Narratology

This essay provides an overview of the different types of study that can be conducted when considering the narrative aspects of video game play. It contextualizes this research among the larger movements of narratology, particularly concerning the structuralist roots of the discipline and the parallels between gameplay and narrative structures. A brief overview of the key points of the ludology/narratology debate is made, followed by an introduction to the three domains of narrative in video game studies: story content, story structures, and narration as the discursive mode that games use to relay the game-state

Ludic writing: Challenges in gamifying English creative writing class for technopreneurial purposes

This paper, first of three research parts, attempts to describe the challenges English Letters at IAIN (Institut Agama Islam Negeri/State Islamic Institute) Surakarta faced in implementing gamification for technopreneurial purposes in regard to the transformation of a creative writing class into a ludic writing class, a gamification infused writing class. The challenges revealed are story-game script adaptation, integration portion, and monetization. Specific problems occur on each challenge. Story-game script adaptation exposes three problems namely (1) conditional branching system (2) visualization (3) copyrighted material issues (4) and writing mechanics adaptation. Integration portion challenge displays a problem on the insufficient alloted time for gamifying the creative writing class. Monetization challenge indicates three problems namely (1) the inexistence of monetization team, (2) the inexistence of institutional regulation for monetization management by study programs, (3) responses to gaming trends. Responding to these problems, solutions specifically designed based on the nature of the problems are implemented

The quest for ludonarrative : designing a ludonarrative analytical framework for analysis and design of ludonarrative in games through analysed case studies : Hollow Knight, Celeste, and Brothers: A Tale of Two Sons

games have grown into the largest entertainment media in the world, significant research into the social, economic, and cultural impact of games has been conducted. However, investigation into the aesthetic and sense-making capacity of games is less well represented. Specifically, the intersection and synthesis of game narrative and gameplay, known as ludonarrative, is under theorised. This thesis addresses this gap by developing a framework for analysing and designing ludonarrative in games and testing it against three case studies; Hollow Knight, Celeste, and Brothers: A Tale of Two Sons. The thesis includes an extensive literature review which identifies theories and frameworks to construct the Ludonarrative Analytic Framework (LAF), with close playing providing the data for case study analysis. In addition to the LAF, this thesis contributes analysis of the artistic value of the three case studies and furthers the conversation about games’ capacity and methods for storytelling

The promotion of ethical egoism through morality mechanics in mass effect, fable III & fallout new vegas: a role-playing video game exploration

The aim of this study is to determine whether or not ethical egoism is promoted during gameplay of three role-playing video games namely Mass Effect, Fable III and Fallout New Vegas. The rapid expansion of the video gaming industry as well as game studies as an academic field have made it necessary to understand what effects video games may have on society. This study shows that gamers come into contact with various ethico-moral dilemmas during gameplay and act in an egoistic manner in order to complete video games. Firstly, an explanation of game and gameplay are provided as well as an outline of two game studies methodologies, namely narratology and ludology. These two methodologies are then combined into a hybrid approach which is used to analyse the video games from both a narrative and gameplay point of view which allows for a more comprehensive analysis of each respective game. Thereafter, a discussion of B.F. Skinner's behaviourism is given in order to better understand gamer behaviour. Skinner's concepts of positive reinforcement, schedules of reinforcement and operant conditioning are then linked to video games to show behaviourism's influences on game design. Ethical egoism, as theorised by Thomas Hobbes and Jesse Kalin, provides the ethico-moral theory necessary for the analysis of the morality mechanic in each game. Ethico-moral dilemmas identified within each game are discussed with regards to the hybrid approach which details both narrative and gameplay consequences of in-game ethico-moral decision making. The study concludes that gamers are ethical egoists when engaged in gameplay, due to their desire to complete the video game. However, during gameplay, gamers are exposed to altruism which is often promoted through the narrative and the nature of in-game objectives. Suggestions for further studies are also given for example a more detailed analysis of gamer behaviour, a qualitative study of in-game ethico-moral actions as well as a study of games that are non-violent in nature

Making sense of genre : The logic of videogame genre organization

Despite the importance that the dimension of genre holds in media studies, its very definition in the field of videogames is still a matter without consensus. This study intends to outline the logic that lies within the constitution of videoludic genres, understanding them as formal devices configured as per the different thought functions stated by Piaget's cognitive psychology theory. This project will propose a formalist approach from a cybersemiotic perspective. It seeks to establish a cardinal set of relations to understand the compatibilities and incompatibilities traceable in the syntactic functional order of the different videogame genres. Furthermore, a corpus of 43 genres is used to prove the solidity of this theoretical approach, oriented to establish foundations for a praxis of the human-machine ludic relation in fields such as game design and media studies, with the performative character of function as a guiding principle

Narrative agency in video games:a case study on how NieR: Automata embraces its medium

Abstract. In this thesis I analyze video games as a narrative medium by focusing on the 2017 video game NieR: Automata by director Yoko Taro and development team PlatinumGames. The main argument of the thesis is that for video games should utilize narrative elements that are unique to video games, such as player interaction. Since video game studies is a relatively new field, it does not have an established theoretical framework similar to traditional media such as literature. Therefore, I present and critique historically relevant approaches related to game narratives like narratology and ludology. Ultimately, I will use neither approach since narratology ignores what differentiates video games from traditional media whereas the ludologists’ viewpoint of games not being stories fundamentally goes against the premise of my argument. I will conduct the majority of the analysis by discussing the main story of NieR: Automata from the beginning to the end while highlighting and elaborating on events that provide narrative agency, which I define as moments of gameplay with narrative significance. In addition, I will analyze these events from the perspective of genre to highlight how the video game elements enhance the rhetoric of the story. Throughout the thirty-hour story of NieR: Automata, the player experiences narrative agency by numerous methods. I will argue that the repetition of in-game events without noticeable differences besides character change provides meaningful insight into how the characters are treated without specifically stating it. In addition, while NieR: Automata has few instances of traditional agency, which is characterized as providing the player with the freedom to do meaningful actions, the player can achieve similar feelings of meaningful interaction while telling a scripted narrative with little player influence. Finally, the final ending of NieR: Automata utilizes the game medium in a unique way as the player may sacrifice all their save data to assist other players complete the game. Other media are incapable of implementing similar narrative tools and highlights the influence of narrative agency as the player is willing to forfeit their invested time and saved progress for a narrative statement.Tiivistelmä. Tässä tutkielmassa analysoin videopelejä narratiivisena mediana käsittelemällä vuonna 2017 julkaistua videopeliä NieR: Automata, jonka on ohjannut Yoko Taro ja kehittänyt pelistudio PlatinumGames. Keskeinen argumenttini on, että videopelien pitäisi hyödyntää niille ominaisia narratiivisia elementtejä, kuten pelaajan kanssa tapahtuvaa vuorovaikutusta. Videopelitutkimuksen ollessa suhteellisen uusi tutkimusala, sille ei ole luotuna samanlaista teoreettista taustaa kuin perinteisen median, kuten kirjallisuuden, tutkimukselle. Tämän vuoksi tuon esiin sekä kritisoin historiallisesti merkittäviä lähestymistapoja pelien narratiivien tutkimuksessa, joita ovat esimerkiksi narratologia ja ludologia. En kuitenkaan käytä kumpaakaan lähestymistapaa analyysissani, sillä narratologia jättää huomiotta sen, mikä erottaa videopelit mediana perinteisistä medioista. Ludologian näkökulman mukaan pelit puolestaan eivät ole tarinoita, mikä on perustavanlaatuisesti vastakkainen näkökulma suhteessa tässä tutkielmassa esittämääni argumenttiin. Toteutan suuren osan analyysista keskittymällä NieR:Automatan päätarinaan korostaen ja tarkentaen tapahtumia, jotka tuottavat narratiivista toimijuutta, jonka määrittelen pelissä pelattuna toimintana, jolla on oleellinen merkitys narratiivin kannalta. Analysoin näitä tapahtumia lisäksi genren näkökulmasta korostaakseni sitä, miten videopelien ominaiset elementit tehostavat tarinan retoriikkaa. NieR: Automatan kolmekymmentätuntisen tarinan aikana pelaaja kokee narratiivista toimijuutta monien menetelmien myötä. Väitän, että pelissä toistuvat osuudet, joiden ainoa huomattava ero on pelattavan hahmon vaihtuminen, tarjoavat merkittävän näkökulman hahmojen kuvaamiseen ilman suoraa kuvailua. Vaikka NieR: Automatassa on vain harvoja perinteistä toimijuutta vaativia tilanteita, joille on tyypillistä tarjota pelaajalle vapaus valita narratiivin kannalta merkityksellinen toiminta, pelaaja voi saavuttaa tunteen merkityksellisestä vuorovaikutuksesta samalla kun peli kertoo käsikirjoitetun tarinan, johon pelaajalla on todellisuudessa vähän vaikutusta. Vielä lopuksi, NieR: Automatan lopetus hyödyntää pelimediaa uniikilla tavalla, sillä pelaaja voi uhrata kaiken tallennetun datansa auttaakseen muita pelaajia läpäisemään pelin. Muut mediat eivät ole kykeneviä käyttämään samanlaisia narratiivisia työkaluja, minkä lisäksi lopetus korostaa narratiivisen toimijuuden vaikutusta, jos pelaaja on halukas luopumaan pelaamiseen käyttämästään ajasta ja tallennetusta etenemisestä luodakseen syvemmän merkityksen tarinalle, vaikka se ei hyödytä häntä pelaajana

Fiction and video games:towards a ludonarrative model

Abstract. This thesis presents an evolutionary (rather than revolutionary) step towards a more holistic understanding of narrative meaningfulness in the medium commonly known as video games, based on the intrinsic semiotics of interactivity. The aim of the thesis is to highlight the narrative meaningfulness of not just the written or scripted content of a work, but also the emergent qualities, which may offer the player a serious tool for self-expression and co-authoring the experience. The concepts of coherence and cohesion are also discussed as they pertain to interactive mixed-media experiences. These concepts form the basis for a ludonarrative model that is intended for the examination, analysis and critique of narrative video games. The model is then further explicated by applying it to the examination of the commercially successful The Legend of Zelda: Breath of the Wild.Tiivistelmä. Tämä tutkielma esittelee pienehkön kehitysaskeleen kohti tarinallisuuden kokonaisvaltaisempaa ymmärtämistä videopeleiksi kutsumassamme mediaformaatissa. Sen pohjana toimii videopeleille luontainen, vuorovaikutuspohjainen semiotiikan teoria. Tutkielman tarkoitus on korostaa pelien tarinallista merkittävyyttä kirjoitettujen ja käsikirjoitettujen sisältöjen lisäksi myös emergenteissä eli pelaamalla syntyvissä kokemuksissa, jotka voivat mahdollistaa laajankin itseilmaisun ja kanssakirjoittamisen muodon pelaajalle. Tutkielmassa käsitellään myös koheesiota ja koherenssia, sikäli kun ne koskettavat mediaa, joka yhdistelee erilaisia ilmaisun muotoja. Nämä konseptit muodostavat pohjan ludonarratiiviselle mallille, jonka tarkoituksena on mahdollistaa tarinallisten videopelien tarkastelu, analysointi ja kritisointi. Lopuksi mallia avataan soveltamalla sitä kaupallisestikin menestyneen The Legend of Zelda: Breath of the Wild -videopelin tarkasteluun

The Art of the Game: Issues in Adapting Video Games

On the face of things, movies and video games are similar mediums. Both engage extensively in visuals and audio, both can indulge in speculative fiction, and there is a healthy amount of sharing of inspiration and content. However, this does not guarantee successful adaptations from one form to another. Movies adapted from video games are notorious for being simply terrible, but little academic attention has been paid as to why these adaptations in particular seem so unsuccessful in every way, from audience reception, critical response, and monetary returns. This issue is based on fundamental differences in the medium. Games are, at their core, based around rules and goals, and the inevitable predictability and reliability of those rules do not make for exciting adaptations. Games also place the player at the center of the meaning-making process, a position that feels almost privileged in comparison to the more voyeuristic position of the film audience. Movies must adapt with a greater consciousness of these fundamental differences in media, or else the video game movie curse will continue to claim new victims. Advisor: Tom Ganno