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Journal articles on the topic 'Video game narration'
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1
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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Sf. Luthfie Arguby Purnomo, Dyah Nugrahani, Sf Lukfianka Sanjaya Purnama,, SF Luthfie Arguby Purnomo, and Dyah Nugrahani. "Let the Game Begin: Ergodic as an Approach for Video Game Translation." Register Journal 9, no. 2 (January 30, 2017): 107. http://dx.doi.org/10.18326/rgt.v9i2.696.
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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).
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Carpita, Barbara, Dario Muti, Benedetta Nardi, Francesca Benedetti, Andrea Cappelli, Ivan Mirko Cremone, Claudia Carmassi, and Liliana Dell’Osso. "Biochemical Correlates of Video Game Use: From Physiology to Pathology. A Narrative Review." Life 11, no. 8 (July 30, 2021): 775. http://dx.doi.org/10.3390/life11080775.
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In the last few decades, video game playing progressively became a widespread activity for many people, in childhood as well in adulthood. An increasing amount of literature has focused on pathological and non-pathological correlates of video game playing, with specific attention towards Internet Gaming Disorder (IGD). While many neurobiological studies in this field were based on neuroimaging, highlighting structural and functional brain changes among video game users, only a limited number of studies investigated the presence of biochemical correlates of video gaming. The present work aims to summarize and review the available literature about biochemical changes linked to video game use in IGD patients as well as non-pathological users, and the differences in between. Results may shed light on risks and benefits of video games, providing directions for further research on IGD treatment and, on other hand, on the potential role of video games in therapeutic or preventive protocols for specific conditions.
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Kjeldgaard-Christiansen, Jens. "Narrative video game aesthetics and egocentric ethics." MedieKultur: Journal of media and communication research 36, no. 68 (October 1, 2020): 088–106. http://dx.doi.org/10.7146/mediekultur.v36i68.118777.
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This article argues that video gaming allows for player-focused (egocentric) moral experience that can be distinguished from the other-focused (allocentric) moral experience that characterizes literature and film. Specifically, a Deweyan perspective reveals that video games aff ord fi rst-personal rehearsals of moral scenarios that parallel how, in real life, individuals mentally rehearse the diff erent courses of moral action available to them. This functional equivalence is made possible because the aesthetics of video games bear unique affinities to the human moral imagination. However, whereas the moral imagination may be limited in terms of the complexity and vividness of its analog imaginings, the ethically notable video game may draw on the medium’s digital capacities in order to stage elaborate and emotionally compelling ethical rehearsals. The article concludes by applying this perspective to the ethically notable video game Undertale.
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Belyaev, Dmitriy A., and Ulyana P. Belyaeva. "Video games as a screen-interactive platform of historical media education: educational potential and risks of politicization." Perspectives of Science and Education 52, no. 4 (September 1, 2021): 478–91. http://dx.doi.org/10.32744/pse.2021.4.32.
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Screen culture today, absorbing verbal-narrative and written culture, is the dominant memorial-representative format for the reproduction, preservation and broadcast of cultural information. Among the varieties of screen culture, since the beginning of the 21st century, video games have become especially popular and widespread. They possess unique interactive-procedural qualities, which, together with the traditional grammar of screen narrative, create an original complex of rhetorical techniques that effectively influence the mass public consciousness. In turn, the plot and visual design of video games is often based on historical narratives, becoming a platform for virtual interactive reconstruction of history. The study is devoted to the up-to-date topic of analyzing the on-screen phenomenon of video games as an innovative platform for historical media education, identifying its educational potential and the risks of political distortion of history. The methodological basis of the study is cultural-civilizational, dialectical and historical approaches, as well as structural-functional analysis, comparative-political science approach and systemic method. The study made it possible to identify a wide range of historical video games and classify the modalities of the implementation of historical topics in them with its general educational potential. In addition, the fundamental deconstructive nature of the actualization of the historical metanarrative in the procedural-interactive architectonics of video games has been determined. Finally, three main strategies for distorting and falsifying history in video games have been revealed. According to the results of the study, it was revealed that almost every significant cultural and historical era, with an emphasis on military battle plots, is reflected in the video game format. These game projects have serious educational potential, procedurally immersing the gamer in the context of the main historical facts, cultural aesthetics of the era and internal determinants of historical dynamics. At the same time, the postmodern essence of video games has been established, which poses a threat to the invariance of the perception of history, latently encouraging the intentions to rewrite it. Other risks are contained in the identified examples of politicization of the historical narrative of video games, which are concretized in the tendency to belittle the role of Russia in the international arena and the Eurocentric value accentuation.
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Ruberg, Bonnie. "The Precarious Labor of Queer Indie Game-making: Who Benefits from Making Video Games “Better”?" Television & New Media 20, no. 8 (May 29, 2019): 778–88. http://dx.doi.org/10.1177/1527476419851090.
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This article looks at issues of precarious and exploited labor surrounding contemporary queer independent video game making. In recent years, there has been a marked rise in indie games made by and about lesbian, gay, bisexual, transgender, and queer (LGBTQ) people. These games and their creators are commonly lauded for inspiring change in the mainstream game industry and making the medium of video games more diverse and therefore “better.” However, this cultural narrative obfuscates the socioeconomic challenges faced by many queer indie game-makers. Drawing from interviews conducted by the author, this article presents a counter-narrative about the work of developing video games by and about marginalized people. Although such games are often described as “easy” or “free” to make, they in fact entail considerable, and rarely fairly compensated, labor. Simultaneously, value is being extracted from this labor by companies who look to queer indie games for inspiration, which translates into profit.
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Rochat, Shékina, and Jérôme Armengol. "Career Counseling Interventions for Video Game Players." Journal of Career Development 47, no. 2 (August 9, 2018): 207–19. http://dx.doi.org/10.1177/0894845318793537.
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Video games are becoming ubiquitous in Western societies. However, this virtual leisure has received little attention from researchers in career counseling, leaving career counselors relatively unprepared to work with video game players. In this article, we propose three types of interventions to capitalize on the benefits of playing video games to foster the career counseling process. The first intervention aims to identify and transfer the skills that video game players develop through their leisure activity. The second intervention highlights how video game players’ narrative may reveal vocational personality types. The third intervention proposes to turn career counseling tasks into a game to increase motivation to achieve it. The strengths and limitations of these interventions are underlined, as well as the potential of career counseling sessions to help remedy problematic video game play.
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Jayemanne, Darshana. "Chronotypology: A Comparative Method for Analyzing Game Time." Games and Culture 15, no. 7 (May 13, 2019): 809–24. http://dx.doi.org/10.1177/1555412019845593.
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This article presents a methodology called “chronotypology” which aims to facilitate literary studies approaches to video games by conceptualizing game temporality. The method develops a comparative approach to how video games structure temporal experience, yielding an efficient set of terms—“diachrony,” “synchrony,” and “unstable signifier”—through which to analyze gaming’s “heterochronia” or temporal complexity. This method also yields an approach to the contentious topic of video game narrative which may particularly recommend it to literary scholars with an interest in the form. Along with some examples from conventional games, a close reading of the “reality-inspired” game Bury Me, My Love will serve to demonstrate the use of a chronotypological approach.
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Maravić, Manojlo. "Media convergence of video games and films: Narrative, aesthetics and industrial synergy." Kultura, no. 168 (2020): 246–62. http://dx.doi.org/10.5937/kultura2068246m.
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The starting point for defining the relation between film and video games is the well-known thesis that each new medium assumes some formal and contentual characteristics of its predecessors, although the previous medium reconfigures its own and absorbs the properties of the new medium as well. The aim is to present a broader theoretical framework, which would serve as a basis for further exploration of this relation. A multidisciplinary approach will be used based on the concepts of media studies, game studies, film studies and cultural studies. Video games are often based on cinema's thematic, narrative and genre models, while the recursive narrative logic of games is present in films. The use of film language is noticeable in video games, while in movies, it is modified by the aesthetic properties of games. Hollywood industry and the video games industry are synergistic and offer users many ways of consuming products in different media.
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Yap, Christopher Michael, Youki Kadobayashi, and Suguru Yamaguchi. "Conceptualizing Player-Side Emergence in Interactive Games." International Journal of Gaming and Computer-Mediated Simulations 7, no. 3 (July 2015): 1–21. http://dx.doi.org/10.4018/ijgcms.2015070101.
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The concept of emergence exists in many fields such as Philosophy, Information Science, and Biology. With respect to the modern video game, emergence can potentially manifest as emergent narrative and/or gameplay. In this paper, the authors engage in a critical discussion about what it means for an interactive video game to have emergence. The authors frame the discussion of emergence as a close critical look at the games Papers, Please and Gone Home. From these analyses, the authors propose a concept of “Player-side emergence in games,” in which emergence in the form of narrative is expressible and observable in games which rely not on the game software itself, but also upon the complex system of the human mind for reconstruction of the game experience and a subsequent expression of emergence. The authors contend that such an emergent design consideration is potentially useful for designers who are trying to address the trade-off of Ludo-Narrative Dissonance.
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Pérez-Latorre, Óliver, and Mercè Oliva. "Video Games, Dystopia, and Neoliberalism: The Case of BioShock Infinite." Games and Culture 14, no. 7-8 (October 10, 2017): 781–800. http://dx.doi.org/10.1177/1555412017727226.
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An ideological analysis of video games should include both the narrative and ludic dimensions, since there can be frictions between these two dimensions and they can even contradict one another. This article’s main aim is to analyze BioShock Infinite, an illustrative case study of these conflicts. On the one hand, it is a video game that portrays a dystopian narrative, aligning itself with this genre’s critical progressive tradition; on the other hand, its gameplay has an accentuated neoliberal bent. The analysis of BioShock Infinite also helps us to critically discuss certain trends in game design in contemporary mainstream video games that connect with and reinforce neoliberal values.
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Zúñiga-Reyes, Danghelly Giovanna. "Conjunción de géneros narrativos en Naruto." Neuróptica, no. 1 (March 24, 2020): 173–88. http://dx.doi.org/10.26754/ojs_neuroptica/neuroptica.201914326.
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Resumen: Esta investigación se centró en identificar la estructura narrativa del anime Naruto. El modelo de investigación cualitativa de la estructura narrativa se basó en el análisis de cuarenta y siete capítulos de los doscientos veinte que componen la primera temporada de la serie de anime Naruto. La hipótesis de esta investigación es que Naruto es la cristalización de la mezcla de diferentes tipos de narraciones, propone exitosamente una historia construida desde el ámbito local hacia lo global, en la cual se incluyen elementos de estructuras narrativas clásicas, modernas y postmodernas. Toma la narración de Naruto elementos de la picaresca, la epopeya, la gesta, los videojuegos y el shōnen.
Abstract: This research focuses on identifying the narrative structure of Naruto. The qualitative research model of the narrative structure focusing on the analysis of forty-seven chapters of the two hundred twenty that make up the first season of the anime series Naruto. This investigation hypothesizes that Naruto is the crystallization of the mixture of different types of narrations, a history constructed from the local to the global is successfully proposed, in which elements of classic, modern and postmodern narrative structures are included. The narration of Naruto, the elements of the picaresque, the epic, the deed, the video games, and the shōnen.
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d’Escriván, Julio, and Nick Collins. "Musical Goals, Graphical Lure and Narrative Drive: VisualAudio in Games." Journal of Visual Culture 10, no. 2 (August 2011): 238–46. http://dx.doi.org/10.1177/1470412911402896.
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Musical computer games and their reward structures are transforming solitary and participative music making. Visuals in musical games tend to assume the role of music in video games as they become incidental to the gameplay or provide graphical aid for musical decision making. Constrained manifestations of musical skill in game software simulations point towards the development of real world musical skills. Yet, arguably, no video game so far developed requires the kind of sophisticated expression that a musician hones by training. The time-scale for mastery is an order of magnitude greater in traditional musical instruments and teaching, but we may be at the dawn of a new audiovisual musical learning paradigm.
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Chess, Shira. "The queer case of video games: orgasms, Heteronormativity, and video game narrative." Critical Studies in Media Communication 33, no. 1 (January 1, 2016): 84–94. http://dx.doi.org/10.1080/15295036.2015.1129066.
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Hambleton, Elizabeth. "Gray Areas." Journal of Sound and Music in Games 1, no. 1 (January 1, 2020): 20–43. http://dx.doi.org/10.1525/jsmg.2020.1.1.20.
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“Navigable narratives” are a subgenre of narrative-based video games under the umbrella definition of “walking simulators.” While they are a subgenre of video games, analyzing their score or soundscape purely through a video game lens paints an incomplete picture because of their different artistic focus. Models like Elizabeth Medina-Gray's modular analysis are a useful start but insufficient on their own to understand this genre's sound. Rather, a participant's experience in a navigable narrative is often quite similar to that of a soundwalk, especially a virtual reality soundwalk; the game composer/audio designer creates an intricate soundscape through which the participant moves, and with the main focus on the story and gradual travel, the participant has more time and capacity than in a typical video game to build meaning from the soundwalk they perform. One of the major relationships navigable narratives have with soundwalks is the breakdown of diegesis in the soundscape the participant takes in, which is unlike most video games. To analyze the soundwalk and also the soundscape present in navigable narratives, I draw from R. Murray Schafer, Hildegard Westerkamp, and Janet Cardiff. In the opposite direction, in many ways navigable narratives are very much like “literary computer games,” or interactive narratives that may be analyzed via “ludostylistics” à la Janet Murray and Astrid Ensslin. A key element in many navigable narratives is the use of narrative time, as described by Alicyn Warren, rather than real time, which also sets navigable narratives apart from standard video games and especially from soundwalks. To explore these varied models and lenses, I demonstrate an analytical approach, using Leaving Lyndow (2017) as my primary case study. And so, between these analytical lenses of video game music theory, soundscape and soundwalk study, and ludostylistics applicable to literary computer games, I posit that the sound of navigable narratives is best understood through a synthesis of all three.
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Salamoon, Daniel Kurniawan, and Cindy Muljosumarto. "Analisis Visual Warna pada Game Post Apocalyptic (Studi Game The Last Of Us, Metro Exodus, dan Horizon Zero Dawn)." ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia 6, no. 1 (March 20, 2020): 18–31. http://dx.doi.org/10.33633/andharupa.v6i1.3232.
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AbstrakVideo game sebagai bentuk media visual di era modern memiliki peranan dalam masyarakat sebagai salah satu bentuk hiburan yang bersifat interaktif. Video game terus berkembang dalam tata visual sebagai bentuk evolusi dari teknologi video game tersebut. Evolusi dalam video game membuat genre dalam video game juga mengalami perkembangan. Salah satu genre yang menjadi tren adalah genre post apocalyptic. Penelitian ini mencoba melihat narasi yang hendak disampaikan lewat tata visual beberapa video game dengan genre post apocalyptic. Metode yang dilakukan adalah dengan mengumpulkan data screen capture dari beberapa judul video game dengan rating yang baik. Dari metode ini, teori yang digunakan untuk melakukan analisa adalah teori semiotika khususnya yang berkaitan dengan tata visual pada video game khususnya elemen warna yang menjadi kunci genre ini dengan menggunakan software Image. Setelah itu data dianalisis lebih lanjut dengan metode AEIOU (Action, Environment, Interaction, Object, User). Studi ini memberi gambaran bagaimana tata visual yang menjadi ciri khas genre game post apocalyptic dan nilai estetis yang bisa dipelajari dari genre tersebut. Pada akhirnya studi ini dapat menjadi pondasi dalam melakukan riset warna khususnya dalam pengembangan sebuah video game Kata kunci : desain game, post apocalyptic, video game, warna AbstractVideo games as a form of visual media in the modern era has a role play in society as one of interactive entertainment form. Video games continue to grow in visual elements as evolution forms from video game technology itself. The evolution of video games also makes the genre of video games experience development. This research attempts to observe the narrative is to be conveyed through the visual elements of several video games with the Post-apocalyptic genre. The method used was to collect screen capture data from several video game titles with good ratings. The theory that used to conduct the analysis is a semiotic theory relate to visual elements, especially the colors element that is the key to this genre. The theory that used to conduct the analysis is a semiotic theory relate to visual elements of the video game, especially the colors element that is the key to this genre. The theory that used to conduct the analysis is a semiotic theory relate to visual elements of the video game, especially the colors element that is the key to this genre using image software. Afterward, data analyzed subsequently with AEIOU's (Action, Environment, Interaction, Object, User) method. This study gives a description of how the visual elements become a characteristic of the Post-apocalyptic genre and the aesthetic value that can be learned from the genre. So eventually these studies can be the foundation in conducting color research especially in the development of a video game. Keywords: color, game design, post apocalyptic, video game
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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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Budiman, Arief, and Ardy Aprilian Anwar. "KONSTRUKSI IKON, INDEK, DAN SIMBOL DALAM MEMBANGUN VISUALISASI KARAKTER VIDEO GAME HARVEST MOON BACK TO NATURE." Jurnal Bahasa Rupa 4, no. 1 (October 28, 2020): 1–9. http://dx.doi.org/10.31598/bahasarupa.v4i1.566.
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The presence of character visualization becomes part of the aesthetic value in video games, with its presence making events in the video game become interwoven and have a narrative flow. In the end it creates a fantasy as well as the occurrence of increasing emotion in playing video games, where players are expected to feel an understanding of indigo - value. Seeing the magnitude of the role of the presence of character visualization in video games. Then through the study of reading visual signs, it is done as a means to find out the sign construction on character visualization in the Harvest Moon Back to Nature video game. Descriptive Interpretative research methods using the semiotics approach with qualitative data analysis as an instrument to describe and interpret the object of study. Researchers use the Peirce semiotic approach as a signatory analysis theory can read visual signs in the form of icons, indices, and symbols contained in the visualization of characters oriented to aspects of the story in the Harvest Moon Back to Nature video games. Overall the existence of character visualization presented by the construction of visual signs (icons, indices, symbols) in the Harvest Moon Back to Nature video game has been able to describe the characteristics of each character in the game world that suits the personality and profession of the character played in the the Harvest Moon Back to Nature video game.
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Anderson, Sky LaRell. "Portraying Mental Illness in Video Games." Loading 13, no. 21 (September 14, 2020): 20–33. http://dx.doi.org/10.7202/1071449ar.
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This exploratory study examines three video games as case studies for how video games may portray mental illness through interactive, non-narrative design features. The analysis not only reports findings but also offers an evaluation for how video games might improve in how they depict mental illness. The games studied are What Remains of Edith Finch, Hellblade: Senua’s Sacrifice, and Doki Doki Literature Club. The analysis identifies how these games use audiovisual styles, control systems, game goals, and procedurality to portray mental illness. A report of the discovered themes precedes a discussion of innovations and weaknesses of those depictions of mental illness.
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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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Kocurek, Carly. "Walter Benjamin on the Video Screen: Storytelling and Game Narratives." Arts 7, no. 4 (October 23, 2018): 69. http://dx.doi.org/10.3390/arts7040069.
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Walter Benjamin’s 1936 essay, “The Storyteller” (2006) defines storytelling as a mode of communication that is defined in part by its ability to offer listeners “counsel”, or meaningful wisdom or advice. This article considers the earmarks of storytelling as defined by Benjamin and by contemporary writer Larry McMurtry and argues this type of narrative experience can be offered via interactive media and, in particular, video games. After identifying the key characteristics of storytelling as set forth by Benjamin, the article proposes and advocates for a set of key characteristics of video game storytelling. In doing so, the article argues that effective narrative immersion can offer what Benjamin calls counsel, or wisdom, by refusing to provide pat answers or neat conclusions and suggests these as strategies for game writers and developers who want to provide educational or transformative experiences. Throughout, the article invokes historic and contemporary video games, asking for careful consideration of the ways in which games focused on sometimes highly personal narratives rely on storytelling techniques that instruct and transform and that can provide a rich framework for the design and writing of narrative games.
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Costello, Robert, and Jodie Donovan. "How Game Designers Can Account for Those With Autism Spectrum Disorder (ASD) When Designing Game Experiences." International Journal of End-User Computing and Development 8, no. 2 (July 2019): 29–55. http://dx.doi.org/10.4018/ijeucd.20190701.oa1.
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Autism Spectrum Disorder (ASD) is a prevalent neurodevelopmental disability among gamers where individuals belonging to this group of conditions have difficulty understanding non-verbal cues. Though game accessibility is a focal point in the games industry, there has been a keen focus placed on developing accessibility. Consequently, this study examines the perspective of video games from individuals who have autism to gain further insight into the needs of these individuals. The preliminary study is to discover if autistic users' difficulty reading non-verbal cues extends to their perception of a game environment and if these individuals can experience sensory distress while playing video games. A prototype was created to further understand the non-verbal cues to help shape the foundation of accessibility framework. The preliminary results concluded that autistic users frequently misread or fail to pick up on the non-verbal cues used by developers to drive game flow and narrative (e.g., sign-posting), in addition to experiencing sensory distress while playing video games.
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Trépanier-Jobin, Gabrielle. "Toward a Foucauldian Genealogy of Video Game (Pre)history." International Public History 4, no. 1 (June 1, 2021): 25–34. http://dx.doi.org/10.1515/iph-2021-2022.
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Abstract This paper highlights the distortive nature of narrative models that are often employed in video game historiographies to produce captivating tales. More precisely, it argues against: the search for video games’ origin(s); the “chronological-teleological” model based on linear progressions; the “chronological-organic” narrative revolving around a biological-like evolution; the “epistemic breaks” structure based on radical transformations; the “bi-polar” model involving a dialectic of oppositions; and the “cyclical” narrative revolving around postmodern tropes of return, recycling, and retrofitting. In addition to explaining why the uncritical use of these emplotment techniques is problematic, this paper argues in favor of a Foucault-inspired genealogical approach which avoids the quest for the media’s origin(s) and articulates video game history around coexistence, overlaps, interferences, synergies, networks of influences, and discontinuities. This genealogical method also restores the missing inventors, devices, and games in historical records while highlighting the power relations that led to their omission in the first place.
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Pérez-Latorre, Óliver, Víctor Navarro-Remesal, Antonio José Planells de la Maza, and Cristina Sánchez-Serradilla. "Recessionary games: Video games and the social imaginary of the Great Recession (2009–2015)." Convergence: The International Journal of Research into New Media Technologies 25, no. 5-6 (December 14, 2017): 884–900. http://dx.doi.org/10.1177/1354856517744489.
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How do the most popular video games in recent years contribute to the construction of the social imaginary of the Great Recession? The discursive struggles over the definition of crucial aspects of the recession such as austerity, the heroic ethos to face precariousness and being anti-establishment are being played not only in the political arena and ‘serious’ news genres but also in the narrations of popular culture and video games. Thus, critical analysis of the social resonances of video games on the Great Recession is a relevant exercise not only academically but also socially. To address this question, this article proposes an analysis of bestselling video games from 2009 to 2015, based on cultural studies and game studies. The analysis is organized in three case studies: (a) post-apocalyptic video games and their potential resonances regarding austerity and precariousness; (b) video games, neo-liberalism and counter neo-liberal views; and (c) video games and the representation of anti-establishment characters and rebel communities.
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Lessard, Jonathan, and Carl Therrien. "Indies de province." Le jeu vidéo au Québec 14, no. 23 (July 8, 2021): 15–35. http://dx.doi.org/10.7202/1078726ar.
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This paper looks at the emergence of video game creation in Québec prior to the industrial boom and the popularization of independent games. Built from personal archives and oral history, the paper highlights two unknown personalities from the history of video games in Québec: Christian Boutin and I-Grec. These portraits contribute to diversify the “indie” narrative and reconsider it as part of a longer history.
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Eveleth, Kyle. "When Players Feel Helpless: Agentic Decay and Participation in Narrative Games." Synthesis: an Anglophone Journal of Comparative Literary Studies, no. 6 (May 1, 2014): 50. http://dx.doi.org/10.12681/syn.16177.
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The ergodic (participatory) element of games is often cited as the core barrier to overcoming a perceived divide between good ludic (gaming) design and powerful storytelling. The present study examines two Indie games, Braid and Actual Sunlight, and their nuanced treatment of player participation in service of effective storytelling. These games in particular test the limits of player agency by asking the player to make ethically and morally problematic decisions, such as killing the main character, en route to completing the narrative. Such unusual narrative methods allow Braid and Actual Sunlight‗s game designers to unveil the mechanisms that afford, constrain, and ultimately revitalise the player‘s agency within the bounds of ergodic interaction. Narrative here, rather than restricting gameplay, instead enhances it, offering a tragic moment of cathartic relief as the player is exculpated for his or her decisions during the game. The insights drawn from these two examples and larger-studio offerings like Bioshock and Assassin’s Creed suggest a deeply traditional mode of storytelling at work in many narrative video games, an assertion that allows the ludological/narratological divide to be reknit and sets up ergodic media as a whole (video games, physical roleplaying games, interactive books, and more) for critical reconsideration.
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Ecenbarger, Charlie. "Comic Books, Video Games, and Transmedia Storytelling." International Journal of Gaming and Computer-Mediated Simulations 8, no. 2 (April 2016): 34–42. http://dx.doi.org/10.4018/ijgcms.2016040103.
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This article illuminates the transmedia storytelling techniques in The Walking Dead comic book and video game. Telltale Games' The Walking Dead localizes itself within the comic book world of The Walking Dead by acting as a transmedia storytelling device and using intertextuality comics to assist game players with meaning-making. By participating in the game, Telltale rewards players with additional information about The Walking Dead universe, as well as creating a contingent but separate narrative that expands upon the existing Walking Dead world. This exploration of The Walking Dead offers insights into the specific methods that are being employed by creators to further engage the audience in the transmedia storyworld.
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Budiman, Arief. "KEBERADAAN KEBUTUHAN EXISTENCE, RELATEDNESS, GROWTH, DALAM VIDEO GAME HARVEST MOON BACK TO NATURE." Jurnal Bahasa Rupa 2, no. 2 (April 21, 2019): 126–35. http://dx.doi.org/10.31598/bahasarupa.v2i2.353.
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Playing video games is basically an activity where it must have an stimulus energy which is commonly referred to as motivation. Without motivation, player will not be interested in playing a video game with a long duration. The Harvest Moon Back to Nature video game as a video game that was quite successful, which made the video game a legendary video game for the audience's audience as early as 1997. It creates interest which in turn encourages researchers to know more about how motivation for human needs is presented by the Harvest Moon Back to Nature video game. This research fundamentally use interpretative analytical descriptive method with narrative approach. Using a view from ERG theory Alderfer, which according to him motivation is related to basic human needs which consist of existence needs, relatedness needs, and growth needs.. From the results of the research conducted using these instruments, it can be concluded that the power of motivation has been presented in the Harvest Moon Back to Nature video game from the fulfillment of existence needs, relatedness needs, and growth needs, both in the context events of farming, raising, and in carrying out other events.
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Nae, Andrei. "Shakespeare and the Accumulation of Cultural Prestige in Video Games." Acta Universitatis Sapientiae, Film and Media Studies 17, no. 1 (October 1, 2019): 115–28. http://dx.doi.org/10.2478/ausfm-2019-0018.
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Abstract The present article analyses the manner in which AAA action-adventure games adapt, quote, and reference Shakespeare’s plays in order to borrow the bard’s cultural capital and assert themselves as forms of art. My analysis focuses on three major releases: Metal Gear Solid 4: Guns of the Patriots, BioShock: Infinite, and God of War. The article shows that these games employ narrative content from Shakespeare’s plays in order to adopt traits traditionally associated with the established arts, such as narrative depth and complex characters. In addition to this, explicit intertextual links between the games’ respective storyworlds and the plays are offered as ludic rewards for the more involved players who thoroughly explore game space.1
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Kronenberg, Felix Arnulf. "Selection Criteria for Commercial Off-the-Shelf (COTS) Video Games for Language Learning." IALLT Journal of Language Learning Technologies 42, no. 2 (October 15, 2012): 52–78. http://dx.doi.org/10.17161/iallt.v42i2.8512.
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This article addresses criteria for choosing commercial off-the-shelf(COTS) games and their implementation in the classroom and other L2learning environments. The proposal and discussion of a set of suchcriteria, which include the categories of motivation and flow, clearlydefined and spaced goals, game skills and game mechanics, content,story and narrative, multimodality, agency, course integration andscaffolding, and financial, technical, and administrative considerationsare the focus of this article. This discussion is followed by the analysesof three examples of COTS games (Buzz, Heavy Rain, and SingStar)which may be suitable in a L2 learning context.
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Burgess, Jacqueline, and Christian M. Jones. "“Is It Too Much to Ask That We’re Allowed to Win the Game?”: Character Attachment and Agency in the Mass Effect 3 Ending Controversy." Bulletin of Science, Technology & Society 37, no. 3 (October 2017): 146–58. http://dx.doi.org/10.1177/0270467618819685.
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The interaction between the concepts of character attachment, agency, and choice in a video game narrative was investigated using BioWare’s Mass Effect trilogy. Posts on a BioWare forum discussing the depiction of their player characters in the ending sequences of Mass Effect 3, the final game in the trilogy, were downloaded and analyzed using thematic analysis. Players demonstrated emotional attachment for the characters and narrative and expected to see the consequences of their choices play out, as in the previous games. Furthermore, players conflated winning the game with achieving a narratively satisfactory ending for the game world and its characters indicating emotional consequences for players that developers should consider when designing games with a high degree of player choice and agency. However, for some players character attachment is incongruous as they described Shepard as “acting out of character,” which needs further research.
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Genovesi, Matteo. "Choices and Consequences: The Role of Players in The Walking Dead: A Telltale Game Series." Open Cultural Studies 1, no. 1 (December 20, 2017): 350–58. http://dx.doi.org/10.1515/culture-2017-0032.
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Abstract One of the most important features in a transmedia structure, as Max Giovagnoli argues in his book Transmedia: Storytelling e Comunicazione [Transmedia: Storytelling and Communication], is the development of the user’s decision-making power, defined by the author as “choice excitement.” In this, every choice of the user should have a consequence in the fictional universe of a specific franchise. Consequently, a narrative universe that wants to emphasize choice excitement and the active role of people can focus on video games, where the interactive approach is prominent. This essay will discuss a specific video game, based on the famous franchise of The Walking Dead. This brand, which appears in comic books, novels, TV series, Web episodes and video games, is analysable not only as an exemplary case of transmedia storytelling, where every ramification of the franchise published in different media is both autonomous and synergistic with the others, but also by focusing on the choice excitement of users in the first season of the video game The Walking Dead: A Telltale Game Series.
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Gazzard, Alison, and Alan Peacock. "Repetition and Ritual Logic in Video Games." Games and Culture 6, no. 6 (November 2011): 499–512. http://dx.doi.org/10.1177/1555412011431359.
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By moving away from a model of ritual that focuses on magic and fantasy worlds, this article seeks to broaden the discussion of ritual actions, performances, and objects in first- and third-person video games. Ritual will be understood through the idea of a “ritual logic” that enables the wider associations of ritual in the virtual as opposed to the real world to be analyzed, and through the key element of repetition in game play. In part derived from the intertextuality of video game genres and associated popular culture artifacts such as films and novels, ritual logic contributes to the players’ knowledge and understanding of what ritual is and what ritual does in the game, and how ritual can be used to progress its narrative and play trajectories.
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Ferguson, Christopher J. "Violent Video Games, Sexist Video Games, and the Law: Why Can't We Find Effects?" Annual Review of Law and Social Science 14, no. 1 (October 13, 2018): 411–26. http://dx.doi.org/10.1146/annurev-lawsocsci-101317-031036.
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During the early 2000s, several states and municipalities sought to regulate minors’ access to violent video games owing to perceived harms to minors. The resultant case law, culminating in the US Supreme Court case Brown v. EMA (2011), demonstrated court skepticism of the science linking violent games to harm in minors. Such skepticism was increasingly confirmed as numerous newer studies could not link violent games to socially relevant outcomes. In more recent years, there has been a newer focus on sexist games and the harm these might cause. This field appears at risk for repeating some of the problems of the violent game field, including exaggeration of mixed findings, lack of curiosity regarding null findings, and unreliable research designs. By persisting in advancing a narrative of public health crisis, despite evidence to the contrary, social science has risked damaging its reputation in the eyes of the courts.
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Weiss, Alfred, and Sharon Tettegah. "World of Race War." International Journal of Gaming and Computer-Mediated Simulations 4, no. 4 (October 2012): 33–44. http://dx.doi.org/10.4018/jgcms.2012100103.
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Stereotypical portrayals of race are common in many modern video games. However, research on games and game environments has often overlooked race as an important consideration when evaluating games for their educational potential. This is particularly true of the educational literature on online games, which has tended to emphasize virtual game spaces as intrinsically exemplary learning environments while deemphasizing the narrative content of the games themselves. This article addresses this oversight. Through a close reading of game communications and fan-created content, the authors examined how developer-produced racial narratives influence players’ experience of the game world. The authors find that players and player communities reproduce and reinforce narrow developer-produced interpretations of race during in-game interactions as well as in player forums and virtual communities beyond the confines of the game world. Because the game environment is not conducive to players’ critical examination of race, the authors conclude that the game does not intrinsically provide a means for players to engage critically with game content. They further conclude that as educational environments these games must be situated and contextualized within the ideologies and discourses of the physical world.
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Guribye, Frode, Jo Dugstad Wake, and Barbara Wasson. "The Practical Accomplishment of Location-Based Game-Play." International Journal of Mobile Human Computer Interaction 6, no. 3 (July 2014): 32–50. http://dx.doi.org/10.4018/ijmhci.2014070103.
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Location-based games are believed to be one promising way to exploit the educational potential of mobile technology. In such games, the physical and cultural surroundings become an integrate part of a game space and provide a way to tie content to a game activity and create immersive learning experiences. To explore the properties of such games, and how they are played out in practice we have designed, deployed and analysed a location-based game for learning history embedded in a pedagogical scenario based on collaborative mobile learning. In the video-based, detailed analysis of actual game-play, we study the practical accomplishment of a collaborative gaming activity with mobile technology. In focus are how the participants make use of the resources available in the game space and how these resources, including the historical narrative, feature in the participants' practical accomplishment of the game. In the analysis we identify a number of implications for design of location-based games.
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Kubiński, Piotr. "Play It Again, Stanley: Mise en Abyme and Playing with Convention and Narrative in The Stanley Parable." Tekstualia 1, no. 3 (February 1, 2017): 45–59. http://dx.doi.org/10.5604/01.3001.0013.5929.
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Humanistic reflection on video games seems like a necessity nowadays, due to the enormous popularity of digital entertainment and the infl uence it exerts over modern culture. This need for a deeper refl ection also stems from the fact that, increasingly, video games give their players various pleasures – created by spectacular visual effects, exciting plot or an opportunity to solve logical puzzles. Electronic games are progressively becoming a tool of artistic pursuits and intellectual experiments that would be impossible in analogue media. An example of such phenomenon, and a game especially worthy of refl ection, is The Stanley Parable [Galactic Cafe, 2013]. The author of the article focuses on it.
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Budiman, Arief. "KEBERADAAN KEBUTUHAN EXISTENCE, RELATEDNESS, GROWTH, DALAM VIDEO GAME HARVEST MOON BACK TO NATURE." Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa 11, no. 1 (November 28, 2019): 15–25. http://dx.doi.org/10.33153/brikolase.v11i1.2678.
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ABSTRACT Playing video games is basically an activity where it must have an stimulus energy which is commonly referred to as motivation. Without motivation, player will not be interested in playing a video game with a long duration. The Harvest Moon Back to Nature video game as a video game that was quite successful, which made the video game a legendary video game for the audience's audience as early as 1997. Harvest Moon Back to Nature looks so strong in representating about social life of rural communities, especially one who works as a farmer. It creates interest which in turn encourages researchers to know more about how motivation for human needs is presented by the Harvest Moon Back to Nature video game. This research fundamentally use interpretative analytical descriptive method with narrative approach. Using a view from ERG theory Clayton Alderfer, which according to him motivation is related to basic human needs which consist of existence needs, relatedness needs, and growth needs. In increasing one's motivation, the three basic human needs must be fulfilled wherever possible. From the results of the research conducted using these instruments, it can be concluded that the power of motivation has been presented in the Harvest Moon Back to Nature video game from the fulfillment of existence needs, relatedness needs, and growth needs, both in the context events of farming, raising, and in carrying out other events.Keywords : motivation, existence needs, relatedness needs, and growth needs.
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Luhova, Tetiana. "NARRATIVE AND STORYTELLING IN THE KNOWLEDGE STRUCTURE OF THE EDUCATIONAL BUSINESS VIDEO GAMES AS FACTORS OF THE SYNERGY OF INFORMATION TECHNOLOGIES AND SPIRITUALLY-ORIENTED PEDAGOGY." OPEN EDUCATIONAL E-ENVIRONMENT OF MODERN UNIVERSITY, no. 8 (2020): 42–59. http://dx.doi.org/10.28925/2414-0325.2020.8.6.
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The article touches on the issues of humanization of modern technologically advanced education, analyzes the synergy factors of information technology and spiritually-oriented pedagogy to prepare a new generation of humanist managers. For this, the role of narrative and storytelling in the process of creating educational computer games that form the competence of making managerial decisions is determined. An analysis of the knowledge structure of educational games on the basis of the proposed methodology for developing their plot shows the need to balance the processes of formalization of educational processes in the game, preserving narrative by referring to works of folk art, classical fiction as sources of implicit knowledge. The threats of formalization and automation of modern education are described. It has been found that “relay” learning is superficial, it does not contribute to the formation of critical and systemic thinking. As a result, this leads to the emergence of a generation of techno-button-managers. It is indicated that the preservation and effective translation of deep narratives containing educational humanistic meanings is a priority for designers of educational video games. The components of the game by D. Gray, game history and pedagogical strategies in the MDA model are compared, which made it possible to clarify the meaning of the terms “narrative”, “plot”, “storytelling”, to determine the place of their greatest actualization in the process of creating educational computer games. Considering the general tendency of the techno-environment to reduce, optimize and formalize, the task of preserving tacit knowledge, correct translation of it into over-formalized knowledge (morals, formulas) through effective storytelling, embodied in "active learning" of computer games, is crucial. In this case, the narrative plays the role of a base of spiritual-oriented knowledge, and with the help of storytelling it balances the spiritual-ethical meanings and educational results of a business video game. The meaning of the terms "narratives" and "storytelling" is considered, the Ukrainian-language terms-analogues are proposed. The importance of adhering to the principle of non-linear game plot for increasing the effectiveness of business games is revealed. The close relationship of business games with case studies, project- and problem-based training was emphasized. The correlation of narratology and ludology of the game is shown in the matrix of transformation of professional competencies and procedures for making managerial decisions into the rules of the game, their metaphorization and translation into script phrases. It is shown that the gamification of training exercises and situations is a synergy of creative and information-analytical work with databases and game design project documents. The core of educational game design is the balance of narrative and storytelling, explicit and implicit knowledge. This balance is achieved through effective collaboration and communication between all participants in the educational and business processes. Creation of virtual learning environments in which a future leader has an opportunity to formulate and comprehensively develop the competencies of business communication and managerial decision-making in situations of uncertainty and ethical dilemmas is a promising area of digital education.
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Geslin, Erik, Olivier Olivier Bartheye, Colin Schmidt, Katy Tcha Tokey, Teerawat Kulsuwan, Salah Keziz, and Tanguy Belouin. "Bernardo Autonomous Emotional Agents Increase Perception of VR Stimuli." Network and Communication Technologies 5, no. 1 (January 6, 2020): 11. http://dx.doi.org/10.5539/nct.v5n1p11.
Full textAbstract:
Video games are high emotional vectors. They play with the emotions of players by eliciting and increasing them. The importance of the induction of basic emotions has been a long forestay and is favoured by video game publishers, as they are quite easily mobilized. Video game publishers look to produce more complex social emotions like empathy, and compassion. In games framework with narrative context, designers frequently use cinema movies methods, like cinematic non-interactive Cutscenes. These methods temporarily exclude the player from interactivity to leave his first viewpoint view and move the camera focusing on the narrative stimuli. Cutscenes were used abundantly and are now rejected, the new development wave is often trying to develop in a “zero cinematic” way. For the same reason, cinematics are also not usable in new Virtual Reality. If VR games and simulations provides a high level of presence, VR environments needs certain rules related in particular to the continuation of free will and the avoidance of possible Break in Presence. We propose in this paper a concept of Emotionally Intelligent Virtual Avatars, which when they perceive an important narrative stimulus, share their emotions through, gestures, facial nonverbal expressions, and declarative sentences to stimulate the player's attention. This will lead players to focus on the narrative stimuli. Our research studies the impact of the use of Bernardo Agents Emotional Avatars involving n = 51 users. The statistical analysis of the results shows a significant difference in the narrative perception of the stimuli and in Presence, correlated to the use of Agents Bernardo. Overall, our emotional Agent Bernardo is a unique concept for increasing the perception of narrative stimuli in virtual environments using HMD, and may be useful in all virtual environments using an emotional narrative process.
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Mendonça, Carlos Magno Camargos, and Filipe Alves de Freitas. "Game as text as game: the communicative experience of digital games." Comunicação e Sociedade 27 (June 29, 2015): 253–72. http://dx.doi.org/10.17231/comsoc.27(2015).2100.
Full textAbstract:
We propose to regard video game as text, but not by literally understanding it as a verbal expression, and instead recognizing that many assumptions of literary theory are relevant to its analysis. This option seems to put us in sync with the narratologists, who exalt games as new manifestations of narrative, but cling to a conception of text as world that values illusionist effects. Instead, we are interested in experiences that, against this perspective, recognize the possibility of regarding game as a text that is a game - an incomplete object that is to be updated by the reader in a self-reflective relationship with the signs that compose it, a central notion to theories such as Iser’s and Dewey’s. Then, instead of focusing on strategies of immersion on large virtual worlds, we favor small independent casual games (such as Small Worlds, Grey, The Beggar, and Dys4ia) analyzing how, in these, take place experiences that allow us to re-examine the aesthetic potential of the medium.