IF | Games. Narrativity - the living handbook of narratology. Last modified: 13 August 2011 H.
Porter Abbott 1 Definition Though it has become a contested term, “narrativity” is still commonly used in two senses: in a fixed sense as the “narrativeness” of narrative and in a scalar sense as the “narrativeness” of a narrative, the one applied generally to the concept of narrative, the other applied comparatively to particular narratives. As such, it can be aligned with any number of modal pairings: e.g. the lyricism of the lyric/a lyric; the descriptiveness of description/a description. 2 Explication This lively contestation has accompanied narrativity’s rise as a central term, and in some cases the central term (Sternberg, Sturgess, Fludernik, Audet), in postclassical narratology. Narrativity - the living handbook of narratology. Search Results. New videogame asks: do we really need academics to study videogames?
When I was born late into 1990, the Super Nintendo had already been released in its home country of Japan.
Over here in the States, Super Mario Bros. (1985) had already been entertaining my parents for years. Pong (1972) had entertained my pastor, and Tron (1982) had already hit theaters to the collective “meh” of audiences worldwide. As such, I have only ever known a world with videogames. But it’s worth pointing out that, relative to text or music or even film, videogames are still a fairly new medium. And as with any new medium, its invention has lead critics and academics to develop new language for discussing it. Take terms like “ludonarrative dissonance,” which describes the disconnect players feel when their actions in a game don’t match up with the story being presented to them. Ludonarrative Dissonance in Bioshock - Click Nothing. The problem of what the game is about [traduit en francais ici] About a year ago, I praised Ian Bogost's critique of Bully and lamented the unfortunate lack of game criticism, as distinct from game reviews.
Roughly speaking, we could say game criticism is for game developers and professionals who want to think about the nature of games and what they mean. Game reviews are for the public – for people who play games – and they are intended to help those people make decisions about which games they should buy. Both are valuable and important contributions, but sadly, we seem to only have one. So this is not going to be a review of Bioshock. Before I tear into it though, I want to apologize to the folks who worked on the game. MC: Les études sur la cohérence, la cohésion et la connexité textuelles. Espen Aarseth (1997) met en place divers concepts fondamentaux par lesquels appréhender la textualité dont se revendiquent de nombreuses expériences littéraires, relativement marginales au cours de l'histoire, plus spectaculaires à l'ère informatique des nouveaux supports électroniques: cybertexte, littérature ergodique, texton, scripton, fonction transversale, ...
Chap. I. Cernet: Bibliographie. Théorie esthétique et littéraire BARTHES, Roland (1968).
La mort de l'Auteur in Le bruissement de la langue. Paris: Seuil, 1984 BARTHES, Roland (1970). S/Z. Litterature. Jean Clément Littérature n° 96 Décembre 1994 Larousse Le concept de fiction interactive est à la fois commode et flou, sans doute commode parce que flou.
Dans la brève histoire de la littérature électronique, il s'est imposé très tôt pour désigner un produit nouveau et hybride, conçu dans les cerveaux de quelques informaticiens à l'imagination fertile[1]. Sans vouloir soulever ici la question des rapports entre jeu et littérature, rappelons simplement qu'il s'agissait de proposer au lecteur/utilisateur/ joueur d'explorer, par un dialogue purement textuel avec la machine, un univers de fiction dont il devait déjouer les pièges.
Le genre, souvent appelé «jeu d'aventure» a connu son heure de gloire dans les années soixante-dix[2], mais les progrès de l'informatique, et l'avènement du multimédia ont relégué au rayon des antiquités cet ancêtre du jeu vidéo. La fiction hypertextuelle, on s'en doute aisément, est plus proche du champ littéraire que le jeu d'aventure. Marie-Laure Ryan - Immersion vs. Interactivity: Virtual Reality and Literary Theory - Postmodern Culture 5:1.
Few of us have actually donned an HMD (head-mounted display) and DGs (data-gloves), and entered a computer-generated, three-dimensional landscape in which all of our wishes can be fulfilled: wishes such as experiencing an expansion of our physical and sensory powers; getting out of the body and seeing ourselves from the outside; adopting a new identity; apprehending immaterial objects with most of our senses, including touch; being able to modify the environment through either verbal commands or physical gestures; seeing creative thoughts instantly realized without going through the process of having them physically materialized.
Worldwide, VR is happening in protected pockets of technology; inside giants corporations, universities, and small entrepreneurial start-ups; in Berlin and North Carolina; covering Japan and especially in the San Francisco Bay Area. . . . A rare excitement is in the air, an excitement that comes from breaking through to something new. Game Studies 0101: Ryan: Beyond Myth and Metaphor: The Case of Narrative in Digital Media. -The Case of Narrative in Digital Media by Marie-Laure Ryan If we compare the field of digital textuality to other areas of study in the humanities, its most striking feature is the precedence of theory over the object of study.
Marie-Laure Ryan. 4 Mai 2006 Ma présentation explore l’idée qu’il existe une pluralité de mondes dans deux domaines : 1.
La théorie des mondes possibles, plus particulièrement ses applications en théorie littéraire; 2. La physique théorique. Théorie des mondes possibles. The Narrative Theory of Games. Emergent gameplay - Wikipedia. Emergent gameplay refers to complex situations in video games, board games, or table top role-playing games that emerge from the interaction of relatively simple game mechanics.[1] Intentional emergence[edit] Intentional emergence occurs when some creative uses of the game are intended by the game designers.
Since the 1970s and 1980s board games and table top role playing games such as Cosmic Encounter or Dungeons & Dragons have featured intentional emergence as a primary game function by supplying players with relatively simple rules or frameworks for play that intentionally encouraged them to explore creative strategies or interactions and exploit them toward victory or goal achievement. Henry Jenkins explique sa vision du transmedia et de l’engagement des publics. A l’initiative de la Sorbonne Nouvelle – Université Paris 3 et avec le soutien du Transmedia lab d’Orange, le Centre Pompidou recevait vendredi 25 mai dernier Henry Jenkins, pour une conférence sur le Transmedia Storytelling : » Engagement, participation, play : the value and meaning of Transmedia audiences « .
Organisée par Eric Maigret (Professeur à Paris 3) et Mélanie Bourdaa (MCF à Bordeaux 3), cette rencontre a permis à Henry Jenkins d’expliquer sa vision des stratégies transmedia et des engagements des publics.