Valeur narrative des mécaniques ludiques et corporéité du joueur

Faisant écho aux recherches contemporaines sur la narrativité du jeu vidéo et s’inscrivant au cœur des problématiques du Narrative Design, cet article s’appuie sur un travail de recherche-création pour défendre l’idée d’une valeur narrative de l’expérience corporelle des mécaniques ludiques. Il met plus précisément en lumière les potentiels expressifs de la dissonance et de l’harmonie ludo-narrative, la portée narrative des mécaniques ludiques et l’importance de la corporéité dans la construction du sens de l’expérience.Anchored in contemporary scientific research about video games narrativity and tackling current considerations in the field of Narrative Design, his paper presents a research-creation project that explores the idea of a narrative value of the game mechanics experienced through the body. More precisely, three concepts are discussed: the ludo-narrative dissonance and harmony, the narrative game mechanics and the narrative body experience of the game

Games and rules: game mechanics for the "Magic Circle"

Why do we play games and why do we play them on computers? The contributors of "Games and Rules" take a closer look at the core of each game and the motivational system that is the game mechanics. Games are control circuits that organize the game world with their (joint) players and establish motivations in a dedicated space, a "Magic Circle", whereas game mechanics are constructs of rules designed for interactions that provide gameplay. Those rules form the base for all the excitement and frustration we experience in games. This anthology contains individual essays by experts and authors with backgrounds in Game Design and Game Studies, who lead the discourse to get to the bottom of game mechanics in video games and the real world - among them Miguel Sicart and Carlo Fabricatore

Games and Rules

Why do we play games and why do we play them on computers? The contributors of »Games and Rules« take a closer look at the core of each game and the motivational system that is the game mechanics. Games are control circuits that organize the game world with their (joint) players and establish motivations in a dedicated space, a »Magic Circle«, whereas game mechanics are constructs of rules designed for interactions that provide gameplay. Those rules form the base for all the excitement and frustration we experience in games. This anthology contains individual essays by authors with backgrounds in Game Design and Game Studies, who lead the discourse to get to the bottom of game mechanics in video games and the real world

Games and Rules

Why do we play games and why do we play them on computers? The contributors of »Games and Rules« take a closer look at the core of each game and the motivational system that is the game mechanics. Games are control circuits that organize the game world with their (joint) players and establish motivations in a dedicated space, a »Magic Circle«, whereas game mechanics are constructs of rules designed for interactions that provide gameplay. Those rules form the base for all the excitement and frustration we experience in games. This anthology contains individual essays by authors with backgrounds in Game Design and Game Studies, who lead the discourse to get to the bottom of game mechanics in video games and the real world

Breaking out stories and networks of interdependency: using actor-network theory to trace emergent challenges to narrative norms in AAA and indie game development sectors.

My intervention in this thesis is two-fold: Firstly, I aim to explore how design practitioners are leveraging the form of videogames to tell new types of stories that speak to and help shape newly emerging audience formations, and how the material and organisational structures of the industry constrain or enable those attempts. Secondly, the thesis implements a novel framework adapted primarily from the production studies work of John Caldwell (2008b), which has been recognised as an urgently needed addition to the growing critical tool kit of game studies (Banks et al., 2016), and combined with actor-network theory of Bruno Latour (2005), in order to make an original contribution to the growing methodological field of game studies. I argue that the innovative framework of actor-network theory (Callon et al., 2009; Latour, 2005; Law, 2004) applies particularly well to the shifting videogames industry as an object of study. My specific focus is on the kinds of stories that are told in the complex and shifting production contexts of game design, but also the kinds of trade stories that circulate within production cultures. Thus I link textual analysis and the study of production by exploring how such narratives are formed within real material spaces of production. I do so by utilising a mixed method of anthropology of production cultures and semi-structured interviews (Galletta, 2013). In particular I have attempted to make the game studio a unit of analysis within the complex flows of narrative intention and economic realities, which ties my work into an emerging field of Studio Studies (Farías and Wilkie, 2015), and I specifically focus on the emergence of the independent studio as a significant challenge to industry norms and the narrative forms and core gamer identities that rest upon them. In doing so I build on a new generation of work in game studies (Anable, 2018; Chess, 2017; Keogh, 2018a; Nooney, 2017; Ruffino, 2018a) seeking to challenge the entrenched academic orthodoxy of game studie

Mechanics and story in Journey : Create story and themes without words

Ludonarrativ som begrepp är skapat för att kunna diskutera hur narrativ och mekanik påverkar varandra. Från detta ämne har andra begrepp uppstått bland annat ludonarrativ harmoni och emergent berättande. Då Journey (2012) är ett spel utan ord är det intressant att undersöka utifrån dessa koncept för att se hur narrativ och mekanik kan påverka varandra. Denna analys genomförs främst genom att applicera Larsen och Schoenau-Fog (2016) the narrative quality of game mechanics modell på spelet