problématiques de la narration interactive. Nous souhaitons ainsi proposer une méthode de conception pour les auteurs, ainsi qu’une logique d’exécution utilisant ce modèle pour contrôler la construction d’un récit. Nous appliquons nos travaux au contexte des jeux vidéo, mais souhaitons adresser la narration interactive dans une dimension plus large. Nous abordons la narration interactive comme une déstructuration de la narration classique. Le processus de création du récit n’est ainsi plus à la seule charge de l’auteur, mais implique également le public. Au travers d’une revue de la narration classique, nous souhaitons donc, dans un premier temps, formaliser le récit et ses enjeux. Nous utilisons ensuite le concept d’œuvre en mouvement pour identifier les processus et acteurs mis en jeu dans la coproduction d’une œuvre, et ainsi définir les enjeux de nos travaux. Pour adresser ces problématiques, nous proposons un modèle de la narration interactive à base d’automates. Celui-ci permet un contrôle et une vérification des récits possibles, tant lors de la conception, que dynamiquement à l’exécution. Cependant ce formalisme peut être complexe à prendre en main pour des auteurs non-initiés. Ainsi, nous formulons un modèle de haut-niveau, basé sur les concepts de la narratologie, permettant à ces derniers de créer un modèle de narration interactive en manipulant des concepts qu’ils maitrisent. Ce modèle est alors converti vers notre modèle à base d’automates. Ce dernier sert alors de référent pour le contrôle dynamique de la narration interactive par un superviseur multi-agents. Celui-ci, par observation des évènements produits dans le jeu vidéo, est alors en mesure de contrôler le récit en cours de production pour garantir les critères de qualités spécifiés par l’auteur. Nous proposons une implémentation de notre approche sous la forme d’un framework, comprenant notamment des outils auteurs d’édition des modèles que nous définissons, mais également les algorithmes de supervision nécessaires à l’asservissement de l’univers virtuel du jeu vidéo
This PhD thesis has for objective to propose solutions to interactive storytelling problems. We aim to propose a design method for the authors, as well as a logic of execution using this model to control the narrative unfolding. We apply our works in the video games context, but wish to address interactive storytelling in a wider dimension. We so approach the interactive story as a breakdown of the classic storytelling. Indeed, interactive storytelling creation process is not any more only under the author responsability, but also involves spectators. Through a review of the classic storytelling, we thus wish, at first, to formalize storytelling and its stakes. We use then the concept of ”œuvre en mouvement” to identify processes and actors involved in this creation process of a work, and thus to define the stakes in our research works. We propose an interactive storytelling mode base on automata. This one allows a controland a check on possible narratives, during design as well as dynamically while producing the story. However this formalism is complex to handle by authors. So, we formulate a top-level model, based on storytelling concepts, allowing authors to create an interactive story model using concepts they know. This model is then converted into our automaton based model. The latter serves then as referent for the dynamic control of the interactive storytelling, done by a supervisor multi-agents. This one, by observing produced events in the video game, is then able of controlling and guarantee the quality criteria specified by authors. We propose an implementation of our approach in a framework, including authoring tools to edite our models. We also implements automata check and supervision algorithms necessary to control video game virtual universe
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Shook, Steffi A. "Personal Narrative Video Games: Failure, Empathy, and Marginalized Game Developers." Ohio University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1556017903138173.

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Ngai, Anita Ching Yi. "Cultural Influences On Video Games: players' preferences in narrative and game-play." Thesis, University of Waterloo, 2005. http://hdl.handle.net/10012/770.

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As an entertainment media, video games provide pleasure and enjoyment through interactions with various game elements. Some games are more successful in one part of the world than others, which sales data have clearly shown over the years. Games designed in various parts of the world often have distinct differences, as developers implicitly or subconsciously convey their values and culture in their creations. Thus, in examining ?what is fun,? one must move beyond technical aspects of game design and look into immersion and emotional experiences.

In this paper, sales data for 2004 were first examined, followed by a case study to investigate any differences between Japan and the US, where major game console manufacturers and game developers reside. Although they indicated differences in popularity of genres and design approaches, results from the survey were not able to verify conclusively major statistical difference between the two groups of respondents.

The survey was constructed with a focus on narrative and game-play elements, in hopes to get a better understanding of players? preferences through the concept of immersion, which were anticipated to be influenced by cultural differences. Although no major differences were found, given the small sample population, it could be seen that there was a greater sense of character attachment from Japanese respondents, while American respondents did not like to be forced away from their actions by ?long? narrative elements.
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Reynolds, Katherine J. "Narrative, Body and gaze; Representations of Action Heroines in Console Video Games and Gamer Subjectivity." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1363616108.

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Jin, Chengyue. "Game narrative conveyed through visual elements in digital games." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-20104.

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This thesis compares the different concepts of game narrative and traditional narrative, and aims to explore and analyze the relationship between visual elements and game narrative in video games. Game narrative is an emerging narrative based on digital media. It can not only include stories from traditional narratives, but also convey narratives through the virtual environment and mechanisms of games. This thesis discusses the concepts of traditional narrative and game narrative from the basic concepts of narrative, and lists different visual narrative elements and video games of different narrative types on this basis. In addition, this thesis designs a study that includes different dimensions of immersion to investigate the impact of narratives conveyed through visual elements on player immersion.
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Gros, Niko, and Alexander Hägg. "The Rhizo-narrative : Ett nytt fält för narrativa nätverk." Thesis, Blekinge Tekniska Högskola, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-16488.

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The Rhizo-narrative är en undersökning som handlar om att kombinera rhizomatik med narrativa strukturer inom datorspel. Vi vill veta hur rhizomatik som verktyg för narrativ påverkar datorspel. Detta uppnår vi genom lekfulla experiment och koncept. Denna text går igenom vårt syfte med arbetet, varför vi har valt att jobba med dessa begrepp, hur vi jobbar med dessa begrepp och vilka resultat vi har fått av arbetet samt en utförlig diskussion kring våra resultat, problem och framtida tankar kring rhizmatiska narrativ för datorspel.
The Rhizo-narrative is an investigation about what happens when you combine rhizomes with video game narrative structures that researches and documents the process. We want to know how rhizomes affects video game narratives when used as a tool for developing the narrative itself. We achieve this through creative experiments and concepts.   Within this text we go through the purpose of our project, why we chose to work with the terms we worked with, what those terms mean, the results we achieved as well as a detailed discussion about said results, problems and challenges we faced during the projects lifetime. We end with our future thoughts about rhizome based narratives within video games.
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Chan, Pauline B. "Narrative participation within game environments: role-playing in massively multiplayer online games." Thesis, Georgia Institute of Technology, 2010. http://hdl.handle.net/1853/37126.

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Massively multiplayer online games (MMOGs) present fantastic, persistent worlds and narratives for a community of players to experience through pre-defined rules, roles, and environments. To be able to offer the opportunity for every player to try the same experiences, many game developers have opted to create elaborate virtual theme parks: scripted experiences within static worlds that cannot be affected or changed through player actions. Within these games, some players have turned to role-playing to establish meaningful connections to these worlds by expanding upon and subverting the game's expectations to assume a limited sense of agency within the world. The interaction between role-players and the locations they occupy within these worlds is a notable marker of this narrative layering; specific locations inform social codes of conduct, designed by developers, and then repurposed by players for their characters and stories. Through a qualitative case study in World of Warcraft on public role-playing events, this thesis considers how the design of in-game locations inform their use for role-playing, and how locations are altered through storytelling as a result.
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Ahn, Changhyun. "Interacting With Story: Examining Transportation into Video Game Narrative." Cleveland State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=csu1431608782.

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Books on the topic "Video game narration"

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Thabet, Tamer. Video Game Narrative and Criticism. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137525543.

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Suter, Beat, René Bauer, and Mela Kocher, eds. Narrative Mechanics. Bielefeld, Germany: transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839453452.

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What do stories in games have in common with political narratives? This book identifies narrative strategies as mechanisms for meaning and manipulation in games and real life. It shows that the narrative mechanics so clearly identifiable in games are increasingly used (and abused) in politics and social life. They have »many faces«, displays and interfaces. They occur as texts, recipes, stories, dramas in three acts, movies, videos, tweets, journeys of heroes, but also as rewarding stories in games and as narratives in society - such as a career from rags to riches, the concept of modernity or market economy. Below their surface, however, narrative mechanics are a particular type of motivational design - of game mechanics.
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Narrative pleasures in young adult novels, films, and video games. New York: Palgrave Macmillan, 2011.

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Ethnographies of the videogame: Gender, narrative and praxis. Farnham, Surrey, England: Ashgate Pub. Company, 2011.

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Mackey, Margaret. Narrative Pleasures in Young Adult Novels, Films, and Video Games. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230316621.

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Videogiochi e cinema: Interattività, temporalità, tecniche narrative e modalità di fruizione. Bologna: CLUEB, 2006.

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Keen, Suzanne. Narrative form. New York: Palgrave Macmillan, 2003.

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Gibbons, William. Playing Chopin. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190265250.003.0010.

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This chapter explores two video games that feature the nineteenth-century pianist and composer Frédéric Chopin as the main character: the Japanese role-playing game Eternal Sonata and the mobile game Frederic: Resurrection of Music. The chapter begins by examining three mythic identities that have shaped audience’s understandings of Chopin and his music and that play a role in Eternal Sonata and Frederic: the salon composer, the Romantic composer, and the Slavic composer. To address the challenges of creating a compelling video game narrative about a real-world composer, both games employ innovative but problematic narrative strategies to transform Chopin into a more stereotypically heroic character. Moreover, both games include his music in ways designed to reinforce its musical greatness and increase the music’s appeal to younger audiences.
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Mark, Bateman Chris, ed. Game writing: Narrative skills for videogames. Boston, Mass: Charles River Media, 2007.

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Mukherjee, Souvik. Video Games and Storytelling: Reading Games and Playing Books. Palgrave Macmillan, 2015.

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Book chapters on the topic "Video game narration"

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Toh, Weimin. "Narration II—Video Game Narrative Analysis Framework." In A Multimodal Approach to Video Games and the Player Experience, 151–73. New York : Routledge, 2017. | Series: Routledge studies in multimodality ; 26: Routledge, 2018. http://dx.doi.org/10.4324/9781351184779-9.

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Thabet, Tamer. "Game Criticism." In Video Game Narrative and Criticism, 49–71. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137525543_3.

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Mukherjee, Souvik. "(W)Reading the Machinic Game-Narrative." In Video Games and Storytelling, 48–72. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137525055_3.

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Koenitz, Hartmut. "Narrative in Video Games." In Encyclopedia of Computer Graphics and Games, 1–9. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-08234-9_154-1.

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Thabet, Tamer. "Introduction." In Video Game Narrative and Criticism, 1–10. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137525543_1.

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Thabet, Tamer. "A Player’s Story." In Video Game Narrative and Criticism, 11–48. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137525543_2.

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Suter, Beat. "Narrative Patterns in Video Games." In Edition Medienwissenschaft, 51–78. Bielefeld, Germany: transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839453452-003.

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Schrader, P. G., Kenneth J. Fasching-Varner, and Michael P. McCreery. "Narrative, Video Games, and Performance In Situ." In Game-based Learning Across the Disciplines, 363–82. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-75142-5_16.

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Glashüttner, Robert. "Narrative Approaches in Contemporary Video Game Reviews." In Edition Medienwissenschaft, 211–28. Bielefeld, Germany: transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839453452-011.

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Toh, Weimin. "Narration I—Players’ Mental Models." In A Multimodal Approach to Video Games and the Player Experience, 131–50. New York : Routledge, 2017. | Series: Routledge studies in multimodality ; 26: Routledge, 2018. http://dx.doi.org/10.4324/9781351184779-8.

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Conference papers on the topic "Video game narration"

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Fontoura, Mariana Michels, and Marília A. Amaral. "FEMININITY IN VIDEO GAMES: AN ANALYSIS OF GENDER IN TERMS OF VISUAL ASPECTS, NARRATIVE AND SOCIABILITY." In International Conference on Game and Entertainment Technologies 2019. IADIS Press, 2019. http://dx.doi.org/10.33965/g2019_201906l023.

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Ng, Raymond, and Robb Lindgren. "Examining the effects of avatar customization and narrative on engagement and learning in video games." In 2013 18th International Conference on Computer Games: AI, Animation, Mobile, Interactive Multimedia, Educational & Serious Games (CGAMES). IEEE, 2013. http://dx.doi.org/10.1109/cgames.2013.6632611.

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Katsaridou, Maria. "ADAPTATION OF VIDEO GAMES INTO FILMS: THE ADVENTURES OF THE NARRATIVE." In New Semiotics. Between Tradition and Innovation. IASS Publications, 2015. http://dx.doi.org/10.24308/iass-2014-144.

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