Un modelo de análisis para la narración en el videojuego en presencia de interacción

  1. Adrián Suárez Mouriño 1
  1. 1 Universidade da Coruña
    info

    Universidade da Coruña

    La Coruña, España

    ROR https://ror.org/01qckj285

Revista:
Caracteres: estudios culturales y críticos de la esfera digital

ISSN: 2254-4496

Año de publicación: 2019

Volumen: 8

Número: 1

Páginas: 39-71

Tipo: Artículo

DIALNET GOOGLE SCHOLAR lock_openDialnet editor

Otras publicaciones en: Caracteres: estudios culturales y críticos de la esfera digital

Resumen

So why this paper? Just to present a useful model to analyze the narration within a videogame in the presence of interaction, with the humble purpose that it can become a tool to develop storytelling mixed with interaction too, not just for a review. This model has been created exclusively for its use with videogames, believing they need tools of their own to being studied, not others provided by film studies or literature. In order to achieve this goal, and with the firmly thought that is a needed one as we expect we can prove, we are going to show the model after its precedents, defining its parts and testing it with Dark Souls Remastered (From Software, 2018).

Referencias bibliográficas

  • Aarseth, Espen (2004). “Genre Trouble: Narrativism and the Art of Simulation”. Ed. Noah Wardrip-Fruin, Pat Harrigan. First Person: New Media as Story, Performance, and Game. Cambridge: MIT Press. pp. 45-55.
  • Aarseth, Espen (2005). “Blog entry on Umea Aarseth/Jenkins Debate”. Ludonauts <http://www.ludonauts.com/index.php/2005/02/27/p208> (30-5-2005).
  • Aarseth, E. (2007). “I Fought the Law: Transgressive Play and the Implied Player”. Digra'07 Proceedings of the 2007 Digra Internaticonal Conference: Situated Play. Tokio: The University of Tokyo: pp 180-187.
  • Aarseth, Espen (2012). “A narrative theory of games”. Proceedings of the international conference on the foundations of digital games—FDG ‘12G ‘12. Nueva York: ACM Press: pp. 129133.
  • Bogost, Ian (2006). Unit Operations: An Approach to Videogame Criticism. Cambridge: MIT Press.
  • Bogost, Ian. (2017). “Videogames are better without stories”. The Atlantic. <https://www.theatlantic.com/technology/archive/2017/04/vi deo-games-stories/524148/> (25-4-2017).
  • Boyd, Brian (2009). On the origin of stories Evolution, cognition and fiction. Londres: Harvard University Press.
  • Costikyan, Greg (2013). Uncertainty in Games. Londres: MIT Press.
  • Csikszentmihalyi, Mihaly (1990). Flow: The Psychology of Optimal Experience. Nueva York: Harper Perennial.
  • Fernández-Vara, Clara (2009). “Play's the Thing: A Framework to Study Videogames as Performance”. Worlds in Play: International Perspectives on Digital Games Research 21 <http://www.digra.org/wp-content/uploads/digitallibrary/09287.52457.pdf> (25-4-2017).
  • Fernández-Vara, Clara (2015). Introduction to Game Analysis. Nueva York: Routledge.
  • Frasca, Gonzalo (2003). “Ludologists love stories, too: notes from a debate that never took place”. Ludology <http://www.ludology.org/articles/Frasca_LevelUp2003.pdf > (4-11-2003).
  • Gaudreault, André (1988). Du littéraire au filmique. Système du récit. París: Méridiens Klincksieck.
  • Genette, Gérard (1991). “Discurso del relato”. Figuras III. Barcelona: Lumen. pp. 75-327.
  • Goleman, Daniel (2012). Inteligencia Emocional. Barcelona: Kairós.
  • Goodwin, Kim (2009). Designing for the digital age: How to create Human-Centered products and services. Indianápolis: Wiley Publishing.
  • Järvinen, A. (2008). “Games without Frontiers: Theories and Methods for Game Studies and Design”. Acta.Uta.Fi <http://acta.uta.fi/english/teos.phtml?11046> pp. 75-327.
  • Jenkins, Henry (2004). “Game design as narrative architecture”. Electronic book review. <http://www.electronicbookreview.com/thread/firstperson/la zzi-fair> (10-7-2004).
  • Juul, Jesper (2005). “Half Real. Videogames between real rules and fictional worlds”. Cambridge: The MIT Press.
  • Klevjer, Rune (2002). “In defense of cutscenes”. Ed. Frans Mäyrä. Proceedings of Computer Games and Digital Cultures Conference. Tampere: Tampere University Press. pp. 191,201.
  • Landow, George (1992). Hypertext 2.0: The Convergence of Contemporary Critical Theory and Technology. Baltimore: The Johns Hopkins UP.
  • Nacke, Lennart E. y Lindley, A. Craig (2010). “Affective Ludology, Flow and Immersion in a First Person Shooter: Measurement of Player Experience”. The Journal of the Canadian Game Studies Association 3 (5). <https://arxiv.org/ftp/arxiv/papers/1004/1004.0248.pdf>.
  • Murray, Janet (2012). Inventing the medium: Principles of interaction design as a cultural practice. Cambridge: MIT Press
  • Murray, Janet (2016). “Not a Film and Not an Empathy Machine”. Inmerse <https://immerse.news/not-a-film-and-not-anempathy-machine-48b63b0eda93#.9juesqqq8> (6-10-2016).
  • Navarro-Remesal, Víctor & García-Catalán, Sheila (2015). “«¡Ey, tú frente a la tele!»: El jugador como actante en la ficción y la cuarta pared en el videojuego”. Videojuegos, arte y narrativa audiovisual. Madrid: Esne Editorial. pp. 211-230
  • Nelson, Harold y Stolterman, Erick (2012). The Design Way: Intentional Change in an Unpredictable World. Cambridge, MA: MIT Press.
  • Osborne, Martin (2004). An introduction to game theory. New York: Oxford University Press.
  • Pearce, Celia (2004). “Towards a game theory of game”. Electronic Book Review <http://www.electronicbookreview.com/thread/firstperson/ta magotchi> (8-7-2004).
  • Pérez-Latorre, Óliver (2011). Análisis de la significación del videojuego Fundamentos teóricos del juego, el mundo narrativo y la enunciación interactiva como perspectivas de estudio del discurso. Tesis no publicada. Universitat Pompeu Fabra, España.
  • Pérez-Latorre, Óliver (2015). El arte del entretenimiento. Un ensayo sobre el diseño de experiencias en narrativa, videojuegos y redes sociales. Barcelona: Laertes.
  • Planells, Antonio (2010). “La evolución narrativa en los videojuegos de aventuras (1975-1998)”. Zer Revista de Estudios de Comunicación 15: pp. 115-136.
  • Planells, Antonio (2013). “La emergencia de los Game Studies como disciplina propia: investigando el videojuego desde las metodologías de la Comunicación”. La comunicación en la profesión y en la universidad de hoy 18: pp. 519-528.
  • Planells, Antonio (2015). “The expressive power of the possible worlds theory in video games: when narratives become interactive and fictional spaces”. Comunicação e Sociedade 27: pp. 289-302.
  • Plantinga, Carl (2009). Moving viewers. American film and the spectator´s experience. Berkeley: University of California Press.
  • Prince, Gerald (1989). A Dictionary of Narratology. Lincoln: University of Nebraska Press.
  • Ryan, Marie-Laure (2001). “Beyond Myth and Metaphor-The Case of Narrative in Digital Media”. Gamestudies. <http://www.gamestudies.org/0101/ryan/> (1-7-2001).
  • Ryan, Marie-Laure (2015). Narrative as Virtual Reality 2: Revisiting Immersion and Interactivity in Literature and Electronic Media. Baltimore: Johns Hopkins University Press.
  • Sicart, Miguel (2011). “Against Procedurality”. Gamestudies. <http://gamestudies.org/1103/articles/sicart_ap> (1-12-2011).
  • Suárez, Adrián (2018). La narración de las interacciones. Tesis no publicada. UDC, España.
  • Suárez, Adrián y Pareja, Álex (2018). Sobre Mario: de fontanero a leyenda: 1981-1996. Barcelona: Start-T-Magazine.
  • Upton, Brian (2015). The Aesthetic of Play. Massachusetts: MIT Press Books.
  • Vella, Daniel (2015). “No Mastery Without Mystery: Dark Souls and the Ludic Sublime”. Gamestudies. <http://gamestudies.org/1501/articles/vella> (1-7-2015).
  • Walther, Bo Kampmann (2003). “Playing and Gaming Reflections and Classifications”. Gamestudies. <http://gamestudies.org/0301/walther> (1-5-2003).
Fuente de los datos: Dialnet