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 issue of Kinephanos seeks to address game promotion and representation at the point of sale and wider advertising contexts. Its papers discuss the intersection of promotion with many different perspectives, from audience expectations and game experience to the history of games, globalization and feminism, to film aesthetics, authenticity and gamification.
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In this essay, we shall try to step back from a blinding cinema-centric approach in order to examine the impact such a framing has caused, to question its limitations, and to reflect on the interpretive communities that have relied on film (communities we are part of, due to our film
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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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