Search

Search content of the knowledge base.

The search found 5 results in 0.009 seconds.

Search results

  1. Event-Sequences, Plots and Narration in Computer Games

    Opening with the debate between ludologists and narratologists this essay tries to show that there is a narrative aspect in computer games that has nothing to do with background stories and cut scenes. A closer analysis of two sequences, taken from the MMORPG Everquest II and the adventure game Black Mirror, is the basis for a distinction between three aspects of this kind of narrative in computer games: the sequence of activities of the player, the sequence of events as it is determined by the mechanics of the game and the sequence of events understood as a plot, that is as a sequence of (chronologically) ordered and causally linked events. This kind of narrative is quite remote from the proto- typical narrative serving as a source for most narratological considerations. All media and not only computer games therefore actually need their own narratology.

     Source: author's abstract

    Kristine Turøy - 06.09.2012 - 18:55

  2. Videogame: jogos, narrativa e interação no espaço virtual

    Videogame: jogos, narrativa e interação no espaço virtual

    Luciana Gattass - 17.10.2012 - 17:48

  3. Brincando e Jogando: Reflexões e Classificações

    Brincando e Jogando: Reflexões e Classificações

    Luciana Gattass - 18.10.2012 - 15:37

  4. Jogos e Vida: a Emergência do Lúdico na Cibercultura

    Jogos e Vida: a Emergência do Lúdico na Cibercultura

    Luciana Gattass - 23.10.2012 - 16:05

  5. Genre Trouble: Narrativism and the Art of Simulation

    Currently in game and digital culture studies, a controversy rages over the relevance of narratology for game aesthetics. One side argues that computer games are media for telling stories, while the opposing side claims that stories and games are different structures that are in effect doing opposite things. One crucial aspect of this debate is whether games can be said to be "texts," and thereby subject to a textual-hermeneutic approach. Here we find the political question of genre at play: the fight over the games' generic categorization is a fight for academic influence over what is perhaps the dominant contemporary form of cultural expression. After forty years of fairly quiet evolution, the cultural genre of computer games is finally recognized as a large-scale social and aesthetic phenomenon to be taken seriously. In the last few years, games have gone from media non grata to a recognized field of great scholarly potential, a place for academic expansion and recognition.

    Scott Rettberg - 09.07.2013 - 00:24

Filter by content type: