Réflexions sur les jeux avec sucre en poudre, poivre en grain… et un peu de vitriol.
This chapter 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.
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This chapter makes a short history of the main genres and sub-genres of “action” games. It argues the categorization relies on a mode of action rather than being a genre. A model of actional modalities is presented to distinguish action from strategy and resolution.
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This volume examines fifty of the most important video games that have contributed significantly to the history, development, or culture of the medium, providing an overview of video games from their beginning to the present day. It covers a variety of historical periods and platforms, genres, commercial impact, artistic choices,
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This paper re-frames virtual interactive characters as “subjective interfaces” with the purpose of highlighting original affordances for interactive storytelling through conversation. This notion is theoretically unpacked in the perspectives of narratology, interaction design and game design. Existing and imagined scenarios are presented in which subjective interfaces are elevated as core
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This paper lays out a unified framework of the ergodic animage, the rule-based and interaction-driven part of visual representation in video games. It is the end product of a three-year research project conducted by the INTEGRAE team, and is divided into three parts. Part 1 contextualizes the research on graphics
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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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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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