Réflexions sur les jeux avec sucre en poudre, poivre en grain… et un peu de vitriol.
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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This paper presents the research project of the INTEGRAE team. It aims to unravel the links between graphical technologies and innovation in the games industry and in gamer culture by focusing on a specific historical corpus: the transition from 2D to 3D graphics in the 1990s. This transition is of
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Technological innovation in the video games industry is a rich area of research that has barely been explored as of yet. It is usually taken for granted in game historiography that “[g]ame graphics were, and to a large extent still are, the main criteria by which advancing video game technology
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In this paper, we examine the two highly relevant traditions of the simulation of space, and the simulation of the gaze, to develop an art history approach to video games rooted in the relationship of a gamer to the visual and play space implemented in the game. Parallel projection and
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This paper presents a historical survey of the bond between video games and heavy metal cultures. It focuses on the video game arcades and Nintendo Entertainment System as sites of convergence, and then the challenges faced by both heavy metal and video games in USA policy from the PMRC and ESRB.
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Starting from John Dewey’s views on experience and art, we posit that playing a computer game can be an aesthetic experience. Playing a game can be a technical act to execute actions, or involve imagination in inventing new possibles. This is done by uniting with a game, which depends on
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Ce numéro spécial de Loading… regroupe une partie des communications du colloque international « Penser après la tombée de la nuit: Bienvenue dans le monde des jeux vidéo d’horreur » qui a eu lieu à Montréal en avril 2009 et qui a réuni des chercheurs du monde entier s’intéressant à
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This paper provides a critical overview of the notion of genre in game studies and in the video game industry, and establishes that genre is rooted not in game mechanics, but in game aesthetics; that is, play-experiences that share a phenomenological and pragmatic quality, regardless of their technical implementation.
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