Réflexions sur les jeux avec sucre en poudre, poivre en grain… et un peu de vitriol.
Historians often conduct their work in two phases: studying the documents to retrace the facts, and then organizing these facts and events into a narrative. Since many of us have a direct, lived experience with video games, sometimes our lived experiences do not accord with the grand historical narrative. We
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“Back in the day”, as we might say, Espen Aarseth warned game studies researchers against “theoretical imperialism” (1997, p.16), that is, the blind copy-pasting of theories from another field onto games, as if they were a kind of literature, or a kind of cinema. To rework the old spatial metaphor
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I currently see two promising ways in which narrative game research could productively bridge the contents/expression, object/process divide: 1) by studying particular narrative figures or tropes, such as the fail/retry cycle in games, or a phenomenon I recently coined “pandiegetic conspiracies”, where it seems like the entirety of the fictional
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