https://wiki.uni-konstanz.de/gamelab/api.php?action=feedcontributions&feedformat=atom&user=Emre.sofuoglu 2026-04-18T07:31:04Z User contributions MediaWiki 1.43.8 https://wiki.uni-konstanz.de/gamelab/index.php?title=Shadow_of_the_Colossus&diff=1144 2020-03-06T16:23:55Z

<p>Emre.sofuoglu: </p> <hr /> <div>[[File:Shadow-of-the-colossus-screen-02-ps4-eu-30oct17.jpg|480x480px]]<br /> <br /> A Colossus staring down the player-avatar Wanda<br /> &lt;br /&gt;<br /> ==About the game==<br /> Shadow of the Colossus, released in Japan as Wanda and the Colossus, is an single player action-adventure game developed by SCE Japan Studio and Team Ico, and published by Sony Computer Entertainment for the PlayStation 2. The game was released in North America and Japan in October 2005 and PAL regions such as Europe in February 2006. It was directed by Fumito Ueda and developed at SCEI's International Production Studio 1, also known as Team Ico; the same development team responsible for the cult hit Ico, to which the game is considered a spiritual successor. <br /> <br /> It can be best described as an action-adventure-game with puzzle-elements. <br /> <br /> Shadow of the Colossus received almost universal acclaim upon its release and a cult-following during the following years, prompting the release of an HD-Version for the Playstation 3 alongside its progenitor Ico in the year 2011 and a complete remake for the PS4 in 2018. Thus it has been playable on every SONY home console since its release. <br /> <br /> Much of the discourse around the game can strike one as downright esoteric at first, owed to the vague and simplistic nature of story and gameplay. <br /> <br /> Narratologic segments such as cutscenes take up a very minimal ammount of the game and overall the total wordcount spoken remains fairly low. Colossuses gameplay remains simplistic as well. There are no level-progresssion or experience points in the game, no customizable items or collectibles. Gameplay can be easily broken up into „ride horse“, „climb“, “jump“ „shoot arrow“ and „stab“ &lt;ref&gt; Aki Järvinen &lt;/ref&gt; and the last one could even be seen as a glorified quick time event. After one Colossus is killed you repeat the process 16 times. <br /> <br /> Lastly, apart from the puzzle-like design of the colossi, the level design is pretty barren, covering mostly empty fields. Any real complexity in the overall play aspect is found at the intersection of all these mechanics at once. While the density of mechanics might be low, at ist largest, the player is in control of Wanda riding through the desert at breackneck speed following a huge stoneserpent, trying to somehow get on a tiny patch of climmable fur on its back. Its this dynamic interplay that creates a gameplayloop, simple in its structure but all the more memorable for it. <br /> <br /> &lt;br /&gt;<br /> <br /> ==Story and gameplay==<br /> &lt;youtube&gt;https://www.youtube.com/watch?v=KOXFEBC509w&lt;/youtube&gt;<br /> <br /> ==Research relevant approaches==<br /> ===[[Narratology and Ludology]]===<br /> As a game that separates clearly between gameplay-sections and naratologic cutcenes, Shadow of the Colossus lends itself quite well for an analysis of Ludology and Narratology as a whole,.<br /> <br /> '''Ludology ''' (Huizinga/Jasper Juul/ Robert Callois) The Discipline that studies the Act of playing a game. The Field of Ludology includes researchers such as Johann Huizinga the father of Ludology with his 1955 work ''Homo ludens'', in which he first emphasized playing as part of individual- and group-development. Games should be understood as systems in which players engage in artificial conflict, defined by specific rules, which eventually result in a quantifiable outcome. &lt;ref&gt;Salen Katie and Erik Zimmermann, 2004 Roles of Play – Game Design Fundamentals, London: The MIT Press &lt;/ref&gt;<br /> <br /> '''Narratology'''<br /> <br /> Many ludologists have argued against the use of narratlogic explanations when it comes to games, as they see them as inherently non-narratologic or at least their narratives being out of the focus of research studying play. They aren`t movies or books making them a new form of text and such, subject of ludology (Juul, Aarseth).Frasca argues, however that if a narrative is included in a game, studying the NARRATION (not narrative) should nevertheless be part of studying the game. Computer games, according to Huizinga, share many key aspects of representation with more traditional mediums such as movies or books. Despite this fact, they are deserving of its own approach, which is owed to a few major differences, including its unique relationship with the recipient. Games &quot;read&quot; their player and test their participation by presenting them with roadblocks in form of gameplay-challenges which hinder progression. As such they present a unique type of text, which is read, but also reacts and reads the reader.&lt;ref&gt;Barry Atkins 2006&lt;/ref&gt;<br /> ===[[Semiology in games]]===<br /> <br /> ===Shadow of the Colossus, its Hypertext and the metanarrative impact of games===<br /> Vague, nondescriptive plots such as the one in colossus leave much up to player-imagination. This, coupled with the iconographic power of the Colossi, manages to create a strong metaphorical framework, which has been adapted and used in different works of media.<br /> As a hugely popular game, Shadow of the Colossus, its themes of intense loneliness produced by the barrenly minimal complexity of gameworld and design, and the semiotic impact of its titular Colossi caught the attention of filmmaker-duo Mike and Jack Binder. The two brothers implemented the game into the story of their 2007 film Reign Over Me, starring Adam Sandler as Alan Johnson, a father who lost his family in the 2001 attack on the World Trade Center. &quot;You could see where someone who was dealing with 9/11 would be engrossed by a giant that keeps collapsing over and over again,&quot; - Mike Binder, 2007<br /> <br /> <br /> &lt;youtube&gt;https://www.youtube.com/watch?v=YiftlPIazGg&lt;/youtube&gt;<br /> <br /> Alan obsessively seeks catharsis in the iconographic relief of making the colossus collapse himself and while he is in control of the situation. Basically nothing about the games story, but the fact, that a small man makes hunt on huge colossi and has to bring them down, is shown in the film. Yet, many aspects of why Shadow of the Colossus might have an appeal on Alan are very clearly communicated in about two minutes. As Colossus works in the film, it is a short, affectionate piece, communicating not only the emotional state of a character, but also the role of video games as a coping mechanism for someone who might have suffered a tragedy. <br /> <br /> As such, it metanarratively points out ludic qualities and metanarrative potentials about the game and games in general. The narratolgical choice of Colossus as the game the depressed Alan obsesses over, becomes even more apparent, when you consider the games narration of a person willing to risk everything and fight against an insurmountable task, to ressurect, a deceased loved one. <br /> <br /> The game in the film also represents a turning point as it aids in the reconnection of two characters. “They bond through games and lose themselves in them, only to find themselves again. They enjoy the simple act of play.“ &lt;ref&gt;Brian Ashcraft, 2007 https://kotaku.com/feature-the-colossus-and-the-comedian-246286 &lt;/ref&gt;<br /> <br /> <br /> &lt;br /&gt;<br /> [[Category:Games]]<br /> &lt;references /&gt;</div>

Emre.sofuoglu https://wiki.uni-konstanz.de/gamelab/index.php?title=Semiology&diff=1143 2020-03-06T16:22:36Z

<p>Emre.sofuoglu: Created page with &quot;The theoretical framework of semiotic structures in games&quot;</p> <hr /> <div>The theoretical framework of semiotic structures in games</div>

Emre.sofuoglu https://wiki.uni-konstanz.de/gamelab/index.php?title=Narratology_and_Ludology&diff=1142 2020-03-06T15:58:37Z

<p>Emre.sofuoglu: /* &quot;Serious writing about games has hardly been around long enough to have developed factions. And yet it has. Why can’t I write about your side without obvious bitterness? And why can’t your side address my side without airily dismissing its goal */</p> <hr /> <div>=====&quot;Serious writing about games has hardly been around long enough to have developed factions. And yet it has. Why can’t I write about your side without obvious bitterness? And why can’t your side address my side without airily dismissing its goals? &quot; &lt;ref&gt;Tom Bissel 2011&lt;/ref&gt;=====<br /> <br /> ===='''Ludology '''====<br /> (Huizinga/Jasper Juul/ Robert Callois) The Discipline that studies the Act of playing a game. The Field of Ludology includes researchers such as Johann Huizinga the father of Ludology with his 1955 work ''Homo ludens'', in which he first emphasized playing as part of individual- and group-development. Games should be understood as systems in which players engage in artificial conflict, defined by specific rules, which eventually result in a quantifiable outcome. &lt;ref&gt;Salen Katie and Erik Zimmermann, 2004 Roles of Play – Game Design Fundamentals, London: The MIT Press &lt;/ref&gt;<br /> <br /> ===='''Narratology'''====<br /> Many ludologists have argued against the use of narratlogic explanations when it comes to games, as they see them as inherently non-narratologic or at least their narratives being out of the focus of research studying play. They aren`t movies or books making them a new form of text and such, subject of ludology (Juul, Aarseth).Frasca argues, however that if a narrative is included in a game, studying the NARRATION (not narrative) should nevertheless be part of studying the game. Computer games, according to Huizinga, share many key aspects of representation with more traditional mediums such as movies or books. Despite this fact, they are deserving of its own approach, which is owed to a few major differences, including its unique relationship with the recipient. Games &quot;read&quot; their player and test their participation by presenting them with roadblocks in form of gameplay-challenges which hinder progression. As such they present a unique type of text, which is read, but also reacts and reads the reader.&lt;ref&gt;Barry Atkins 2006&lt;/ref&gt;<br /> &lt;references /&gt;<br /> [[Category:Research Approaches]]</div>

Emre.sofuoglu https://wiki.uni-konstanz.de/gamelab/index.php?title=Narratology_and_Ludology&diff=1041 2020-02-06T11:27:22Z

<p>Emre.sofuoglu: </p> <hr /> <div>=====&quot;Serious writing about games has hardly been around long enough to have developed factions. And yet it has. Why can’t I write about your side without obvious bitterness? And why can’t your side address my side without airily dismissing its goals? Or am I overstating things?&quot; &lt;ref&gt;Tom Bissel 2011&lt;/ref&gt;=====<br /> <br /> ===='''Ludology '''====<br /> (Huizinga/Jasper Juul/ Robert Callois) The Discipline that studies the Act of playing a game. The Field of Ludology includes researchers such as Johann Huizinga the father of Ludology with his 1955 work ''Homo ludens'', in which he first emphasized playing as part of individual- and group-development. Games should be understood as systems in which players engage in artificial conflict, defined by specific rules, which eventually result in a quantifiable outcome. &lt;ref&gt;Salen Katie and Erik Zimmermann, 2004 Roles of Play – Game Design Fundamentals, London: The MIT Press &lt;/ref&gt;<br /> <br /> ===='''Narratology'''====<br /> Many ludologists have argued against the use of narratlogic explanations when it comes to games, as they see them as inherently non-narratologic or at least their narratives being out of the focus of research studying play. They aren`t movies or books making them a new form of text and such, subject of ludology (Juul, Aarseth).Frasca argues, however that if a narrative is included in a game, studying the NARRATION (not narrative) should nevertheless be part of studying the game. Computer games, according to Huizinga, share many key aspects of representation with more traditional mediums such as movies or books. Despite this fact, they are deserving of its own approach, which is owed to a few major differences, including its unique relationship with the recipient. Games &quot;read&quot; their player and test their participation by presenting them with roadblocks in form of gameplay-challenges which hinder progression. As such they present a unique type of text, which is read, but also reacts and reads the reader.&lt;ref&gt;Barry Atkins 2006&lt;/ref&gt;<br /> &lt;references /&gt;<br /> [[Category:Research Approaches]]</div>

Emre.sofuoglu https://wiki.uni-konstanz.de/gamelab/index.php?title=Narratology_and_Ludology&diff=1038 2020-02-06T11:10:48Z

<p>Emre.sofuoglu: </p> <hr /> <div>=====&quot;Serious writing about games has hardly been around long enough to have developed factions. And yet it has. Why can’t I write about your side without obvious bitterness? And why can’t your side address my side without airily dismissing its goals? Or am I overstating things?&quot; &lt;ref&gt;Tom Bissel 2011&lt;/ref&gt;=====<br /> <br /> ==== '''Ludology ''' ====<br /> (Huizinga/Jasper Juul/ Robert Callois) The Discipline that studies the Act of playing a game. The Field of Ludology includes researchers such as Johann Huizinga the father of Ludology with his 1955 work ''Homo ludens'', in which he first emphasized playing as part of individual- and group-development. Games should be understood as systems in which players engage in artificial conflict, defined by specific rules, which eventually result in a quantifiable outcome. &lt;ref&gt;Salen Katie and Erik Zimmermann, 2004 Roles of Play – Game Design Fundamentals, London: The MIT Press &lt;/ref&gt;<br /> <br /> ==== '''Narratology''' ====<br /> Many ludologists have argued against the use of narratlogic explanations when it comes to games, as they see them as inherently non-narratologic or at least their narratives being out of the focus of research studying play. They aren`t movies or books making them a new form of text and such, subject of ludology (Juul, Aarseth).Frasca argues, however that if a narrative is included in a game, studying the NARRATION (not narrative) should nevertheless be part of studying the game. Computer games, according to Huizinga, share many key aspects of representation with more traditional mediums such as movies or books. Despite this fact, they are deserving of its own approach, which is owed to a few major differences, including its unique relationship with the recipient. Games &quot;read&quot; their player and test their participation by presenting them with roadblocks in form of gameplay-challenges which hinder progression. As such they present a unique type of text, which is read, but also reacts and reads the reader.&lt;ref&gt;Barry Atkins 2006&lt;/ref&gt;<br /> &lt;references /&gt;</div>

Emre.sofuoglu https://wiki.uni-konstanz.de/gamelab/index.php?title=Narratology_and_Ludology&diff=1037 2020-02-06T11:10:06Z

<p>Emre.sofuoglu: </p> <hr /> <div>===== &quot;Serious writing about games has hardly been around long enough to have developed factions. And yet it has. Why can’t I write about your side without obvious bitterness? And why can’t your side address my side without airily dismissing its goals? Or am I overstating things?&quot; &lt;ref&gt;Tom Bissel 2011&lt;/ref&gt; =====<br /> '''Ludology ''' (Huizinga/Jasper Juul/ Robert Callois) The Discipline that studies the Act of playing a game. The Field of Ludology includes researchers such as Johann Huizinga the father of Ludology with his 1955 work ''Homo ludens'', in which he first emphasized playing as part of individual- and group-development. Games should be understood as systems in which players engage in artificial conflict, defined by specific rules, which eventually result in a quantifiable outcome. &lt;ref&gt;Salen Katie and Erik Zimmermann, 2004 Roles of Play – Game Design Fundamentals, London: The MIT Press &lt;/ref&gt;<br /> <br /> '''Narratology'''<br /> <br /> Many ludologists have argued against the use of narratlogic explanations when it comes to games, as they see them as inherently non-narratologic or at least their narratives being out of the focus of research studying play. They aren`t movies or books making them a new form of text and such, subject of ludology (Juul, Aarseth).Frasca argues, however that if a narrative is included in a game, studying the NARRATION (not narrative) should nevertheless be part of studying the game. Computer games, according to Huizinga, share many key aspects of representation with more traditional mediums such as movies or books. Despite this fact, they are deserving of its own approach, which is owed to a few major differences, including its unique relationship with the recipient. Games &quot;read&quot; their player and test their participation by presenting them with roadblocks in form of gameplay-challenges which hinder progression. As such they present a unique type of text, which is read, but also reacts and reads the reader.&lt;ref&gt;Barry Atkins 2006&lt;/ref&gt;<br /> &lt;references /&gt;</div>

Emre.sofuoglu https://wiki.uni-konstanz.de/gamelab/index.php?title=Narratology_and_Ludology&diff=1036 2020-02-06T11:08:45Z

<p>Emre.sofuoglu: </p> <hr /> <div>&quot;Serious writing about games has hardly been around long enough to have developed factions. And yet it has. Why can’t I write about your side without obvious bitterness? And why can’t your side address my side without airily dismissing its goals? Or am I overstating things?&quot; &lt;ref&gt;Tom Bissel 2011&lt;/ref&gt;<br /> <br /> '''Ludology ''' (Huizinga/Jasper Juul/ Robert Callois) The Discipline that studies the Act of playing a game. The Field of Ludology includes researchers such as Johann Huizinga the father of Ludology with his 1955 work ''Homo ludens'', in which he first emphasized playing as part of individual- and group-development. Games should be understood as systems in which players engage in artificial conflict, defined by specific rules, which eventually result in a quantifiable outcome. &lt;ref&gt;Salen Katie and Erik Zimmermann, 2004 Roles of Play – Game Design Fundamentals, London: The MIT Press &lt;/ref&gt;<br /> <br /> '''Narratology'''<br /> <br /> Many ludologists have argued against the use of narratlogic explanations when it comes to games, as they see them as inherently non-narratologic or at least their narratives being out of the focus of research studying play. They aren`t movies or books making them a new form of text and such, subject of ludology (Juul, Aarseth).Frasca argues, however that if a narrative is included in a game, studying the NARRATION (not narrative) should nevertheless be part of studying the game. Computer games, according to Huizinga, share many key aspects of representation with more traditional mediums such as movies or books. Despite this fact, they are deserving of its own approach, which is owed to a few major differences, including its unique relationship with the recipient. Games &quot;read&quot; their player and test their participation by presenting them with roadblocks in form of gameplay-challenges which hinder progression. As such they present a unique type of text, which is read, but also reacts and reads the reader.&lt;ref&gt;Barry Atkins 2006&lt;/ref&gt;</div>

Emre.sofuoglu https://wiki.uni-konstanz.de/gamelab/index.php?title=Narratology_and_Ludology&diff=1035 2020-02-06T11:04:34Z

<p>Emre.sofuoglu: </p> <hr /> <div>'''Ludology ''' (Huizinga/Jasper Juul/ Robert Callois) The Discipline that studies the Act of playing a game. The Field of Ludology includes researchers such as Johann Huizinga the father of Ludology with his 1955 work ''Homo ludens'', in which he first emphasized playing as part of individual- and group-development. Games should be understood as systems in which players engage in artificial conflict, defined by specific rules, which eventually result in a quantifiable outcome. &lt;ref&gt;Salen Katie and Erik Zimmermann, 2004 Roles of Play – Game Design Fundamentals, London: The MIT Press &lt;/ref&gt;<br /> <br /> '''Narratology'''<br /> <br /> Many ludologists have argued against the use of narratlogic explanations when it comes to games, as they see them as inherently non-narratologic or at least their narratives being out of the focus of research studying play. They aren`t movies or books making them a new form of text and such, subject of ludology (Juul, Aarseth).Frasca argues, however that if a narrative is included in a game, studying the NARRATION (not narrative) should nevertheless be part of studying the game. Computer games, according to Huizinga, share many key aspects of representation with more traditional mediums such as movies or books. Despite this fact, they are deserving of its own approach, which is owed to a few major differences, including its unique relationship with the recipient. Games &quot;read&quot; their player and test their participation by presenting them with roadblocks in form of gameplay-challenges which hinder progression. As such they present a unique type of text, which is read, but also reacts and reads the reader.&lt;ref&gt;Barry Atkins 2006&lt;/ref&gt;</div>

Emre.sofuoglu https://wiki.uni-konstanz.de/gamelab/index.php?title=Shadow_of_the_Colossus&diff=1034 2020-02-06T11:04:06Z

<p>Emre.sofuoglu: </p> <hr /> <div>[[File:Shadow-of-the-colossus-screen-02-ps4-eu-30oct17.jpg|480x480px]]<br /> <br /> A Colossus staring down the player-avatar Wanda<br /> &lt;br /&gt;<br /> ==About the game==<br /> Shadow of the Colossus, released in Japan as Wanda and the Colossus, is an single player action-adventure game developed by SCE Japan Studio and Team Ico, and published by Sony Computer Entertainment for the PlayStation 2. The game was released in North America and Japan in October 2005 and PAL regions such as Europe in February 2006. It was directed by Fumito Ueda and developed at SCEI's International Production Studio 1, also known as Team Ico; the same development team responsible for the cult hit Ico, to which the game is considered a spiritual successor. <br /> <br /> It can be best described as an action-adventure-game with puzzle-elements. <br /> <br /> Shadow of the Colossus received almost universal acclaim upon its release and a cult-following during the following years, prompting the release of an HD-Version for the Playstation 3 alongside its progenitor Ico in the year 2011 and a complete remake for the PS4 in 2018. Thus it has been playable on every SONY home console since its release. <br /> <br /> Much of the discourse around the game can strike one as downright esoteric at first, owed to the vague and simplistic nature of story and gameplay. <br /> <br /> Narratologic segments such as cutscenes take up a very minimal ammount of the game and overall the total wordcount spoken remains fairly low. Colossuses gameplay remains simplistic as well. There are no level-progresssion or experience points in the game, no customizable items or collectibles. Gameplay can be easily broken up into „ride horse“, „climb“, “jump“ „shoot arrow“ and „stab“ &lt;ref&gt; Aki Järvinen &lt;/ref&gt; and the last one could even be seen as a glorified quick time event. After one Colossus is killed you repeat the process 16 times. <br /> <br /> Lastly, apart from the puzzle-like design of the colossi, the level design is pretty barren, covering mostly empty fields. Any real complexity in the overall play aspect is found at the intersection of all these mechanics at once. While the density of mechanics might be low, at ist largest, the player is in control of Wanda riding through the desert at breackneck speed following a huge stoneserpent, trying to somehow get on a tiny patch of climmable fur on its back. Its this dynamic interplay that creates a gameplayloop, simple in its structure but all the more memorable for it. <br /> <br /> &lt;br /&gt;<br /> <br /> ==Story and gameplay==<br /> &lt;youtube&gt;https://www.youtube.com/watch?v=KOXFEBC509w&lt;/youtube&gt;<br /> <br /> ==Research relevant approaches==<br /> ===[[Narratology and Ludology]]===<br /> As a game that separates clearly between gameplay-sections and naratologic cutcenes, Shadow of the Colossus lends itself quite well for an analysis of Ludology and Narratology as a whole,.<br /> <br /> '''Ludology ''' (Huizinga/Jasper Juul/ Robert Callois) The Discipline that studies the Act of playing a game. The Field of Ludology includes researchers such as Johann Huizinga the father of Ludology with his 1955 work ''Homo ludens'', in which he first emphasized playing as part of individual- and group-development. Games should be understood as systems in which players engage in artificial conflict, defined by specific rules, which eventually result in a quantifiable outcome. &lt;ref&gt;Salen Katie and Erik Zimmermann, 2004 Roles of Play – Game Design Fundamentals, London: The MIT Press &lt;/ref&gt;<br /> <br /> '''Narratology'''<br /> <br /> Many ludologists have argued against the use of narratlogic explanations when it comes to games, as they see them as inherently non-narratologic or at least their narratives being out of the focus of research studying play. They aren`t movies or books making them a new form of text and such, subject of ludology (Juul, Aarseth).Frasca argues, however that if a narrative is included in a game, studying the NARRATION (not narrative) should nevertheless be part of studying the game. Computer games, according to Huizinga, share many key aspects of representation with more traditional mediums such as movies or books. Despite this fact, they are deserving of its own approach, which is owed to a few major differences, including its unique relationship with the recipient. Games &quot;read&quot; their player and test their participation by presenting them with roadblocks in form of gameplay-challenges which hinder progression. As such they present a unique type of text, which is read, but also reacts and reads the reader.&lt;ref&gt;Barry Atkins 2006&lt;/ref&gt;<br /> ===Semiology in games===<br /> <br /> ===Shadow of the Colossus, its Hypertext and the metanarrative impact of games===<br /> Vague, nondescriptive plots such as the one in colossus leave much up to player-imagination. This, coupled with the iconographic power of the Colossi, manages to create a strong metaphorical framework, which has been adapted and used in different works of media.<br /> As a hugely popular game, Shadow of the Colossus, its themes of intense loneliness produced by the barrenly minimal complexity of gameworld and design, and the semiotic impact of its titular Colossi caught the attention of filmmaker-duo Mike and Jack Binder. The two brothers implemented the game into the story of their 2007 film Reign Over Me, starring Adam Sandler as Alan Johnson, a father who lost his family in the 2001 attack on the World Trade Center. &quot;You could see where someone who was dealing with 9/11 would be engrossed by a giant that keeps collapsing over and over again,&quot; - Mike Binder, 2007<br /> <br /> <br /> &lt;youtube&gt;https://www.youtube.com/watch?v=YiftlPIazGg&lt;/youtube&gt;<br /> <br /> Alan obsessively seeks catharsis in the iconographic relief of making the colossus collapse himself and while he is in control of the situation. Basically nothing about the games story, but the fact, that a small man makes hunt on huge colossi and has to bring them down, is shown in the film. Yet, many aspects of why Shadow of the Colossus might have an appeal on Alan are very clearly communicated in about two minutes. As Colossus works in the film, it is a short, affectionate piece, communicating not only the emotional state of a character, but also the role of video games as a coping mechanism for someone who might have suffered a tragedy. <br /> <br /> As such, it metanarratively points out ludic qualities and metanarrative potentials about the game and games in general. The narratolgical choice of Colossus as the game the depressed Alan obsesses over, becomes even more apparent, when you consider the games narration of a person willing to risk everything and fight against an insurmountable task, to ressurect, a deceased loved one. <br /> <br /> The game in the film also represents a turning point as it aids in the reconnection of two characters. “They bond through games and lose themselves in them, only to find themselves again. They enjoy the simple act of play.“ &lt;ref&gt;Brian Ashcraft, 2007 https://kotaku.com/feature-the-colossus-and-the-comedian-246286 &lt;/ref&gt;<br /> <br /> <br /> &lt;br /&gt;<br /> [[Category:Games]]<br /> &lt;references /&gt;</div>

Emre.sofuoglu https://wiki.uni-konstanz.de/gamelab/index.php?title=Shadow_of_the_Colossus&diff=1033 2020-02-06T10:55:10Z

<p>Emre.sofuoglu: </p> <hr /> <div>[[File:Shadow-of-the-colossus-screen-02-ps4-eu-30oct17.jpg|480x480px]]<br /> <br /> A Colossus staring down the player-avatar Wanda<br /> &lt;br /&gt;<br /> ==About the game==<br /> Shadow of the Colossus, released in Japan as Wanda and the Colossus, is an single player action-adventure game developed by SCE Japan Studio and Team Ico, and published by Sony Computer Entertainment for the PlayStation 2. The game was released in North America and Japan in October 2005 and PAL regions such as Europe in February 2006. It was directed by Fumito Ueda and developed at SCEI's International Production Studio 1, also known as Team Ico; the same development team responsible for the cult hit Ico, to which the game is considered a spiritual successor. <br /> <br /> It can be best described as an action-adventure-game with puzzle-elements. <br /> <br /> Shadow of the Colossus received almost universal acclaim upon its release and a cult-following during the following years, prompting the release of an HD-Version for the Playstation 3 alongside its progenitor Ico in the year 2011 and a complete remake for the PS4 in 2018. Thus it has been playable on every SONY home console since its release. <br /> <br /> <br /> Much of the discourse around the game can strike one as downright esoteric at first, owed to the vague and simplistic nature of story and gameplay. <br /> <br /> Narratologic segments such as cutscenes take up a very minimal ammount of the game and overall the total wordcount spoken remains fairly low. Colossuses gameplay remains simplistic as well. There are no level-progresssion or experience points in the game, no customizable items or collectibles. Gameplay can be easily broken up into „ride horse“, „climb“, “jump“ „shoot arrow“ and „stab“ &lt;ref&gt; Aki Järvinen &lt;/ref&gt; and the last one could even be seen as a glorified quick time event. After one Colossus is killed you repeat the process 16 times. <br /> <br /> Lastly, apart from the puzzle-like design of the colossi, the level design is pretty barren, covering mostly empty fields.<br /> Any real complexity in the overall play aspect is found at the intersection of all these mechanics at once. While the density of mechanics might be low, at ist largest, the player is in control of Wanda riding through the desert at breackneck speed following a huge stoneserpent, trying to somehow get on a tiny patch of climmable fur on its back. Its this dynamic interplay that creates a gameplayloop, simple in its structure but all the more memorable for it. <br /> <br /> &lt;br /&gt;<br /> <br /> ==Story and gameplay==<br /> &lt;youtube&gt;https://www.youtube.com/watch?v=KOXFEBC509w&lt;/youtube&gt;<br /> <br /> ==Research relevant approaches==<br /> ===[[Narratology and Ludology]]===<br /> <br /> '''Ludology ''' (Huizinga/Jasper Juul/ Robert Callois)<br /> The Discipline that studies the Act of playing a game. <br /> The Field of Ludology includes researchers such as Johann Huizinga the father of Ludology with his 1955 work ''Homo ludens'', in which he first emphasized playing as part of individual- and group-development.<br /> Games should be understood as systems in which players engage in artificial conflict, defined by specific rules, which eventually result in a quantifiable outcome. &lt;ref&gt;Salen Katie and Erik Zimmermann, 2004 Roles of Play – Game Design Fundamentals, London: The MIT Press &lt;/ref&gt;<br /> <br /> '''Narratology'''<br /> <br /> Many ludologists have argued against the use of narratlogic explanations when it comes to games, as they see them as inherently non-narratologic or at least their narratives being out of the focus of research studying play. They aren`t movies or books making them a new form of text and such, subject of ludology (Juul, Aarseth).<br /> Frasca argues, however that if a narrative is included in a game, studying the NARRATION (not narrative) should nevertheless be part of studying the game. Computer games, according to Huizinga, share many key aspects of representation with more traditional mediums such as movies or books. Despite this fact, they are deserving of its own approach, which is owed to a few major differences, including its unique relationship with the recipient. Games &quot;read&quot; their player and test their participation by presenting them with roadblocks in form of gameplay-challenges which hinder progression. As such they present a unique type of text, which is read, but also reacts and reads the reader.&lt;ref&gt;Barry Atkins 2006&lt;/ref&gt; <br /> <br /> <br /> ===Semiology in games===<br /> <br /> ===Shadow of the Colossus, its Hypertext and the metanarrative impact of games===<br /> Vague, nondescriptive plots such as the one in colossus leave much up to player-imagination. This, coupled with the iconographic power of the Colossi, manages to create a strong metaphorical framework, which has been adapted and used in different works of media.<br /> As a hugely popular game, Shadow of the Colossus, its themes of intense loneliness produced by the barrenly minimal complexity of gameworld and design, and the semiotic impact of its titular Colossi caught the attention of filmmaker-duo Mike and Jack Binder. The two brothers implemented the game into the story of their 2007 film Reign Over Me, starring Adam Sandler as Alan Johnson, a father who lost his family in the 2001 attack on the World Trade Center. <br /> &quot;You could see where someone who was dealing with 9/11 would be engrossed by a giant that keeps collapsing over and over again,&quot; - Mike Binder, 2007<br /> <br /> <br /> &lt;youtube&gt;https://www.youtube.com/watch?v=YiftlPIazGg&lt;/youtube&gt;<br /> <br /> Alan obsessively seeks catharsis in the iconographic relief of making the colossus collapse himself and while he is in control of the situation. Basically nothing about the games story, but the fact, that a small man makes hunt on huge colossi and has to bring them down, is shown in the film. Yet, many aspects of why Shadow of the Colossus might have an appeal on Alan are very clearly communicated in about two minutes. As Colossus works in the film, it is a short, affectionate piece, communicating not only the emotional state of a character, but also the role of video games as a coping mechanism for someone who might have suffered a tragedy. <br /> <br /> As such, it metanarratively points out ludic qualities and metanarrative potentials about the game and games in general. The narratolgical choice of Colossus as the game the depressed Alan obsesses over, becomes even more apparent, when you consider the games narration of a person willing to risk everything and fight against an insurmountable task, to ressurect, a deceased loved one. <br /> <br /> The game in the film also represents a turning point as it aids in the reconnection of two characters. “They bond through games and lose themselves in them, only to find themselves again. They enjoy the simple act of play.“ &lt;ref&gt;Brian Ashcraft, 2007 https://kotaku.com/feature-the-colossus-and-the-comedian-246286 &lt;/ref&gt;<br /> <br /> <br /> &lt;br /&gt;<br /> [[Category:Games]]</div>

Emre.sofuoglu https://wiki.uni-konstanz.de/gamelab/index.php?title=Shadow_of_the_Colossus&diff=1032 2020-02-06T10:50:46Z

<p>Emre.sofuoglu: </p> <hr /> <div>[[File:Shadow-of-the-colossus-screen-02-ps4-eu-30oct17.jpg|480x480px]]<br /> <br /> A Colossus staring down the player-avatar Wanda<br /> &lt;br /&gt;<br /> ==About the game==<br /> Shadow of the Colossus, released in Japan as Wanda and the Colossus, is an single player action-adventure game developed by SCE Japan Studio and Team Ico, and published by Sony Computer Entertainment for the PlayStation 2. The game was released in North America and Japan in October 2005 and PAL regions such as Europe in February 2006. It was directed by Fumito Ueda and developed at SCEI's International Production Studio 1, also known as Team Ico; the same development team responsible for the cult hit Ico, to which the game is considered a spiritual successor. <br /> <br /> It can be best described as an action-adventure-game with puzzle-elements. <br /> <br /> Shadow of the Colossus received almost universal acclaim upon its release and a cult-following during the following years, prompting the release of an HD-Version for the Playstation 3 alongside its progenitor Ico in the year 2011 and a complete remake for the PS4 in 2018. Thus it has been playable on every SONY home console since its release. <br /> <br /> <br /> Much of the discourse around the game can strike one as downright esoteric at first, owed to the vague and simplistic nature of story and gameplay. <br /> <br /> Narratologic segments such as cutscenes take up a very minimal ammount of the game and overall the total wordcount spoken remains fairly low. Colossuses gameplay remains simplistic as well. There are no level-progresssion or experience points in the game, no customizable items or collectibles. Gameplay can be easily broken up into „ride horse“, „climb“, “jump“ „shoot arrow“ and „stab“ &lt;ref&gt; Aki Järvinen &lt;/ref&gt; and the last one could even be seen as a glorified quick time event. After one Colossus is killed you repeat the process 16 times. <br /> <br /> Lastly, apart from the puzzle-like design of the colossi, the level design is pretty barren, covering mostly empty fields.<br /> Any real complexity in the overall play aspect is found at the intersection of all these mechanics at once. While the density of mechanics might be low, at ist largest, the player is in control of Wanda riding through the desert at breackneck speed following a huge stoneserpent, trying to somehow get on a tiny patch of climmable fur on its back. Its this dynamic interplay that creates a gameplayloop, simple in its structure but all the more memorable for it. <br /> <br /> &lt;br /&gt;<br /> <br /> ==Story and gameplay==<br /> &lt;youtube&gt;https://www.youtube.com/watch?v=KOXFEBC509w&lt;/youtube&gt;<br /> <br /> ==Research relevant approaches==<br /> ===[[Narratology and Ludology]]===<br /> <br /> '''Ludology ''' (Huizinga/Jasper Juul/ Robert Callois)<br /> The Discipline that studies the Act of playing a game. <br /> The Field of Ludology includes researchers such as Johann Huizinga the father of Ludology with his 1955 work ''Homo ludens'', in which he first emphasized playing as part of individual- and group-development.<br /> Games should be understood as systems in which players engage in artificial conflict, defined by specific rules, which eventually result in a quantifiable outcome. &lt;ref&gt;Salen Katie and Erik Zimmermann, 2004 Roles of Play – Game Design Fundamentals, London: The MIT Press &lt;/ref&gt;<br /> <br /> '''Narratology'''<br /> <br /> Many ludologists have argued against the use of narratlogic explanations when it comes to games, as they see them as inherently non-narratologic or at least their narratives being out of the focus of research studying play. They aren`t movies or books making them a new form of text and such, subject of ludology (Juul, Aarseth).<br /> Frasca argues, however that if a narrative is included in a game, studying the NARRATION (not narrative) should nevertheless be part of studying the game. Computer games, according to Huizinga, share many key aspects of representation with more traditional mediums such as movies or books. Despite this fact, they are deserving of its own approach, which is owed to a few major differences, including its unique relationship with the recipient. Games &quot;read&quot; their player and test their participation by presenting them with roadblocks in form of gameplay-challenges which hinder progression. As such they present a unique type of text, which is read, but also reacts and reads the reader. <br /> <br /> <br /> ===Semiology in games===<br /> <br /> ===Shadow of the Colossus, its Hypertext and the metanarrative impact of games===<br /> Vague, nondescriptive plots such as the one in colossus leave much up to player-imagination. This, coupled with the iconographic power of the Colossi, manages to create a strong metaphorical framework, which has been adapted and used in different works of media.<br /> As a hugely popular game, Shadow of the Colossus, its themes of intense loneliness produced by the barrenly minimal complexity of gameworld and design, and the semiotic impact of its titular Colossi caught the attention of filmmaker-duo Mike and Jack Binder. The two brothers implemented the game into the story of their 2007 film Reign Over Me, starring Adam Sandler as Alan Johnson, a father who lost his family in the 2001 attack on the World Trade Center. <br /> &quot;You could see where someone who was dealing with 9/11 would be engrossed by a giant that keeps collapsing over and over again,&quot; - Mike Binder, 2007<br /> <br /> <br /> &lt;youtube&gt;https://www.youtube.com/watch?v=YiftlPIazGg&lt;/youtube&gt;<br /> <br /> Alan obsessively seeks catharsis in the iconographic relief of making the colossus collapse himself and while he is in control of the situation. Basically nothing about the games story, but the fact, that a small man makes hunt on huge colossi and has to bring them down, is shown in the film. Yet, many aspects of why Shadow of the Colossus might have an appeal on Alan are very clearly communicated in about two minutes. As Colossus works in the film, it is a short, affectionate piece, communicating not only the emotional state of a character, but also the role of video games as a coping mechanism for someone who might have suffered a tragedy. <br /> <br /> As such, it metanarratively points out ludic qualities and metanarrative potentials about the game and games in general. The narratolgical choice of Colossus as the game the depressed Alan obsesses over, becomes even more apparent, when you consider the games narration of a person willing to risk everything and fight against an insurmountable task, to ressurect, a deceased loved one. <br /> <br /> The game in the film also represents a turning point as it aids in the reconnection of two characters. “They bond through games and lose themselves in them, only to find themselves again. They enjoy the simple act of play.“ <br /> <br /> <br /> &lt;br /&gt;<br /> [[Category:Games]]</div>

Emre.sofuoglu https://wiki.uni-konstanz.de/gamelab/index.php?title=Shadow_of_the_Colossus&diff=979 2020-01-30T11:03:37Z

<p>Emre.sofuoglu: </p> <hr /> <div>[[File:Shadow-of-the-colossus-screen-02-ps4-eu-30oct17.jpg|480x480px]]<br /> <br /> A Colossus staring down the player-avatar Wanda<br /> &lt;br /&gt;<br /> ==About the game==<br /> Shadow of the Colossus, released in Japan as Wanda and the Colossus, is an single player action-adventure game developed by SCE Japan Studio and Team Ico, and published by Sony Computer Entertainment for the PlayStation 2. The game was released in North America and Japan in October 2005 and PAL regions such as Europe in February 2006. It was directed by Fumito Ueda and developed at SCEI's International Production Studio 1, also known as Team Ico; the same development team responsible for the cult hit Ico, to which the game is considered a spiritual successor. <br /> <br /> It can be best described as an action-adventure-game with puzzle-elements. <br /> <br /> Shadow of the Colossus received almost universal acclaim upon its release and a cult-following during the following years, prompting the release of an HD-Version for the Playstation 3 alongside its progenitor Ico in the year 2011 and a complete remake for the PS4 in 2018. Thus it has been playable on every SONY home console since its release. <br /> <br /> <br /> Much of the discourse around the game can strike one as downright esoteric at first, owed to the vague and simplistic nature of story and gameplay. <br /> <br /> Narratologic segments such as cutscenes take up a very minimal ammount of the game and overall the total wordcount spoken remains fairly low. Colossuses gameplay remains simplistic as well. There are no level-progresssion or experience points in the game, no customizable items or collectibles. Gameplay can be easily broken up into „ride horse“, „climb“, “jump“ „shoot arrow“ and „stab“ and the last one could even be seen as a glorified quick time event. After one Colossus is killed you repeat the process 16 times. <br /> <br /> Lastly, apart from the puzzle-like design of the colossi, the level design is pretty barren, covering mostly empty fields.<br /> Any real complexity in the overall play aspect is found at the intersection of all these mechanics at once. While the density of mechanics might be low, at ist largest, the player is in control of Wanda riding through the desert at breackneck speed following a huge stoneserpent, trying to somehow get on a tiny patch of climmable fur on its back. Its this dynamic interplay that creates a gameplayloop, simple in its structure but all the more memorable for it. <br /> <br /> &lt;br /&gt;<br /> <br /> ==Story and gameplay==<br /> &lt;youtube&gt;https://www.youtube.com/watch?v=KOXFEBC509w&lt;/youtube&gt;<br /> <br /> ==Research relevant approaches==<br /> ===[[Narratology and Ludology]]===<br /> <br /> '''Ludology ''' (Huizinga/Jasper Juul/ Robert Callois)<br /> The Discipline that studies the Act of playing a game. <br /> The Field of Ludology includes researchers such as Johann Huizinga the father of Ludology with his 1955 work Homo ludens, in which he first emphasized playing as part of individual- and groupdevelopment.<br /> Games should be understood as systems in which players engage in artificial conflict, defined by specific rules, which eventually result in a quantifiable outcome. <br /> <br /> '''Narratology'''<br /> <br /> Many ludologists have argued against the use of narratlogic explanations when it comes to games, as they see them as inherently non-narratologic or at least their narratives being out of the focus of research studying play. They aren`t movies or books making them a new form of text and such, subject of ludology (Juul, Aarseth).<br /> Frasca argues, however that if a narrative is included in a game, studying the NARRATION (not narrative) should nevertheless be part of studying the game. Computer games, according to Huizinga, share many key aspects of representation with more traditional mediums such as movies or books. Despite this fact, they are deserving of its own approach, which is owed to a few major differences, including its unique relationship with the recipient. Games &quot;read&quot; their player and test their participation by presenting them with roadblocks in form of gameplay-challenges which hinder progression. As such they present a unique type of text, which is read, but also reacts and reads the reader. <br /> <br /> <br /> ===Semiology in games===<br /> <br /> ===Shadow of the Colossus, its Hypertext and the metanarrative impact of games===<br /> Vague, nondescriptive plots such as the one in colossus leave much up to player-imagination. This, coupled with the iconographic power of the Colossi, manages to create a strong metaphorical framework, which has been adapted and used in different works of media.<br /> As a hugely popular game, Shadow of the Colossus, its themes of intense loneliness produced by the barrenly minimal complexity of gameworld and design, and the semiotic impact of its titular Colossi caught the attention of filmmaker-duo Mike and Jack Binder. The two brothers implemented the game into the story of their 2007 film Reign Over Me, starring Adam Sandler as Alan Johnson, a father who lost his family in the 2001 attack on the World Trade Center. <br /> &quot;You could see where someone who was dealing with 9/11 would be engrossed by a giant that keeps collapsing over and over again,&quot; - Mike Binder, 2007<br /> <br /> <br /> &lt;youtube&gt;https://www.youtube.com/watch?v=YiftlPIazGg&lt;/youtube&gt;<br /> <br /> Alan obsessively seeks catharsis in the iconographic relief of making the colossus collapse himself and while he is in control of the situation. Basically nothing about the games story, but the fact, that a small man makes hunt on huge colossi and has to bring them down, is shown in the film. Yet, many aspects of why Shadow of the Colossus might have an appeal on Alan are very clearly communicated in about two minutes. As Colossus works in the film, it is a short, affectionate piece, communicating not only the emotional state of a character, but also the role of video games as a coping mechanism for someone who might have suffered a tragedy. <br /> <br /> As such, it metanarratively points out ludic qualities and metanarrative potentials about the game and games in general. The narratolgical choice of Colossus as the game the depressed Alan obsesses over, becomes even more apparent, when you consider the games narration of a person willing to risk everything and fight against an insurmountable task, to ressurect, a deceased loved one. <br /> <br /> The game in the film also represents a turning point as it aids in the reconnection of two characters. “They bond through games and lose themselves in them, only to find themselves again. They enjoy the simple act of play.“ <br /> <br /> <br /> &lt;br /&gt;<br /> [[Category:Games]]</div>

Emre.sofuoglu https://wiki.uni-konstanz.de/gamelab/index.php?title=Shadow_of_the_Colossus&diff=978 2020-01-30T10:44:53Z

<p>Emre.sofuoglu: </p> <hr /> <div>[[File:Shadow-of-the-colossus-screen-02-ps4-eu-30oct17.jpg|480x480px]]<br /> <br /> A Colossus staring down the player-avatar Wanda<br /> &lt;br /&gt;<br /> ==About the game==<br /> Shadow of the Colossus, released in Japan as Wanda and the Colossus, is an single player action-adventure game developed by SCE Japan Studio and Team Ico, and published by Sony Computer Entertainment for the PlayStation 2. The game was released in North America and Japan in October 2005 and PAL regions such as Europe in February 2006. It was directed by Fumito Ueda and developed at SCEI's International Production Studio 1, also known as Team Ico; the same development team responsible for the cult hit Ico, to which the game is considered a spiritual successor. <br /> <br /> It can be best described as an action-adventure-game with puzzle-elements. <br /> <br /> Shadow of the Colossus received almost universal acclaim upon its release and a cult-following during the following years, prompting the release of an HD-Version for the Playstation 3 alongside its progenitor Ico in the year 2011 and a complete remake for the PS4 in 2018. Thus it has been playable on every SONY home console since its release. <br /> <br /> <br /> Much of the discourse around the game can strike one as downright esoteric at first, owed to the vague and simplistic nature of story and gameplay. <br /> <br /> Narratologic segments such as cutscenes take up a very minimal ammount of the game and overall the total wordcount spoken remains fairly low. Colossuses gameplay remains simplistic as well. There are no level-progresssion or experience points in the game, no customizable items or collectibles. Gameplay can be easily broken up into „ride horse“, „climb“, “jump“ „shoot arrow“ and „stab“ and the last one could even be seen as a glorified quick time event. After one Colossus is killed you repeat the process 16 times. <br /> <br /> Lastly, apart from the puzzle-like design of the colossi, the level design is pretty barren, covering mostly empty fields.<br /> Any real complexity in the overall play aspect is found at the intersection of all these mechanics at once. While the density of mechanics might be low, at ist largest, the player is in control of Wanda riding through the desert at breackneck speed following a huge stoneserpent, trying to somehow get on a tiny patch of climmable fur on its back. <br /> <br /> &lt;br /&gt;<br /> <br /> ==Story and gameplay==<br /> &lt;youtube&gt;https://www.youtube.com/watch?v=KOXFEBC509w&lt;/youtube&gt;<br /> <br /> ==Research relevant approaches==<br /> ===[[Narratology and Ludology]]===<br /> <br /> '''Ludology ''' (Huizinga/Jasper Juul/ Robert Callois)<br /> The Discipline that studies the Act of playing a game. <br /> The Field of Ludology includes researchers such as Johann Huizinga the father of Ludology with his 1955 work Homo ludens, in which he first emphasized playing as part of individual- and groupdevelopment.<br /> Games should be understood as systems in which players engage in artificial conflict, defined by specific rules, which eventually result in a quantifiable outcome. <br /> <br /> '''Narratology'''<br /> <br /> Many ludologists have argued against the use of narratlogic explanations when it comes to games, as they see them as inherently non-narratologic or at least their narratives being out of the focus of research studying play. They aren`t movies or books making them a new form of text and such, subject of ludology (Juul, Aarseth).<br /> Frasca argues, however that if a narrative is included in a game, studying the NARRATION (not narrative) should nevertheless be part of studying the game. Computer games, according to Huizinga, share many key aspects of representation with more traditional mediums such as movies or books. Despite this fact, they are deserving of its own approach, which is owed to a few major differences, including its unique relationship with the recipient. Games &quot;read&quot; their player and test their participation by presenting them with roadblocks in form of gameplay-challenges which hinder progression. As such they present a unique type of text, which is read, but also reacts and reads the reader. <br /> <br /> <br /> ===Semiology in games===<br /> <br /> ===Shadow of the Colossus and its Hypertext===<br /> Vague, nondescriptive plots such as the one in colossus leave much up to player-imagination. This, coupled with the iconographic power of the Colossi, manages to create a strong metaphorical framework, which has been adapted and used in different works of media.<br /> As a hugely popular game, Shadow of the Colossus, its themes of intense loneliness produced by the barrenly minimal complexity of gameworld and design, and the semiotic impact of its titular Colossi caught the attention of filmmaker-duo Mike and Jack Binder. The two brothers implemented the game into the story of their 2007 film Reign Over Me, starring Adam Sandler as Alan Johnson, a father who lost his family in the 2001 attack on the World Trade Center. <br /> &quot;You could see where someone who was dealing with 9/11 would be engrossed by a giant that keeps collapsing over and over again,&quot; - Mike Binder, 2007<br /> <br /> <br /> &lt;youtube&gt;https://www.youtube.com/watch?v=YiftlPIazGg&lt;/youtube&gt;<br /> <br /> Alan obsessively seeks catharsis in the iconographic relief of making the colossus collapse himself and while he is in control of the situation. Basically nothing about the games story, but the fact, that a small man makes hunt on huge colossi and has to bring them down, is shown in the film. Yet, many aspects of why Shadow of the Colossus might have an appeal on Alan are very clearly communicated in about two minutes. As Colossus works in the film, it is a short, affectionate piece, communicating not only the emotional state of a character, but also the role of video games as a coping mechanism for someone who might have suffered a tragedy. <br /> <br /> As such, it metanarratively points out ludic qualities and metanarrative potentials about the game and games in general. The narratolgical choice of Colossus as the game the depressed Alan obsesses over, becomes even more apparent, when you consider the games narration of a person willing to risk everything and fight against an insurmountable task, to ressurect, a deceased loved one. <br /> <br /> The game in the film also represents a turning point as it aids in the reconnection of two characters. “They bond through games and lose themselves in them, only to find themselves again. They enjoy the simple act of play.“ <br /> <br /> <br /> &lt;br /&gt;<br /> [[Category:Games]]</div>

Emre.sofuoglu https://wiki.uni-konstanz.de/gamelab/index.php?title=Shadow_of_the_Colossus&diff=977 2020-01-30T10:41:39Z

<p>Emre.sofuoglu: </p> <hr /> <div>[[File:Shadow-of-the-colossus-screen-02-ps4-eu-30oct17.jpg|480x480px]]<br /> <br /> A Colossus staring down the player-avatar Wanda<br /> &lt;br /&gt;<br /> ==About the game==<br /> Shadow of the Colossus, released in Japan as Wanda and the Colossus, is an single player action-adventure game developed by SCE Japan Studio and Team Ico, and published by Sony Computer Entertainment for the PlayStation 2. The game was released in North America and Japan in October 2005 and PAL regions such as Europe in February 2006. It was directed by Fumito Ueda and developed at SCEI's International Production Studio 1, also known as Team Ico; the same development team responsible for the cult hit Ico, to which the game is considered a spiritual successor. <br /> <br /> It can be best described as an action-adventure-game with puzzle-elements. <br /> <br /> Shadow of the Colossus received almost universal acclaim upon its release and a cult-following during the following years, prompting the release of an HD-Version for the Playstation 3 alongside its progenitor Ico in the year 2011 and a complete remake for the PS4 in 2018. Thus it has been playable on every SONY home console since its release. <br /> <br /> <br /> Much of the discourse around the game can strike one as downright esoteric at first, owed to the vague and simplistic nature of story and gameplay. <br /> Narratologic segments such as cutscenes take up a very minimal ammount of the game and overall the total wordcount spoken remains fairly low. <br /> Colossuses gameplay remains simplistic as well. There are no level-progresssion or experience points in the game, no customizable items or collectibles. Gameplay can be easily broken up into „ride horse“, „climb“, “jump“ „shoot arrow“ and „stab“ and the last one could even be seen as a glorified quick time event. After one Colossus is killed you repeat the process 16 times. <br /> Lastly, apart from the puzzle-like design of the colossi, the level design is pretty barren, covering mostly empty fields.<br /> Any real complexity in the overall play aspect is found at the intersection of all these mechanics at once. While the density of mechanics might be low, at ist largest, the player is in control of Wanda riding through the desert at breackneck speed following a huge stoneserpent, trying to somehow get on a tiny patch of climmable fur on its back. <br /> <br /> &lt;br /&gt;<br /> <br /> ==Story and gameplay==<br /> &lt;youtube&gt;https://www.youtube.com/watch?v=KOXFEBC509w&lt;/youtube&gt;<br /> <br /> ==Research relevant approaches==<br /> ===[[Narratology and Ludology]]===<br /> <br /> '''Ludology ''' (Huizinga/Jasper Juul/ Robert Callois)<br /> The Discipline that studies the Act of playing a game. <br /> The Field of Ludology includes researchers such as Johann Huizinga the father of Ludology with his 1955 work Homo ludens, in which he first emphasized playing as part of individual- and groupdevelopment.<br /> Games should be understood as systems in which players engage in artificial conflict, defined by specific rules, which eventually result in a quantifiable outcome. <br /> <br /> '''Narratology'''<br /> <br /> Many ludologists have argued against the use of narratlogic explanations when it comes to games, as they see them as inherently non-narratologic or at least their narratives being out of the focus of research studying play. They aren`t movies or books making them a new form of text and such, subject of ludology (Juul, Aarseth).<br /> Frasca argues, however that if a narrative is included in a game, studying the NARRATION (not narrative) should nevertheless be part of studying the game.<br /> Computer games, according to Huizinga, share many key aspects of representation with more traditional mediums such as movies or books. Despite this fact, they are deserving of its own approach, which is owed to a few major differences, including its unique relationship with the recipient. Games &quot;read&quot; their player and test their participation by presenting them with roadblocks in form of gameplay-challenges which hinder progression. As such they present a unique type of text, which is read, but also reacts and reads the reader. <br /> <br /> <br /> ===Semiology in games===<br /> <br /> ===Shadow of the Colossus and its Hypertext===<br /> Vague, nondescriptive plots such as the one in colossus leave much up to player-imagination. This, coupled with the iconographic power of the Colossi, manages to create a strong metaphorical framework, which has been adapted and used in different works of media.<br /> As a hugely popular game, Shadow of the Colossus, its themes of intense loneliness produced by the barrenly minimal complexity of gameworld and design, and the semiotic impact of its titular Colossi caught the attention of filmmaker-duo Mike and Jack Binder. The two brothers implemented the game into the story of their 2007 film Reign Over Me, starring Adam Sandler as Alan Johnson, a father who lost his family in the 2001 attack on the World Trade Center. <br /> &quot;You could see where someone who was dealing with 9/11 would be engrossed by a giant that keeps collapsing over and over again,&quot; - Mike Binder, 2007<br /> <br /> <br /> &lt;youtube&gt;https://www.youtube.com/watch?v=YiftlPIazGg&lt;/youtube&gt;<br /> <br /> VIDEO<br /> Alan obsessively seeks catharsis in the iconographic relief of making the colossus collapse himself and while he is in control of the situation. Basically nothing about the games story, but the fact, that a small man makes hunt on huge colossi and has to bring them down, is shown in the film. Yet, many aspects of why Shadow of the Colossus might have an appeal on Alan are very clearly communicated in about two minutes. As Colossus works in the film, it is a short, affectionate piece, communicating not only the emotional state of a character, but also the role of video games as a coping mechanism for someone who might have suffered a tragedy. <br /> As such it metanarratively points out ludic qualities and metanarrative potentials about the game and games in general. The narratolgical choice of Colossus as the game the depressed Alan obsesses over, becomes even more apparent, when you consider the games narration of a person willing to risk everything and fight against an insurmountable task, to ressurect, a deceased loved one.<br /> The game in the film also represents a turning point as it aids in the reconnection of two characters. “They bond through games and lose themselves in them, only to find themselves again. They enjoy the simple act of play.“ <br /> <br /> <br /> &lt;br /&gt;<br /> [[Category:Games]]</div>

Emre.sofuoglu https://wiki.uni-konstanz.de/gamelab/index.php?title=Shadow_of_the_Colossus&diff=955 2020-01-23T12:16:00Z

<p>Emre.sofuoglu: /* About the game */</p> <hr /> <div>[[File:Shadow-of-the-colossus-screen-02-ps4-eu-30oct17.jpg|480x480px]]<br /> <br /> A Colossus staring down the player-avatar Wanda<br /> &lt;br /&gt;<br /> ==About the game==<br /> Shadow of the Colossus, released in Japan as Wanda and the Colossus, is an single player action-adventure game developed by SCE Japan Studio and Team Ico, and published by Sony Computer Entertainment for the PlayStation 2. The game was released in North America and Japan in October 2005 and PAL regions such as Europe in February 2006. It was directed by Fumito Ueda and developed at SCEI's International Production Studio 1, also known as Team Ico; the same development team responsible for the cult hit Ico, to which the game is considered a spiritual successor. <br /> <br /> It can be best described as an action-adventure-game with puzzle-elements. <br /> <br /> Shadow of the Colossus received almost universal acclaim upon its release and a cult-following during the following years, prompting the release of an HD-Version for the Playstation 3 alongside its progenitor Ico in the year 2011 and a complete remake for the PS4 in 2018. Thus it has been playable on every SONY home console since its release.<br /> <br /> ==Story and gameplay==<br /> &lt;youtube&gt;https://www.youtube.com/watch?v=KOXFEBC509w&lt;/youtube&gt;<br /> <br /> ==Research relevant approaches==<br /> ===[[Narratology and Ludology]]===<br /> Computer games, according to Huizinga, share many key aspects of representation with more traditional mediums such as movies or books. Despite this fact, they are deserving of its own approach, which is owed to a few major differences, including its unique relationship with the recipient. Games &quot;read&quot; their player and test their participation by presenting them with roadblocks in form of gameplay-challenges which hinder progression.<br /> <br /> '''Ludology ''' (Huizinga/Jasper Juul/ Robert Callois)<br /> <br /> '''Narratology'''<br /> <br /> Computer games aren`t movies or books, making them a new form of text (Frasca, Juul, Aarseth). As such, many ludologists have argued against the use of narratlogic explanations when it comes to games, as they see them as inherently non-narratologic.<br /> <br /> They are a game, not a narrative.<br /> <br /> Frasca argues, that if a narrative is included in a game, studying the NARRATION (not narrative) should nevertheless be part of studying the game.<br /> <br /> ===Semiology in games===<br /> <br /> ===Japanese cultural Influences===<br /> <br /> ====Theme of death and life transgression====<br /> <br /> ===Shadow of the Colossus and its Hypertext===<br /> Through it`s non-descriptive and vague plot and the iconic nature of the Colossi, Shadow of the Colossus manages to create a strong metaphorical framework, which has been adapted and used in the text of different works in different media.<br /> <br /> As a hugely popular game, Shadow of the Colossus and its themes of intense loneliness coupled with the semiotic impact of its titular Colossi caught the attention of filmmaker-duo Mike and Jack Binder. The two brothers implemented the game into the story of their 2007 film Reign Over Me, starring Adam Sandler as a father who lost his family in the 2001 attack on the World Trade Center. <br /> <br /> &quot;You could see where someone who was dealing with 9/11 would be engrossed by a giant that keeps collapsing over and over again,&quot; - Mike Binder, 2007<br /> <br /> &lt;youtube&gt;https://www.youtube.com/watch?v=YiftlPIazGg&lt;/youtube&gt;<br /> <br /> &lt;br /&gt;<br /> [[Category:Games]]</div>

Emre.sofuoglu https://wiki.uni-konstanz.de/gamelab/index.php?title=Shadow_of_the_Colossus&diff=952 2020-01-23T11:56:21Z

<p>Emre.sofuoglu: /* Player- vs. intended experience */</p> <hr /> <div>[[File:Shadow-of-the-colossus-screen-02-ps4-eu-30oct17.jpg|480x480px]]<br /> <br /> A Colossus staring down the player-avatar Wanda<br /> &lt;br /&gt;<br /> ==About the game==<br /> Shadow of the Colossus, released in Japan as Wanda and the Colossus, is an action-adventure game developed by SCE Japan Studio and Team Ico, and published by Sony Computer Entertainment for the PlayStation 2. The game was released in North America and Japan in October 2005 and PAL regions such as Europe in February 2006. It was directed by Fumito Ueda and developed at SCEI's International Production Studio 1, also known as Team Ico; the same development team responsible for the cult hit Ico, to which the game is considered a spiritual successor. <br /> <br /> It can be best described as an action-adventure-game with puzzle-elements. <br /> <br /> Shadow of the Colossus received almost universal acclaim upon its release and a cult-following during the following years, prompting the release of an HD-Version for the Playstation 3 alongside its progenitor Ico in the year 2011 and a complete remake for the PS4 in 2018. Thus it has been playable on every SONY home console since its release.<br /> <br /> ==Story and gameplay==<br /> &lt;youtube&gt;https://www.youtube.com/watch?v=KOXFEBC509w&lt;/youtube&gt;<br /> <br /> ==Research relevant approaches==<br /> ===[[Narratology and Ludology]]===<br /> Computer games, according to Huizinga, share many key aspects of representation with more traditional mediums such as movies or books. Despite this fact, they are deserving of its own approach, which is owed to a few major differences, including its unique relationship with the recipient. Games &quot;read&quot; their player and test their participation by presenting them with roadblocks in form of gameplay-challenges which hinder progression.<br /> <br /> '''Ludology ''' (Huizinga/Jasper Juul/ Robert Callois)<br /> <br /> '''Narratology'''<br /> <br /> Computer games aren`t movies or books, making them a new form of text (Frasca, Juul, Aarseth). As such, many ludologists have argued against the use of narratlogic explanations when it comes to games, as they see them as inherently non-narratologic.<br /> <br /> They are a game, not a narrative.<br /> <br /> Frasca argues, that if a narrative is included in a game, studying the NARRATION (not narrative) should nevertheless be part of studying the game.<br /> <br /> ===Semiology in games===<br /> <br /> ===Japanese cultural Influences===<br /> <br /> ====Theme of death and life transgression====<br /> <br /> ===Shadow of the Colossus and its Hypertext===<br /> Through it`s non-descriptive and vague plot and the iconic nature of the Colossi, Shadow of the Colossus manages to create a strong metaphorical framework, which has been adapted and used in the text of different works in different media.<br /> <br /> As a hugely popular game, Shadow of the Colossus and its themes of intense loneliness coupled with the semiotic impact of its titular Colossi caught the attention of filmmaker-duo Mike and Jack Binder. The two brothers implemented the game into the story of their 2007 film Reign Over Me, starring Adam Sandler as a father who lost his family in the 2001 attack on the World Trade Center. <br /> <br /> &quot;You could see where someone who was dealing with 9/11 would be engrossed by a giant that keeps collapsing over and over again,&quot; - Mike Binder, 2007<br /> <br /> &lt;youtube&gt;https://www.youtube.com/watch?v=YiftlPIazGg&lt;/youtube&gt;<br /> <br /> &lt;br /&gt;<br /> [[Category:Games]]</div>

Emre.sofuoglu https://wiki.uni-konstanz.de/gamelab/index.php?title=Shadow_of_the_Colossus&diff=951 2020-01-23T11:55:25Z

<p>Emre.sofuoglu: /* Shadow of the Colossus in popular Culture */</p> <hr /> <div>[[File:Shadow-of-the-colossus-screen-02-ps4-eu-30oct17.jpg|480x480px]]<br /> <br /> A Colossus staring down the player-avatar Wanda<br /> &lt;br /&gt;<br /> ==About the game==<br /> Shadow of the Colossus, released in Japan as Wanda and the Colossus, is an action-adventure game developed by SCE Japan Studio and Team Ico, and published by Sony Computer Entertainment for the PlayStation 2. The game was released in North America and Japan in October 2005 and PAL regions such as Europe in February 2006. It was directed by Fumito Ueda and developed at SCEI's International Production Studio 1, also known as Team Ico; the same development team responsible for the cult hit Ico, to which the game is considered a spiritual successor. <br /> <br /> It can be best described as an action-adventure-game with puzzle-elements. <br /> <br /> Shadow of the Colossus received almost universal acclaim upon its release and a cult-following during the following years, prompting the release of an HD-Version for the Playstation 3 alongside its progenitor Ico in the year 2011 and a complete remake for the PS4 in 2018. Thus it has been playable on every SONY home console since its release.<br /> <br /> ==Story and gameplay==<br /> &lt;youtube&gt;https://www.youtube.com/watch?v=KOXFEBC509w&lt;/youtube&gt;<br /> <br /> ==Research relevant approaches==<br /> <br /> ===Player- vs. intended experience===<br /> &lt;br /&gt;<br /> ===[[Narratology and Ludology]]===<br /> Computer games, according to Huizinga, share many key aspects of representation with more traditional mediums such as movies or books. Despite this fact, they are deserving of its own approach, which is owed to a few major differences, including its unique relationship with the recipient. Games &quot;read&quot; their player and test their participation by presenting them with roadblocks in form of gameplay-challenges which hinder progression.<br /> <br /> '''Ludology ''' (Huizinga/Jasper Juul/ Robert Callois)<br /> <br /> '''Narratology'''<br /> <br /> Computer games aren`t movies or books, making them a new form of text (Frasca, Juul, Aarseth). As such, many ludologists have argued against the use of narratlogic explanations when it comes to games, as they see them as inherently non-narratologic.<br /> <br /> They are a game, not a narrative.<br /> <br /> Frasca argues, that if a narrative is included in a game, studying the NARRATION (not narrative) should nevertheless be part of studying the game.<br /> <br /> ===Semiology in games===<br /> <br /> ===Japanese cultural Influences===<br /> <br /> ====Theme of death and life transgression====<br /> <br /> ===Shadow of the Colossus and its Hypertext===<br /> Through it`s non-descriptive and vague plot and the iconic nature of the Colossi, Shadow of the Colossus manages to create a strong metaphorical framework, which has been adapted and used in the text of different works in different media.<br /> <br /> As a hugely popular game, Shadow of the Colossus and its themes of intense loneliness coupled with the semiotic impact of its titular Colossi caught the attention of filmmaker-duo Mike and Jack Binder. The two brothers implemented the game into the story of their 2007 film Reign Over Me, starring Adam Sandler as a father who lost his family in the 2001 attack on the World Trade Center. <br /> <br /> &quot;You could see where someone who was dealing with 9/11 would be engrossed by a giant that keeps collapsing over and over again,&quot; - Mike Binder, 2007<br /> <br /> &lt;youtube&gt;https://www.youtube.com/watch?v=YiftlPIazGg&lt;/youtube&gt;<br /> <br /> &lt;br /&gt;<br /> [[Category:Games]]</div>

Emre.sofuoglu https://wiki.uni-konstanz.de/gamelab/index.php?title=Shadow_of_the_Colossus&diff=947 2020-01-23T11:52:08Z

<p>Emre.sofuoglu: </p> <hr /> <div>[[File:Shadow-of-the-colossus-screen-02-ps4-eu-30oct17.jpg|480x480px]]<br /> <br /> A Colossus staring down the player-avatar Wanda<br /> &lt;br /&gt;<br /> ==About the game==<br /> Shadow of the Colossus, released in Japan as Wanda and the Colossus, is an action-adventure game developed by SCE Japan Studio and Team Ico, and published by Sony Computer Entertainment for the PlayStation 2. The game was released in North America and Japan in October 2005 and PAL regions such as Europe in February 2006. It was directed by Fumito Ueda and developed at SCEI's International Production Studio 1, also known as Team Ico; the same development team responsible for the cult hit Ico, to which the game is considered a spiritual successor. <br /> <br /> It can be best described as an action-adventure-game with puzzle-elements. <br /> <br /> Shadow of the Colossus received almost universal acclaim upon its release and a cult-following during the following years, prompting the release of an HD-Version for the Playstation 3 alongside its progenitor Ico in the year 2011 and a complete remake for the PS4 in 2018. Thus it has been playable on every SONY home console since its release.<br /> <br /> ==Story and gameplay==<br /> &lt;youtube&gt;https://www.youtube.com/watch?v=KOXFEBC509w&lt;/youtube&gt;<br /> <br /> ==Research relevant approaches==<br /> <br /> ===Player- vs. intended experience===<br /> &lt;br /&gt;<br /> ===[[Narratology and Ludology]]===<br /> Computer games, according to Huizinga, share many key aspects of representation with more traditional mediums such as movies or books. Despite this fact, they are deserving of its own approach, which is owed to a few major differences, including its unique relationship with the recipient. Games &quot;read&quot; their player and test their participation by presenting them with roadblocks in form of gameplay-challenges which hinder progression.<br /> <br /> '''Ludology ''' (Huizinga/Jasper Juul/ Robert Callois)<br /> <br /> '''Narratology'''<br /> <br /> Computer games aren`t movies or books, making them a new form of text (Frasca, Juul, Aarseth). As such, many ludologists have argued against the use of narratlogic explanations when it comes to games, as they see them as inherently non-narratologic.<br /> <br /> They are a game, not a narrative.<br /> <br /> Frasca argues, that if a narrative is included in a game, studying the NARRATION (not narrative) should nevertheless be part of studying the game.<br /> <br /> ===Semiology in games===<br /> <br /> ===Japanese cultural Influences===<br /> <br /> ====Theme of death and life transgression====<br /> <br /> ===Shadow of the Colossus in popular Culture===<br /> Through it`s non-descriptive and vague plot and the iconic nature of the Colossi, Shadow of the Colossus manages to create a strong metaphorical framework, which has been adapted and used in the text of different works in different media.<br /> <br /> As a hugely popular game, Shadow of the Colossus and its themes of intense loneliness coupled with the semiotic impact of its titular Colossi caught the attention of filmmaker-duo Mike and Jack Binder. The two brothers implemented the game into the story of their 2007 film Reign Over Me, starring Adam Sandler as a father who lost his family in the 2001 attack on the World Trade Center. <br /> <br /> &quot;You could see where someone who was dealing with 9/11 would be engrossed by a giant that keeps collapsing over and over again,&quot; - Mike Binder, 2007<br /> <br /> &lt;youtube&gt;https://www.youtube.com/watch?v=YiftlPIazGg&lt;/youtube&gt;<br /> <br /> &lt;br /&gt;<br /> [[Category:Games]]</div>

Emre.sofuoglu https://wiki.uni-konstanz.de/gamelab/index.php?title=Shadow_of_the_Colossus&diff=946 2020-01-23T11:51:33Z

<p>Emre.sofuoglu: </p> <hr /> <div>[[File:Shadow-of-the-colossus-screen-02-ps4-eu-30oct17.jpg|480x480px]]<br /> <br /> <br /> &lt;br /&gt;<br /> ==About the game==<br /> Shadow of the Colossus, released in Japan as Wanda and the Colossus, is an action-adventure game developed by SCE Japan Studio and Team Ico, and published by Sony Computer Entertainment for the PlayStation 2. The game was released in North America and Japan in October 2005 and PAL regions such as Europe in February 2006. It was directed by Fumito Ueda and developed at SCEI's International Production Studio 1, also known as Team Ico; the same development team responsible for the cult hit Ico, to which the game is considered a spiritual successor. <br /> <br /> It can be best described as an action-adventure-game with puzzle-elements. <br /> <br /> Shadow of the Colossus received almost universal acclaim upon its release and a cult-following during the following years, prompting the release of an HD-Version for the Playstation 3 alongside its progenitor Ico in the year 2011 and a complete remake for the PS4 in 2018. Thus it has been playable on every SONY home console since its release.<br /> <br /> ==Story and gameplay==<br /> &lt;youtube&gt;https://www.youtube.com/watch?v=KOXFEBC509w&lt;/youtube&gt;<br /> <br /> ==Research relevant approaches==<br /> <br /> ===Player- vs. intended experience===<br /> &lt;br /&gt;<br /> ===[[Narratology and Ludology]]===<br /> Computer games, according to Huizinga, share many key aspects of representation with more traditional mediums such as movies or books. Despite this fact, they are deserving of its own approach, which is owed to a few major differences, including its unique relationship with the recipient. Games &quot;read&quot; their player and test their participation by presenting them with roadblocks in form of gameplay-challenges which hinder progression.<br /> <br /> '''Ludology ''' (Huizinga/Jasper Juul/ Robert Callois)<br /> <br /> '''Narratology'''<br /> <br /> Computer games aren`t movies or books, making them a new form of text (Frasca, Juul, Aarseth). As such, many ludologists have argued against the use of narratlogic explanations when it comes to games, as they see them as inherently non-narratologic.<br /> <br /> They are a game, not a narrative.<br /> <br /> Frasca argues, that if a narrative is included in a game, studying the NARRATION (not narrative) should nevertheless be part of studying the game.<br /> <br /> ===Semiology in games===<br /> <br /> ===Japanese cultural Influences===<br /> <br /> ====Theme of death and life transgression====<br /> <br /> ===Shadow of the Colossus in popular Culture===<br /> Through it`s non-descriptive and vague plot and the iconic nature of the Colossi, Shadow of the Colossus manages to create a strong metaphorical framework, which has been adapted and used in the text of different works in different media.<br /> <br /> As a hugely popular game, Shadow of the Colossus and its themes of intense loneliness coupled with the semiotic impact of its titular Colossi caught the attention of filmmaker-duo Mike and Jack Binder. The two brothers implemented the game into the story of their 2007 film Reign Over Me, starring Adam Sandler as a father who lost his family in the 2001 attack on the World Trade Center. <br /> <br /> &quot;You could see where someone who was dealing with 9/11 would be engrossed by a giant that keeps collapsing over and over again,&quot; - Mike Binder, 2007<br /> <br /> &lt;youtube&gt;https://www.youtube.com/watch?v=YiftlPIazGg&lt;/youtube&gt;<br /> <br /> &lt;br /&gt;<br /> [[Category:Games]]</div>

Emre.sofuoglu https://wiki.uni-konstanz.de/gamelab/index.php?title=Shadow_of_the_Colossus&diff=945 2020-01-23T11:47:56Z

<p>Emre.sofuoglu: </p> <hr /> <div>[[File:Shadow-of-the-colossus-screen-02-ps4-eu-30oct17.jpg|frameless]]<br /> <br /> <br /> &lt;br /&gt;<br /> ==About the game==<br /> Shadow of the Colossus, released in Japan as Wanda and the Colossus, is an action-adventure game developed by SCE Japan Studio and Team Ico, and published by Sony Computer Entertainment for the PlayStation 2. The game was released in North America and Japan in October 2005 and PAL regions such as Europe in February 2006. It was directed by Fumito Ueda and developed at SCEI's International Production Studio 1, also known as Team Ico; the same development team responsible for the cult hit Ico, to which the game is considered a spiritual successor. <br /> <br /> It can be best described as an action-adventure-game with puzzle-elements. <br /> <br /> Shadow of the Colossus received almost universal acclaim upon its release and a cult-following during the following years, prompting the release of an HD-Version for the Playstation 3 alongside its progenitor Ico in the year 2011 and a complete remake for the PS4 in 2018. Thus it has been playable on every SONY home console since its release.<br /> <br /> ==Story and gameplay==<br /> &lt;youtube&gt;https://www.youtube.com/watch?v=KOXFEBC509w&lt;/youtube&gt;<br /> <br /> ==Research relevant approaches==<br /> <br /> ===Player- vs. intended experience===<br /> &lt;br /&gt;<br /> ===[[Narratology and Ludology]]===<br /> Computer games, according to Huizinga, share many key aspects of representation with more traditional mediums such as movies or books. Despite this fact, they are deserving of its own approach, which is owed to a few major differences, including its unique relationship with the recipient. Games &quot;read&quot; their player and test their participation by presenting them with roadblocks in form of gameplay-challenges which hinder progression.<br /> <br /> '''Ludology ''' (Huizinga/Jasper Juul/ Robert Callois)<br /> <br /> '''Narratology'''<br /> <br /> Computer games aren`t movies or books, making them a new form of text (Frasca, Juul, Aarseth). As such, many ludologists have argued against the use of narratlogic explanations when it comes to games, as they see them as inherently non-narratologic.<br /> <br /> They are a game, not a narrative.<br /> <br /> Frasca argues, that if a narrative is included in a game, studying the NARRATION (not narrative) should nevertheless be part of studying the game.<br /> <br /> ===Semiology in games===<br /> <br /> ===Japanese cultural Influences===<br /> <br /> ====Theme of death and life transgression====<br /> <br /> ===Shadow of the Colossus in popular Culture===<br /> Through it`s non-descriptive and vague plot and the iconic nature of the Colossi, Shadow of the Colossus manages to create a strong metaphorical framework, which has been adapted and used in the text of different works in different media.<br /> <br /> As a hugely popular game, Shadow of the Colossus and its themes of intense loneliness coupled with the semiotic impact of its titular Colossi caught the attention of filmmaker-duo Mike and Jack Binder. The two brothers implemented the game into the story of their 2007 film Reign Over Me, starring Adam Sandler as a father who lost his family in the 2001 attack on the World Trade Center. <br /> <br /> &quot;You could see where someone who was dealing with 9/11 would be engrossed by a giant that keeps collapsing over and over again,&quot; - Mike Binder, 2007<br /> <br /> &lt;youtube&gt;https://www.youtube.com/watch?v=YiftlPIazGg&lt;/youtube&gt;<br /> <br /> &lt;br /&gt;<br /> [[Category:Games]]</div>

Emre.sofuoglu https://wiki.uni-konstanz.de/gamelab/index.php?title=Shadow_of_the_Colossus&diff=937 2020-01-23T11:41:26Z

<p>Emre.sofuoglu: </p> <hr /> <div>[[File:Shadow-of-the-colossus-screen-02-ps4-eu-30oct17.jpg|thumb|A colossus staring down the Avatar Wanda]]<br /> <br /> <br /> &lt;br /&gt;<br /> ==About the game==<br /> Shadow of the Colossus, released in Japan as Wanda and the Colossus, is an action-adventure game developed by SCE Japan Studio and Team Ico, and published by Sony Computer Entertainment for the PlayStation 2. The game was released in North America and Japan in October 2005 and PAL regions such as Europe in February 2006. It was directed by Fumito Ueda and developed at SCEI's International Production Studio 1, also known as Team Ico; the same development team responsible for the cult hit Ico, to which the game is considered a spiritual successor. <br /> <br /> It can be best described as an action-adventure-game with puzzle-elements. <br /> <br /> Shadow of the Colossus received almost universal acclaim upon its release and a cult-following during the following years, prompting the release of an HD-Version for the Playstation 3 alongside its progenitor Ico in the year 2011 and a complete remake for the PS4 in 2018. Thus it has been playable on every SONY home console since its release.<br /> <br /> ==Story and gameplay==<br /> &lt;youtube&gt;https://www.youtube.com/watch?v=KOXFEBC509w&lt;/youtube&gt;<br /> <br /> ==Research relevant approaches==<br /> <br /> ===Player- vs. intended experience===<br /> &lt;br /&gt;<br /> ===[[Narratology and Ludology]]===<br /> Computer games, according to Huizinga, share many key aspects of representation with more traditional mediums such as movies or books. Despite this fact, they are deserving of its own approach, which is owed to a few major differences, including its unique relationship with the recipient. Games &quot;read&quot; their player and test their participation by presenting them with roadblocks in form of gameplay-challenges which hinder progression.<br /> <br /> '''Ludology ''' (Huizinga/Jasper Juul/ Robert Callois)<br /> <br /> '''Narratology'''<br /> <br /> Computer games aren`t movies or books, making them a new form of text (Frasca, Juul, Aarseth). As such, many ludologists have argued against the use of narratlogic explanations when it comes to games, as they see them as inherently non-narratologic.<br /> <br /> They are a game, not a narrative.<br /> <br /> Frasca argues, that if a narrative is included in a game, studying the NARRATION (not narrative) should nevertheless be part of studying the game.<br /> <br /> ===Semiology in games===<br /> <br /> ===Japanese cultural Influences===<br /> <br /> ====Theme of death and life transgression====<br /> <br /> ===Shadow of the Colossus in popular Culture===<br /> Through it`s non-descriptive and vague plot and the iconic nature of the Colossi, Shadow of the Colossus manages to create a strong metaphorical framework, which has been adapted and used in the text of different works in different media.<br /> <br /> As a hugely popular game, Shadow of the Colossus and its themes of intense loneliness coupled with the semiotic impact of its titular Colossi caught the attention of filmmaker-duo Mike and Jack Binder. The two brothers implemented the game into the story of their 2007 film Reign Over Me, starring Adam Sandler as a father who lost his family in the 2001 attack on the World Trade Center. <br /> <br /> &quot;You could see where someone who was dealing with 9/11 would be engrossed by a giant that keeps collapsing over and over again,&quot; - Mike Binder, 2007<br /> <br /> &lt;youtube&gt;https://www.youtube.com/watch?v=YiftlPIazGg&lt;/youtube&gt;<br /> <br /> &lt;br /&gt;<br /> [[Category:Games]]</div>

Emre.sofuoglu https://wiki.uni-konstanz.de/gamelab/index.php?title=Shadow_of_the_Colossus&diff=936 2020-01-23T11:40:22Z

<p>Emre.sofuoglu: /* About the game */</p> <hr /> <div>[[File:Shadow-of-the-colossus-screen-02-ps4-eu-30oct17.jpg|thumb]]<br /> <br /> <br /> &lt;br /&gt;<br /> ==About the game==<br /> Shadow of the Colossus, released in Japan as Wanda and the Colossus, is an action-adventure game developed by SCE Japan Studio and Team Ico, and published by Sony Computer Entertainment for the PlayStation 2. The game was released in North America and Japan in October 2005 and PAL regions such as Europe in February 2006. It was directed by Fumito Ueda and developed at SCEI's International Production Studio 1, also known as Team Ico; the same development team responsible for the cult hit Ico, to which the game is considered a spiritual successor. <br /> <br /> It can be best described as an action-adventure-game with puzzle-elements. <br /> <br /> Shadow of the Colossus received almost universal acclaim upon its release and a cult-following during the following years, prompting the release of an HD-Version for the Playstation 3 alongside its progenitor Ico in the year 2011 and a complete remake for the PS4 in 2018. Thus it has been playable on every SONY home console since its release.<br /> <br /> ==Story and gameplay==<br /> &lt;youtube&gt;https://www.youtube.com/watch?v=KOXFEBC509w&lt;/youtube&gt;<br /> <br /> ==Research relevant approaches==<br /> <br /> ===Player- vs. intended experience===<br /> &lt;br /&gt;<br /> ===[[Narratology and Ludology]]===<br /> Computer games, according to Huizinga, share many key aspects of representation with more traditional mediums such as movies or books. Despite this fact, they are deserving of its own approach, which is owed to a few major differences, including its unique relationship with the recipient. Games &quot;read&quot; their player and test their participation by presenting them with roadblocks in form of gameplay-challenges which hinder progression.<br /> <br /> '''Ludology ''' (Huizinga/Jasper Juul/ Robert Callois)<br /> <br /> '''Narratology'''<br /> <br /> Computer games aren`t movies or books, making them a new form of text (Frasca, Juul, Aarseth). As such, many ludologists have argued against the use of narratlogic explanations when it comes to games, as they see them as inherently non-narratologic.<br /> <br /> They are a game, not a narrative.<br /> <br /> Frasca argues, that if a narrative is included in a game, studying the NARRATION (not narrative) should nevertheless be part of studying the game.<br /> <br /> ===Semiology in games===<br /> <br /> ===Japanese cultural Influences===<br /> <br /> ====Theme of death and life transgression====<br /> <br /> ===Shadow of the Colossus in popular Culture===<br /> Through it`s non-descriptive and vague plot and the iconic nature of the Colossi, Shadow of the Colossus manages to create a strong metaphorical framework, which has been adapted and used in the text of different works in different media.<br /> <br /> As a hugely popular game, Shadow of the Colossus and its themes of intense loneliness coupled with the semiotic impact of its titular Colossi caught the attention of filmmaker-duo Mike and Jack Binder. The two brothers implemented the game into the story of their 2007 film Reign Over Me, starring Adam Sandler as a father who lost his family in the 2001 attack on the World Trade Center. <br /> <br /> &quot;You could see where someone who was dealing with 9/11 would be engrossed by a giant that keeps collapsing over and over again,&quot; - Mike Binder, 2007<br /> <br /> &lt;youtube&gt;https://www.youtube.com/watch?v=YiftlPIazGg&lt;/youtube&gt;<br /> <br /> &lt;br /&gt;<br /> [[Category:Games]]</div>

Emre.sofuoglu https://wiki.uni-konstanz.de/gamelab/index.php?title=Shadow_of_the_Colossus&diff=934 2020-01-23T11:37:09Z

<p>Emre.sofuoglu: /* Player vs. intended experience */</p> <hr /> <div>[[File:Shadow-of-the-colossus-screen-02-ps4-eu-30oct17.jpg|thumb]]<br /> <br /> <br /> &lt;br /&gt;<br /> ==About the game==<br /> Shadow of the Colossus, released in Japan as Wanda and the Colossus, is an action-adventure game developed by SCE Japan Studio and Team Ico, and published by Sony Computer Entertainment for the PlayStation 2. The game was released in North America and Japan in October 2005 and PAL regions such as Europe in February 2006. It was directed by Fumito Ueda and developed at SCEI's International Production Studio 1, also known as Team Ico; the same development team responsible for the cult hit Ico, to which the game is considered a spiritual successor. <br /> <br /> It can be best described as an action-adventure-game with puzzle-elements. <br /> <br /> Shadow of the Colossus received almost universal acclaim upon its release and a cult-following during the following years, prompting the release of an HD-Version alongside its progenitor Ico in the year 2011 and a complete remake in 2018.<br /> <br /> ==Story and gameplay==<br /> &lt;youtube&gt;https://www.youtube.com/watch?v=KOXFEBC509w&lt;/youtube&gt;<br /> <br /> ==Research relevant approaches==<br /> <br /> ===Player- vs. intended experience===<br /> &lt;br /&gt;<br /> ===[[Narratology and Ludology]]===<br /> Computer games, according to Huizinga, share many key aspects of representation with more traditional mediums such as movies or books. Despite this fact, they are deserving of its own approach, which is owed to a few major differences, including its unique relationship with the recipient. Games &quot;read&quot; their player and test their participation by presenting them with roadblocks in form of gameplay-challenges which hinder progression.<br /> <br /> '''Ludology ''' (Huizinga/Jasper Juul/ Robert Callois)<br /> <br /> '''Narratology'''<br /> <br /> Computer games aren`t movies or books, making them a new form of text (Frasca, Juul, Aarseth). As such, many ludologists have argued against the use of narratlogic explanations when it comes to games, as they see them as inherently non-narratologic.<br /> <br /> They are a game, not a narrative.<br /> <br /> Frasca argues, that if a narrative is included in a game, studying the NARRATION (not narrative) should nevertheless be part of studying the game.<br /> <br /> ===Semiology in games===<br /> <br /> ===Japanese cultural Influences===<br /> <br /> ====Theme of death and life transgression====<br /> <br /> ===Shadow of the Colossus in popular Culture===<br /> Through it`s non-descriptive and vague plot and the iconic nature of the Colossi, Shadow of the Colossus manages to create a strong metaphorical framework, which has been adapted and used in the text of different works in different media.<br /> <br /> As a hugely popular game, Shadow of the Colossus and its themes of intense loneliness coupled with the semiotic impact of its titular Colossi caught the attention of filmmaker-duo Mike and Jack Binder. The two brothers implemented the game into the story of their 2007 film Reign Over Me, starring Adam Sandler as a father who lost his family in the 2001 attack on the World Trade Center. <br /> <br /> &quot;You could see where someone who was dealing with 9/11 would be engrossed by a giant that keeps collapsing over and over again,&quot; - Mike Binder, 2007<br /> <br /> &lt;youtube&gt;https://www.youtube.com/watch?v=YiftlPIazGg&lt;/youtube&gt;<br /> <br /> &lt;br /&gt;<br /> [[Category:Games]]</div>

Emre.sofuoglu https://wiki.uni-konstanz.de/gamelab/index.php?title=Shadow_of_the_Colossus&diff=933 2020-01-23T11:36:50Z

<p>Emre.sofuoglu: /* Narratology vs Ludology */</p> <hr /> <div>[[File:Shadow-of-the-colossus-screen-02-ps4-eu-30oct17.jpg|thumb]]<br /> <br /> <br /> &lt;br /&gt;<br /> ==About the game==<br /> Shadow of the Colossus, released in Japan as Wanda and the Colossus, is an action-adventure game developed by SCE Japan Studio and Team Ico, and published by Sony Computer Entertainment for the PlayStation 2. The game was released in North America and Japan in October 2005 and PAL regions such as Europe in February 2006. It was directed by Fumito Ueda and developed at SCEI's International Production Studio 1, also known as Team Ico; the same development team responsible for the cult hit Ico, to which the game is considered a spiritual successor. <br /> <br /> It can be best described as an action-adventure-game with puzzle-elements. <br /> <br /> Shadow of the Colossus received almost universal acclaim upon its release and a cult-following during the following years, prompting the release of an HD-Version alongside its progenitor Ico in the year 2011 and a complete remake in 2018.<br /> <br /> ==Story and gameplay==<br /> &lt;youtube&gt;https://www.youtube.com/watch?v=KOXFEBC509w&lt;/youtube&gt;<br /> <br /> ==Research relevant approaches==<br /> <br /> ===Player vs. intended experience===<br /> &lt;br /&gt;<br /> ===[[Narratology and Ludology]]===<br /> Computer games, according to Huizinga, share many key aspects of representation with more traditional mediums such as movies or books. Despite this fact, they are deserving of its own approach, which is owed to a few major differences, including its unique relationship with the recipient. Games &quot;read&quot; their player and test their participation by presenting them with roadblocks in form of gameplay-challenges which hinder progression.<br /> <br /> '''Ludology ''' (Huizinga/Jasper Juul/ Robert Callois)<br /> <br /> '''Narratology'''<br /> <br /> Computer games aren`t movies or books, making them a new form of text (Frasca, Juul, Aarseth). As such, many ludologists have argued against the use of narratlogic explanations when it comes to games, as they see them as inherently non-narratologic.<br /> <br /> They are a game, not a narrative.<br /> <br /> Frasca argues, that if a narrative is included in a game, studying the NARRATION (not narrative) should nevertheless be part of studying the game.<br /> <br /> ===Semiology in games===<br /> <br /> ===Japanese cultural Influences===<br /> <br /> ====Theme of death and life transgression====<br /> <br /> ===Shadow of the Colossus in popular Culture===<br /> Through it`s non-descriptive and vague plot and the iconic nature of the Colossi, Shadow of the Colossus manages to create a strong metaphorical framework, which has been adapted and used in the text of different works in different media.<br /> <br /> As a hugely popular game, Shadow of the Colossus and its themes of intense loneliness coupled with the semiotic impact of its titular Colossi caught the attention of filmmaker-duo Mike and Jack Binder. The two brothers implemented the game into the story of their 2007 film Reign Over Me, starring Adam Sandler as a father who lost his family in the 2001 attack on the World Trade Center. <br /> <br /> &quot;You could see where someone who was dealing with 9/11 would be engrossed by a giant that keeps collapsing over and over again,&quot; - Mike Binder, 2007<br /> <br /> &lt;youtube&gt;https://www.youtube.com/watch?v=YiftlPIazGg&lt;/youtube&gt;<br /> <br /> &lt;br /&gt;<br /> [[Category:Games]]</div>

Emre.sofuoglu https://wiki.uni-konstanz.de/gamelab/index.php?title=Shadow_of_the_Colossus&diff=931 2020-01-23T11:34:21Z

<p>Emre.sofuoglu: </p> <hr /> <div>[[File:Shadow-of-the-colossus-screen-02-ps4-eu-30oct17.jpg|thumb]]<br /> <br /> <br /> &lt;br /&gt;<br /> ==About the game==<br /> Shadow of the Colossus, released in Japan as Wanda and the Colossus, is an action-adventure game developed by SCE Japan Studio and Team Ico, and published by Sony Computer Entertainment for the PlayStation 2. The game was released in North America and Japan in October 2005 and PAL regions such as Europe in February 2006. It was directed by Fumito Ueda and developed at SCEI's International Production Studio 1, also known as Team Ico; the same development team responsible for the cult hit Ico, to which the game is considered a spiritual successor. <br /> <br /> It can be best described as an action-adventure-game with puzzle-elements. <br /> <br /> Shadow of the Colossus received almost universal acclaim upon its release and a cult-following during the following years, prompting the release of an HD-Version alongside its progenitor Ico in the year 2011 and a complete remake in 2018.<br /> <br /> ==Story and gameplay==<br /> &lt;youtube&gt;https://www.youtube.com/watch?v=KOXFEBC509w&lt;/youtube&gt;<br /> <br /> ==Research relevant approaches==<br /> <br /> ===Player vs. intended experience===<br /> &lt;br /&gt;<br /> ===Narratology vs Ludology===<br /> Computer games, according to Huizinga, share many key aspects of representation with more traditional mediums such as movies or books. Despite this fact, they are deserving of its own approach, which is owed to a few major differences, including its unique relationship with the recipient. Games &quot;read&quot; their player and test their participation by presenting them with roadblocks in form of gameplay-challenges which hinder progression.<br /> <br /> '''Ludology ''' (Huizinga/Jasper Juul/ Robert Callois)<br /> <br /> '''Narratology'''<br /> <br /> Computer games aren`t movies or books, making them a new form of text (Frasca, Juul, Aarseth). As such, many ludologists have argued against the use of narratlogic explanations when it comes to games, as they see them as inherently non-narratologic.<br /> <br /> They are a game, not a narrative.<br /> <br /> Frasca argues, that if a narrative is included in a game, studying the NARRATION (not narrative) should nevertheless be part of studying the game.<br /> <br /> ===Semiology in games===<br /> <br /> ===Japanese cultural Influences===<br /> <br /> ====Theme of death and life transgression====<br /> <br /> ===Shadow of the Colossus in popular Culture===<br /> Through it`s non-descriptive and vague plot and the iconic nature of the Colossi, Shadow of the Colossus manages to create a strong metaphorical framework, which has been adapted and used in the text of different works in different media.<br /> <br /> As a hugely popular game, Shadow of the Colossus and its themes of intense loneliness coupled with the semiotic impact of its titular Colossi caught the attention of filmmaker-duo Mike and Jack Binder. The two brothers implemented the game into the story of their 2007 film Reign Over Me, starring Adam Sandler as a father who lost his family in the 2001 attack on the World Trade Center. <br /> <br /> &quot;You could see where someone who was dealing with 9/11 would be engrossed by a giant that keeps collapsing over and over again,&quot; - Mike Binder, 2007<br /> <br /> &lt;youtube&gt;https://www.youtube.com/watch?v=YiftlPIazGg&lt;/youtube&gt;<br /> <br /> &lt;br /&gt;<br /> [[Category:Games]]</div>

Emre.sofuoglu https://wiki.uni-konstanz.de/gamelab/index.php?title=Shadow_of_the_Colossus&diff=930 2020-01-23T11:33:46Z

<p>Emre.sofuoglu: </p> <hr /> <div>[[File:Shadow-of-the-colossus-screen-02-ps4-eu-30oct17.jpg|thumb|300x300px]]<br /> <br /> <br /> &lt;br /&gt;<br /> ==About the game==<br /> Shadow of the Colossus, released in Japan as Wanda and the Colossus, is an action-adventure game developed by SCE Japan Studio and Team Ico, and published by Sony Computer Entertainment for the PlayStation 2. The game was released in North America and Japan in October 2005 and PAL regions such as Europe in February 2006. It was directed by Fumito Ueda and developed at SCEI's International Production Studio 1, also known as Team Ico; the same development team responsible for the cult hit Ico, to which the game is considered a spiritual successor. <br /> <br /> It can be best described as an action-adventure-game with puzzle-elements. <br /> <br /> Shadow of the Colossus received almost universal acclaim upon its release and a cult-following during the following years, prompting the release of an HD-Version alongside its progenitor Ico in the year 2011 and a complete remake in 2018.<br /> <br /> ==Story and gameplay==<br /> &lt;youtube&gt;https://www.youtube.com/watch?v=KOXFEBC509w&lt;/youtube&gt;<br /> <br /> ==Research relevant approaches==<br /> <br /> ===Player vs. intended experience===<br /> &lt;br /&gt;<br /> ===Narratology vs Ludology===<br /> Computer games, according to Huizinga, share many key aspects of representation with more traditional mediums such as movies or books. Despite this fact, they are deserving of its own approach, which is owed to a few major differences, including its unique relationship with the recipient. Games &quot;read&quot; their player and test their participation by presenting them with roadblocks in form of gameplay-challenges which hinder progression.<br /> <br /> '''Ludology ''' (Huizinga/Jasper Juul/ Robert Callois)<br /> <br /> '''Narratology'''<br /> <br /> Computer games aren`t movies or books, making them a new form of text (Frasca, Juul, Aarseth). As such, many ludologists have argued against the use of narratlogic explanations when it comes to games, as they see them as inherently non-narratologic.<br /> <br /> They are a game, not a narrative.<br /> <br /> Frasca argues, that if a narrative is included in a game, studying the NARRATION (not narrative) should nevertheless be part of studying the game.<br /> <br /> ===Semiology in games===<br /> <br /> ===Japanese cultural Influences===<br /> <br /> ====Theme of death and life transgression====<br /> <br /> ===Shadow of the Colossus in popular Culture===<br /> Through it`s non-descriptive and vague plot and the iconic nature of the Colossi, Shadow of the Colossus manages to create a strong metaphorical framework, which has been adapted and used in the text of different works in different media.<br /> <br /> As a hugely popular game, Shadow of the Colossus and its themes of intense loneliness coupled with the semiotic impact of its titular Colossi caught the attention of filmmaker-duo Mike and Jack Binder. The two brothers implemented the game into the story of their 2007 film Reign Over Me, starring Adam Sandler as a father who lost his family in the 2001 attack on the World Trade Center. <br /> <br /> &quot;You could see where someone who was dealing with 9/11 would be engrossed by a giant that keeps collapsing over and over again,&quot; - Mike Binder, 2007<br /> <br /> &lt;youtube&gt;https://www.youtube.com/watch?v=YiftlPIazGg&lt;/youtube&gt;<br /> <br /> &lt;br /&gt;<br /> [[Category:Games]]</div>

Emre.sofuoglu https://wiki.uni-konstanz.de/gamelab/index.php?title=Shadow_of_the_Colossus&diff=929 2020-01-23T11:33:14Z

<p>Emre.sofuoglu: </p> <hr /> <div>[[File:Shadow-of-the-colossus-screen-02-ps4-eu-30oct17.jpg|300x300px]]<br /> <br /> &lt;br /&gt;<br /> ==About the game==<br /> Shadow of the Colossus, released in Japan as Wanda and the Colossus, is an action-adventure game developed by SCE Japan Studio and Team Ico, and published by Sony Computer Entertainment for the PlayStation 2. The game was released in North America and Japan in October 2005 and PAL regions such as Europe in February 2006. It was directed by Fumito Ueda and developed at SCEI's International Production Studio 1, also known as Team Ico; the same development team responsible for the cult hit Ico, to which the game is considered a spiritual successor. <br /> <br /> It can be best described as an action-adventure-game with puzzle-elements. <br /> <br /> Shadow of the Colossus received almost universal acclaim upon its release and a cult-following during the following years, prompting the release of an HD-Version alongside its progenitor Ico in the year 2011 and a complete remake in 2018.<br /> <br /> ==Story and gameplay==<br /> &lt;youtube&gt;https://www.youtube.com/watch?v=KOXFEBC509w&lt;/youtube&gt;<br /> <br /> ==Research relevant approaches==<br /> <br /> ===Player vs. intended experience===<br /> &lt;br /&gt;<br /> ===Narratology vs Ludology===<br /> Computer games, according to Huizinga, share many key aspects of representation with more traditional mediums such as movies or books. Despite this fact, they are deserving of its own approach, which is owed to a few major differences, including its unique relationship with the recipient. Games &quot;read&quot; their player and test their participation by presenting them with roadblocks in form of gameplay-challenges which hinder progression.<br /> <br /> '''Ludology ''' (Huizinga/Jasper Juul/ Robert Callois)<br /> <br /> '''Narratology'''<br /> <br /> Computer games aren`t movies or books, making them a new form of text (Frasca, Juul, Aarseth). As such, many ludologists have argued against the use of narratlogic explanations when it comes to games, as they see them as inherently non-narratologic.<br /> <br /> They are a game, not a narrative.<br /> <br /> Frasca argues, that if a narrative is included in a game, studying the NARRATION (not narrative) should nevertheless be part of studying the game.<br /> <br /> ===Semiology in games===<br /> <br /> ===Japanese cultural Influences===<br /> <br /> ====Theme of death and life transgression====<br /> <br /> ===Shadow of the Colossus in popular Culture===<br /> Through it`s non-descriptive and vague plot and the iconic nature of the Colossi, Shadow of the Colossus manages to create a strong metaphorical framework, which has been adapted and used in the text of different works in different media.<br /> <br /> As a hugely popular game, Shadow of the Colossus and its themes of intense loneliness coupled with the semiotic impact of its titular Colossi caught the attention of filmmaker-duo Mike and Jack Binder. The two brothers implemented the game into the story of their 2007 film Reign Over Me, starring Adam Sandler as a father who lost his family in the 2001 attack on the World Trade Center. <br /> <br /> &quot;You could see where someone who was dealing with 9/11 would be engrossed by a giant that keeps collapsing over and over again,&quot; - Mike Binder, 2007<br /> <br /> &lt;youtube&gt;https://www.youtube.com/watch?v=YiftlPIazGg&lt;/youtube&gt;<br /> <br /> &lt;br /&gt;<br /> [[Category:Games]]</div>

Emre.sofuoglu https://wiki.uni-konstanz.de/gamelab/index.php?title=Shadow_of_the_Colossus&diff=927 2020-01-23T11:29:43Z

<p>Emre.sofuoglu: </p> <hr /> <div>[[File:Shadow-of-the-colossus-screen-02-ps4-eu-30oct17.jpg|thumb|1920x1920px]]<br /> &lt;br /&gt;<br /> ==About the game==<br /> Shadow of the Colossus, released in Japan as Wanda and the Colossus, is an action-adventure game developed by SCE Japan Studio and Team Ico, and published by Sony Computer Entertainment for the PlayStation 2. The game was released in North America and Japan in October 2005 and PAL regions such as Europe in February 2006. It was directed by Fumito Ueda and developed at SCEI's International Production Studio 1, also known as Team Ico; the same development team responsible for the cult hit Ico, to which the game is considered a spiritual successor. <br /> <br /> It can be best described as an action-adventure-game with puzzle-elements. <br /> <br /> Shadow of the Colossus received almost universal acclaim upon its release and a cult-following during the following years, prompting the release of an HD-Version alongside its progenitor Ico in the year 2011 and a complete remake in 2018.<br /> <br /> ==Story and gameplay==<br /> &lt;youtube&gt;https://www.youtube.com/watch?v=KOXFEBC509w&lt;/youtube&gt;<br /> <br /> ==Research relevant approaches==<br /> <br /> ===Player vs. intended experience===<br /> &lt;br /&gt;<br /> ===Narratology vs Ludology===<br /> Computer games, according to Huizinga, share many key aspects of representation with more traditional mediums such as movies or books. Despite this fact, they are deserving of its own approach, which is owed to a few major differences, including its unique relationship with the recipient. Games &quot;read&quot; their player and test their participation by presenting them with roadblocks in form of gameplay-challenges which hinder progression.<br /> <br /> '''Ludology ''' (Huizinga/Jasper Juul/ Robert Callois)<br /> <br /> '''Narratology'''<br /> <br /> Computer games aren`t movies or books, making them a new form of text (Frasca, Juul, Aarseth). As such, many ludologists have argued against the use of narratlogic explanations when it comes to games, as they see them as inherently non-narratologic.<br /> <br /> They are a game, not a narrative.<br /> <br /> Frasca argues, that if a narrative is included in a game, studying the NARRATION (not narrative) should nevertheless be part of studying the game.<br /> <br /> ===Semiology in games===<br /> <br /> ===Japanese cultural Influences===<br /> <br /> ====Theme of death and life transgression====<br /> <br /> ===Shadow of the Colossus in popular Culture===<br /> Through it`s non-descriptive and vague plot and the iconic nature of the Colossi, Shadow of the Colossus manages to create a strong metaphorical framework, which has been adapted and used in the text of different works in different media.<br /> <br /> As a hugely popular game, Shadow of the Colossus and its themes of intense loneliness coupled with the semiotic impact of its titular Colossi caught the attention of filmmaker-duo Mike and Jack Binder. The two brothers implemented the game into the story of their 2007 film Reign Over Me, starring Adam Sandler as a father who lost his family in the 2001 attack on the World Trade Center. <br /> <br /> &quot;You could see where someone who was dealing with 9/11 would be engrossed by a giant that keeps collapsing over and over again,&quot; - Mike Binder, 2007<br /> <br /> &lt;youtube&gt;https://www.youtube.com/watch?v=YiftlPIazGg&lt;/youtube&gt;<br /> <br /> &lt;br /&gt;<br /> [[Category:Games]]</div>

Emre.sofuoglu https://wiki.uni-konstanz.de/gamelab/index.php?title=File:Shadow-of-the-colossus-screen-02-ps4-eu-30oct17.jpg&diff=918 2020-01-23T11:19:04Z

<p>Emre.sofuoglu: </p> <hr /> <div></div>

Emre.sofuoglu https://wiki.uni-konstanz.de/gamelab/index.php?title=Shadow_of_the_Colossus&diff=917 2020-01-23T11:15:55Z

<p>Emre.sofuoglu: /* Research relevant approaches */</p> <hr /> <div>==About the game==<br /> Shadow of the Colossus, released in Japan as Wanda and the Colossus, is an action-adventure game developed by SCE Japan Studio and Team Ico, and published by Sony Computer Entertainment for the PlayStation 2. The game was released in North America and Japan in October 2005 and PAL regions such as Europe in February 2006. It was directed by Fumito Ueda and developed at SCEI's International Production Studio 1, also known as Team Ico; the same development team responsible for the cult hit Ico, to which the game is considered a spiritual successor. <br /> <br /> It can be best described as an action-adventure-game with puzzle-elements. <br /> <br /> Shadow of the Colossus received almost universal acclaim upon its release and a cult-following during the following years, prompting the release of an HD-Version alongside its progenitor Ico in the year 2011 and a complete remake in 2018.<br /> <br /> ==Story and gameplay==<br /> &lt;youtube&gt;https://www.youtube.com/watch?v=KOXFEBC509w&lt;/youtube&gt;<br /> <br /> ==Research relevant approaches==<br /> <br /> === Player vs. intended experience ===<br /> &lt;br /&gt;<br /> ===Narratology vs Ludology===<br /> Computer games, according to Huizinga, share many key aspects of representation with more traditional mediums such as movies or books. Despite this fact, they are deserving of its own approach, which is owed to a few major differences, including its unique relationship with the recipient. Games &quot;read&quot; their player and test their participation by presenting them with roadblocks in form of gameplay-challenges which hinder progression.<br /> <br /> '''Ludology ''' (Huizinga/Jasper Juul/ Robert Callois)<br /> <br /> '''Narratology'''<br /> <br /> Computer games aren`t movies or books, making them a new form of text (Frasca, Juul, Aarseth). As such, many ludologists have argued against the use of narratlogic explanations when it comes to games, as they see them as inherently non-narratologic.<br /> <br /> They are a game, not a narrative.<br /> <br /> Frasca argues, that if a narrative is included in a game, studying the NARRATION (not narrative) should nevertheless be part of studying the game.<br /> <br /> ===Semiology in games===<br /> <br /> ===Japanese cultural Influences===<br /> <br /> ====Theme of death and life transgression====<br /> <br /> ===Shadow of the Colossus in popular Culture===<br /> Through it`s non-descriptive and vague plot and the iconic nature of the Colossi, Shadow of the Colossus manages to create a strong metaphorical framework, which has been adapted and used in the text of different works in different media.<br /> <br /> As a hugely popular game, Shadow of the Colossus and its themes of intense loneliness coupled with the semiotic impact of its titular Colossi caught the attention of filmmaker-duo Mike and Jack Binder. The two brothers implemented the game into the story of their 2007 film Reign Over Me, starring Adam Sandler as a father who lost his family in the 2001 attack on the World Trade Center. <br /> <br /> &quot;You could see where someone who was dealing with 9/11 would be engrossed by a giant that keeps collapsing over and over again,&quot; - Mike Binder, 2007<br /> <br /> &lt;youtube&gt;https://www.youtube.com/watch?v=YiftlPIazGg&lt;/youtube&gt;<br /> <br /> &lt;br /&gt;<br /> [[Category:Games]]</div>

Emre.sofuoglu https://wiki.uni-konstanz.de/gamelab/index.php?title=Shadow_of_the_Colossus&diff=913 2020-01-23T11:12:30Z

<p>Emre.sofuoglu: /* Shadow of the Colossus in popular Culture */</p> <hr /> <div>==About the game==<br /> Shadow of the Colossus, released in Japan as Wanda and the Colossus, is an action-adventure game developed by SCE Japan Studio and Team Ico, and published by Sony Computer Entertainment for the PlayStation 2. The game was released in North America and Japan in October 2005 and PAL regions such as Europe in February 2006. It was directed by Fumito Ueda and developed at SCEI's International Production Studio 1, also known as Team Ico; the same development team responsible for the cult hit Ico, to which the game is considered a spiritual successor. <br /> <br /> It can be best described as an action-adventure-game with puzzle-elements. <br /> <br /> Shadow of the Colossus received almost universal acclaim upon its release and a cult-following during the following years, prompting the release of an HD-Version alongside its progenitor Ico in the year 2011 and a complete remake in 2018.<br /> <br /> ==Story and gameplay==<br /> &lt;youtube&gt;https://www.youtube.com/watch?v=KOXFEBC509w&lt;/youtube&gt;<br /> <br /> ==Research relevant approaches==<br /> <br /> ===Narratology vs Ludology===<br /> Computer games, according to Huizinga, share many key aspects of representation with more traditional mediums such as movies or books. Despite this fact, they are deserving of its own approach, which is owed to a few major differences, including its unique relationship with the recipient. Games &quot;read&quot; their player and test their participation by presenting them with roadblocks in form of gameplay-challenges which hinder progression.<br /> <br /> '''Ludology ''' (Huizinga/Jasper Juul/ Robert Callois)<br /> <br /> '''Narratology'''<br /> <br /> Computer games aren`t movies or books, making them a new form of text (Frasca, Juul, Aarseth). As such, many ludologists have argued against the use of narratlogic explanations when it comes to games, as they see them as inherently non-narratologic.<br /> <br /> They are a game, not a narrative.<br /> <br /> Frasca argues, that if a narrative is included in a game, studying the NARRATION (not narrative) should nevertheless be part of studying the game.<br /> <br /> ===Semiology in games===<br /> <br /> ===Japanese cultural Influences===<br /> <br /> ====Theme of death and life transgression====<br /> <br /> ===Shadow of the Colossus in popular Culture===<br /> Through it`s non-descriptive and vague plot and the iconic nature of the Colossi, Shadow of the Colossus manages to create a strong metaphorical framework, which has been adapted and used in the text of different works in different media.<br /> <br /> As a hugely popular game, Shadow of the Colossus and its themes of intense loneliness coupled with the semiotic impact of its titular Colossi caught the attention of filmmaker-duo Mike and Jack Binder. The two brothers implemented the game into the story of their 2007 film Reign Over Me, starring Adam Sandler as a father who lost his family in the 2001 attack on the World Trade Center. <br /> <br /> &quot;You could see where someone who was dealing with 9/11 would be engrossed by a giant that keeps collapsing over and over again,&quot; - Mike Binder, 2007<br /> <br /> &lt;youtube&gt;https://www.youtube.com/watch?v=YiftlPIazGg&lt;/youtube&gt;<br /> <br /> &lt;br /&gt;<br /> [[Category:Games]]</div>

Emre.sofuoglu https://wiki.uni-konstanz.de/gamelab/index.php?title=Narratology_and_Ludology&diff=910 2020-01-23T11:08:19Z

<p>Emre.sofuoglu: Created blank page</p> <hr /> <div></div>

Emre.sofuoglu https://wiki.uni-konstanz.de/gamelab/index.php?title=Shadow_of_the_Colossus&diff=901 2020-01-23T11:04:09Z

<p>Emre.sofuoglu: </p> <hr /> <div>==About the game==<br /> Shadow of the Colossus, released in Japan as Wanda and the Colossus, is an action-adventure game developed by SCE Japan Studio and Team Ico, and published by Sony Computer Entertainment for the PlayStation 2. The game was released in North America and Japan in October 2005 and PAL regions such as Europe in February 2006. It was directed by Fumito Ueda and developed at SCEI's International Production Studio 1, also known as Team Ico; the same development team responsible for the cult hit Ico, to which the game is considered a spiritual successor. <br /> <br /> It can be best described as an action-adventure-game with puzzle-elements. <br /> <br /> Shadow of the Colossus received almost universal acclaim upon its release and a cult-following during the following years, prompting the release of an HD-Version alongside its progenitor Ico in the year 2011 and a complete remake in 2018.<br /> <br /> == Story and gameplay ==<br /> &lt;youtube&gt;https://www.youtube.com/watch?v=KOXFEBC509w&lt;/youtube&gt;<br /> <br /> ==Research relevant approaches==<br /> <br /> ===Narratology vs Ludology===<br /> Computer games, according to Huizinga, share many key aspects of representation with more traditional mediums such as movies or books. Despite this fact, they are deserving of its own approach, which is owed to a few major differences, including its unique relationship with the recipient. Games &quot;read&quot; their player and test their participation by presenting them with roadblocks in form of gameplay-challenges which hinder progression.<br /> <br /> '''Ludology ''' (Huizinga/Jasper Juul/ Robert Callois)<br /> <br /> '''Narratology'''<br /> <br /> Computer games aren`t movies or books, making them a new form of text (Frasca, Juul, Aarseth). As such, many ludologists have argued against the use of narratlogic explanations when it comes to games, as they see them as inherently non-narratologic.<br /> <br /> They are a game, not a narrative.<br /> <br /> Frasca argues, that if a narrative is included in a game, studying the NARRATION (not narrative) should nevertheless be part of studying the game.<br /> <br /> ===Semiology in games===<br /> <br /> ===Japanese cultural Influences===<br /> <br /> ====Theme of death and life transgression====<br /> <br /> ===Shadow of the Colossus in popular Culture===<br /> As a hugely popular game, Shadow of the Colossus and its themes of intense loneliness coupled with the semiotic impact of its titular Colossi caught the attention of filmmaker-duo Mike and Jack Binder. The two brothers implemented the game into the story of their 2007 film Reign Over Me, starring Adam Sandler as a father who lost his family in the 2001 attack on the World Trade Center. <br /> <br /> &quot;You could see where someone who was dealing with 9/11 would be engrossed by a giant that keeps collapsing over and over again,&quot; - Mike Binder, 2007<br /> <br /> &lt;youtube&gt;https://www.youtube.com/watch?v=YiftlPIazGg&lt;/youtube&gt;<br /> [[Category:Games]]</div>

Emre.sofuoglu https://wiki.uni-konstanz.de/gamelab/index.php?title=Shadow_of_the_Colossus&diff=899 2020-01-23T11:00:08Z

<p>Emre.sofuoglu: </p> <hr /> <div>==About the game==<br /> Shadow of the Colossus, released in Japan as Wanda and the Colossus, is an action-adventure game developed by SCE Japan Studio and Team Ico, and published by Sony Computer Entertainment for the PlayStation 2. The game was released in North America and Japan in October 2005 and PAL regions such as Europe in February 2006. It was directed by Fumito Ueda and developed at SCEI's International Production Studio 1, also known as Team Ico; the same development team responsible for the cult hit Ico, to which the game is considered a spiritual successor. <br /> <br /> It can be best described as an action-adventure-game with puzzle-elements. <br /> <br /> Shadow of the Colossus received almost universal acclaim upon its release and a cult-following during the following years, prompting the release of an HD-Version alongside its progenitor Ico in the year 2011 and a complete remake in 2018.<br /> <br /> &lt;youtube&gt;https://www.youtube.com/watch?v=KOXFEBC509w&lt;/youtube&gt;<br /> <br /> &lt;br /&gt;<br /> <br /> ==Research relevant approaches==<br /> <br /> ===Narratology vs Ludology===<br /> Computer games, according to Huizinga, share many key aspects of representation with more traditional mediums such as movies or books. Despite this fact, they are deserving of its own approach, which is owed to a few major differences, including its unique relationship with the recipient. Games &quot;read&quot; their player and test their participation by presenting them with roadblocks in form of gameplay-challenges which hinder progression.<br /> <br /> '''Ludology ''' (Huizinga/Jasper Juul/ Robert Callois)<br /> <br /> '''Narratology'''<br /> <br /> Computer games aren`t movies or books, making them a new form of text (Frasca, Juul, Aarseth). As such, many ludologists have argued against the use of narratlogic explanations when it comes to games, as they see them as inherently non-narratologic.<br /> <br /> They are a game, not a narrative.<br /> <br /> Frasca argues, that if a narrative is included in a game, studying the NARRATION (not narrative) should nevertheless be part of studying the game.<br /> <br /> ===Semiology in games===<br /> <br /> ===Japanese cultural Influences===<br /> <br /> ====Theme of death and life transgression====<br /> <br /> ===Shadow of the Colossus in popular Culture===<br /> As a hugely popular game, Shadow of the Colossus and its themes of intense loneliness coupled with the semiotic impact of its titular Colossi caught the attention of filmmaker-duo Mike and Jack Binder. The two brothers implemented the game into the story of their 2007 film Reign Over Me, starring Adam Sandler as a father who lost his family in the 2001 attack on the World Trade Center. <br /> <br /> &quot;You could see where someone who was dealing with 9/11 would be engrossed by a giant that keeps collapsing over and over again,&quot; - Mike Binder, 2007<br /> <br /> &lt;youtube&gt;https://www.youtube.com/watch?v=YiftlPIazGg&lt;/youtube&gt;<br /> [[Category:Games]]</div>

Emre.sofuoglu https://wiki.uni-konstanz.de/gamelab/index.php?title=Category:Games&diff=898 2020-01-23T10:59:26Z

<p>Emre.sofuoglu: </p> <hr /> <div>The Games site features a compilation of selected computer and video games. This set does consitute neither a complete nor a canocial overview over computer games. Instead, the collected games depict distinct approaches to different fields of research. The games illustrate specific aspects concering for instance the game mechanics, the narration or the game-player-interaction. <br /> &lt;br /&gt;<br /> <br /> <br /> Selected Games<br /> <br /> [[Assassin's Creed Odyssey]]<br /> <br /> [[Diablo: Immortal|Diablo Immortal]]<br /> <br /> [[Gran Turismo: Sport|Gran Turismo: Sport]] <br /> <br /> [[Hearthstone]]<br /> <br /> [[Shadow of the Colossus]]<br /> <br /> [[Soul Calibur|Soul Calibur]]<br /> <br /> [[The Beginner's Guide]]<br /> <br /> [[The Sims 4|The Sims]]<br /> <br /> [[The Witcher 3: Wild Hunt]]<br /> <br /> [[World of Warcraft]]</div>

Emre.sofuoglu https://wiki.uni-konstanz.de/gamelab/index.php?title=Shadow_of_the_Colossus&diff=897 2020-01-23T10:57:14Z

<p>Emre.sofuoglu: </p> <hr /> <div>==About the game==<br /> Shadow of the Colossus, released in Japan as Wanda and the Colossus, is an action-adventure game developed by SCE Japan Studio and Team Ico, and published by Sony Computer Entertainment for the PlayStation 2. The game was released in North America and Japan in October 2005 and PAL regions such as Europe in February 2006. It was directed by Fumito Ueda and developed at SCEI's International Production Studio 1, also known as Team Ico; the same development team responsible for the cult hit Ico, to which the game is considered a spiritual successor. <br /> <br /> It can be best described as an action-adventure-game with puzzle-elements. <br /> <br /> Shadow of the Colossus received almost universal acclaim upon its release and a cult-following during the following years, prompting the release of an HD-Version alongside its progenitor Ico in the year 2011 and a complete remake in 2018.<br /> <br /> &lt;youtube&gt;https://www.youtube.com/watch?v=KOXFEBC509w&lt;/youtube&gt;<br /> <br /> &lt;br /&gt;<br /> <br /> ==Research relevant approaches==<br /> <br /> ===Narratology vs Ludology===<br /> Computer games, according to Huizinga, share many key aspects of representation with more traditional mediums such as movies or books. Despite this fact, they are deserving of its own approach, which is owed to a few major differences, including its unique relationship with the recipient. Games &quot;read&quot; their player and test their participation by presenting them with roadblocks in form of gameplay-challenges which hinder progression.<br /> <br /> '''Ludology ''' (Huizinga/Jasper Juul/ Robert Callois)<br /> <br /> Menschen spielen. Spiel ist wichtig für die Gesellschaft <br /> <br /> Spiele sind temporäre Räume in denen Spieler in künstlichen Konflikt verwickelt werden.<br /> <br /> '''Narratology'''<br /> <br /> Computer games aren`t movies or books, making them a new form of text (Frasca, Juul, Aarseth). As such, many ludologists have argued against the use of narratlogic explanations when it comes to games, as they see them as inherently non-narratologic.<br /> <br /> They are a game, not a narrative.<br /> <br /> Frasca argues, that if a narrative is included in a game, studying the NARRATION (not narrative) should nevertheless be part of studying the game.<br /> <br /> ===Semiology in games===<br /> <br /> ===Japanese cultural Influences===<br /> <br /> ====Theme of death and life transgression====<br /> <br /> ===Shadow of the Colossus in popular Culture===<br /> As a hugely popular game, Shadow of the Colossus and its themes of intense loneliness coupled with the semiotic impact of its titular Colossi caught the attention of filmmaker-duo Mike and Jack Binder. The two brothers implemented the game into the story of their 2007 film Reign Over Me, starring Adam Sandler as a father who lost his family in the 2001 attack on the World Trade Center. <br /> <br /> &quot;You could see where someone who was dealing with 9/11 would be engrossed by a giant that keeps collapsing over and over again,&quot; - Mike Binder, 2007<br /> <br /> &lt;youtube&gt;https://www.youtube.com/watch?v=YiftlPIazGg&lt;/youtube&gt;<br /> [[Category:Games]]</div>

Emre.sofuoglu https://wiki.uni-konstanz.de/gamelab/index.php?title=Shadow_of_the_Colossus&diff=893 2020-01-23T10:40:26Z

<p>Emre.sofuoglu: </p> <hr /> <div>==About the game==<br /> Shadow of the Colossus, released in Japan as Wanda and the Colossus, is an action-adventure game developed by SCE Japan Studio and Team Ico, and published by Sony Computer Entertainment for the PlayStation 2. The game was released in North America and Japan in October 2005 and PAL regions such as Europe in February 2006. It was directed by Fumito Ueda and developed at SCEI's International Production Studio 1, also known as Team Ico; the same development team responsible for the cult hit Ico, to which the game is considered a spiritual successor. <br /> <br /> It can be best described as an action-adventure-game with puzzle-elements. <br /> <br /> Shadow of the Colossus received almost universal acclaim upon its release and a cult-following during the following years, prompting the release of an HD-Version alongside its progenitor Ico in the year 2011 and a complete remake in 2018.<br /> <br /> &lt;youtube&gt;https://www.youtube.com/watch?v=KOXFEBC509w&lt;/youtube&gt;<br /> <br /> &lt;br /&gt;<br /> <br /> ==Research relevant approaches==<br /> <br /> ===Narratology vs Ludology===<br /> <br /> ===Semiology in games===<br /> <br /> ===Japanese cultural Influences===<br /> <br /> ====Theme of death and life transgression====<br /> <br /> ===Shadow of the Colossus in popular Culture===<br /> As a hugely popular game, Shadow of the Colossus and its themes of intense loneliness coupled with the semiotic impact of its titular Colossi caught the attention of filmmaker-duo Mike and Jack Binder. The two brothers implemented the game into the story of their 2007 film Reign Over Me, starring Adam Sandler as a father who lost his family in the 2001 attack on the World Trade Center. <br /> <br /> &quot;You could see where someone who was dealing with 9/11 would be engrossed by a giant that keeps collapsing over and over again,&quot; - Mike Binder, 2007<br /> <br /> &lt;youtube&gt;https://www.youtube.com/watch?v=YiftlPIazGg&lt;/youtube&gt;</div>

Emre.sofuoglu https://wiki.uni-konstanz.de/gamelab/index.php?title=Shadow_of_the_Colossus&diff=892 2020-01-23T10:31:35Z

<p>Emre.sofuoglu: </p> <hr /> <div>==About the game==<br /> Shadow of the Colossus, released in Japan as Wanda and the Colossus, is an action-adventure game developed by SCE Japan Studio and Team Ico, and published by Sony Computer Entertainment for the PlayStation 2. The game was released in North America and Japan in October 2005 and PAL regions such as Europe in February 2006. It was directed by Fumito Ueda and developed at SCEI's International Production Studio 1, also known as Team Ico; the same development team responsible for the cult hit Ico, to which the game is considered a spiritual successor. <br /> <br /> It can be best described as an action-adventure-game with puzzle-elements. <br /> <br /> Shadow of the Colossus received almost universal acclaim upon its release and a cult-following during the following years, prompting the release of an HD-Version alongside its progenitor Ico in the year 2011 and a complete remake in 2018.<br /> <br /> &lt;youtube&gt;https://www.youtube.com/watch?v=KOXFEBC509w&lt;/youtube&gt;<br /> <br /> &lt;br /&gt;<br /> <br /> ==Research relevant approaches==<br /> <br /> ===Narratology vs Ludology===<br /> <br /> ===Semiology in games===<br /> <br /> ===Japanese cultural Influences===<br /> <br /> ==== Theme of death and life transgression ====<br /> <br /> === Shadow of the Colossus and Depression ===<br /> &lt;youtube&gt;https://www.youtube.com/watch?v=YiftlPIazGg&lt;/youtube&gt;</div>

Emre.sofuoglu https://wiki.uni-konstanz.de/gamelab/index.php?title=Shadow_of_the_Colossus&diff=891 2020-01-23T10:31:02Z

<p>Emre.sofuoglu: </p> <hr /> <div>==About the game==<br /> Shadow of the Colossus, released in Japan as Wanda and the Colossus, is an action-adventure game developed by SCE Japan Studio and Team Ico, and published by Sony Computer Entertainment for the PlayStation 2. The game was released in North America and Japan in October 2005 and PAL regions such as Europe in February 2006. It was directed by Fumito Ueda and developed at SCEI's International Production Studio 1, also known as Team Ico; the same development team responsible for the cult hit Ico, to which the game is considered a spiritual successor. <br /> <br /> It can be best described as an action-adventure-game with puzzle-elements. <br /> <br /> Shadow of the Colossus received almost universal acclaim upon its release and a cult-following during the following years, prompting the release of an HD-Version alongside its progenitor Ico in the year 2011 and a complete remake in 2018.<br /> <br /> &lt;youtube&gt;https://www.youtube.com/watch?v=KOXFEBC509w&lt;/youtube&gt;<br /> <br /> &lt;br /&gt;<br /> <br /> ==Research relevant approaches==<br /> <br /> ===Narratology vs Ludology===<br /> <br /> ===Semiology in games===<br /> <br /> ===Japanese cultural Influences===<br /> <br /> ==== Theme of death and life transgression ====<br /> <br /> === Shadow of the Colossus and Depression ===</div>

Emre.sofuoglu https://wiki.uni-konstanz.de/gamelab/index.php?title=Shadow_of_the_Colossus&diff=890 2020-01-23T10:27:39Z

<p>Emre.sofuoglu: </p> <hr /> <div>== About the game ==<br /> Shadow of the Colossus, released in Japan as Wanda and the Colossus, is an action-adventure game developed by SCE Japan Studio and Team Ico, and published by Sony Computer Entertainment for the PlayStation 2. The game was released in North America and Japan in October 2005 and PAL regions such as Europe in February 2006. It was directed by Fumito Ueda and developed at SCEI's International Production Studio 1, also known as Team Ico; the same development team responsible for the cult hit Ico, to which the game is considered a spiritual successor. <br /> <br /> It can be best described as an action-adventure-game with puzzle-elements. <br /> <br /> Shadow of the Colossus received almost universal acclaim upon its release and a cult-following during the following years, prompting the release of an HD-Version alongside its progenitor Ico in the year 2011 and a complete remake in 2018.<br /> <br /> &lt;youtube&gt;https://www.youtube.com/watch?v=KOXFEBC509w&lt;/youtube&gt;<br /> <br /> &lt;br /&gt;<br /> <br /> == Research relevant approaches ==<br /> <br /> === Narratology vs Ludology ===<br /> <br /> === Semiology in games ===<br /> <br /> === Japanese cultural Influences ===<br /> &lt;br /&gt;</div>

Emre.sofuoglu https://wiki.uni-konstanz.de/gamelab/index.php?title=Shadow_of_the_Colossus&diff=889 2020-01-23T10:27:21Z

<p>Emre.sofuoglu: </p> <hr /> <div>== About the game ==<br /> Shadow of the Colossus, released in Japan as Wanda and the Colossus, is an action-adventure game developed by SCE Japan Studio and Team Ico, and published by Sony Computer Entertainment for the PlayStation 2. The game was released in North America and Japan in October 2005 and PAL regions such as Europe in February 2006. It was directed by Fumito Ueda and developed at SCEI's International Production Studio 1, also known as Team Ico; the same development team responsible for the cult hit Ico, to which the game is considered a spiritual successor. <br /> <br /> It can be best described as an action-adventure-game with puzzle-elements. <br /> <br /> Shadow of the Colossus received almost universal acclaim upon its release and a cult-following during the following years, prompting the release of an HD-Version alongside its progenitor Ico in the year 2011 and a complete remake in 2018.<br /> <br /> &lt;br /&gt;<br /> <br /> == Research relevant approaches ==<br /> <br /> === Narratology vs Ludology ===<br /> <br /> === Semiology in games ===<br /> <br /> === Japanese cultural Influences ===<br /> &lt;br /&gt;<br /> <br /> &lt;youtube&gt;https://www.youtube.com/watch?v=KOXFEBC509w&lt;/youtube&gt;</div>

Emre.sofuoglu https://wiki.uni-konstanz.de/gamelab/index.php?title=Shadow_of_the_Colossus&diff=888 2020-01-23T10:26:48Z

<p>Emre.sofuoglu: </p> <hr /> <div>== About the game ==<br /> Shadow of the Colossus, released in Japan as Wanda and the Colossus, is an action-adventure game developed by SCE Japan Studio and Team Ico, and published by Sony Computer Entertainment for the PlayStation 2. The game was released in North America and Japan in October 2005 and PAL regions such as Europe in February 2006. It was directed by Fumito Ueda and developed at SCEI's International Production Studio 1, also known as Team Ico; the same development team responsible for the cult hit Ico, to which the game is considered a spiritual successor. <br /> <br /> It can be best described as an action-adventure-game with puzzle-elements. <br /> <br /> Shadow of the Colossus received almost universal acclaim upon its release and a cult-following during the following years, prompting the release of an HD-Version alongside its progenitor Ico in the year 2011 and a complete remake in 2018.<br /> <br /> &lt;br /&gt;<br /> <br /> == Research relevant approaches ==<br /> <br /> === Narratology vs Ludology ===<br /> <br /> === Semiology in games ===<br /> <br /> === Japanese cultural Influences ===<br /> &lt;br /&gt;</div>

Emre.sofuoglu https://wiki.uni-konstanz.de/gamelab/index.php?title=Shadow_of_the_Colossus&diff=887 2020-01-23T10:22:40Z

<p>Emre.sofuoglu: </p> <hr /> <div><br /> It can be best described as an action-adventure-game with puzzle-elements. <br /> <br /> Shadow of the Colossus received almost universal acclaim upon its release and a cult-following during the following years, prompting the release of an HD-Version alongside its progenitor Ico in the year 2011 and a complete remake in 2018</div>

Emre.sofuoglu https://wiki.uni-konstanz.de/gamelab/index.php?title=Shadow_of_the_Colossus&diff=886 2020-01-23T10:22:18Z

<p>Emre.sofuoglu: Created page with &quot; Shadow of the Colossus, released in Japan as Wanda and the Colossus, is an action-adventure game developed by SCE Japan Studio and Team Ico, and published by Sony Computer En...&quot;</p> <hr /> <div> Shadow of the Colossus, released in Japan as Wanda and the Colossus, is an action-adventure game developed by SCE Japan Studio and Team Ico, and published by Sony Computer Entertainment for the PlayStation 2. The game was released in North America and Japan in October 2005 and PAL regions such as Europe in February 2006. It was directed by Fumito Ueda and developed at SCEI's International Production Studio 1, also known as Team Ico; the same development team responsible for the cult hit Ico, to which the game is considered a spiritual successor. <br /> <br /> It can be best described as an action-adventure-game with puzzle-elements. <br /> <br /> Shadow of the Colossus received almost universal acclaim upon its release and a cult-following during the following years, prompting the release of an HD-Version alongside its progenitor Ico in the year 2011 and a complete remake in 2018</div>

Emre.sofuoglu https://wiki.uni-konstanz.de/gamelab/index.php?title=User:Emre.sofuoglu&diff=155 2019-11-26T15:52:28Z

<p>Emre.sofuoglu: Created page with &quot;https://www.youtube.com/watch?v=k_-Lyktkdhw&quot;</p> <hr /> <div>https://www.youtube.com/watch?v=k_-Lyktkdhw</div>

Emre.sofuoglu https://wiki.uni-konstanz.de/gamelab/index.php?title=Controversy&diff=154 2019-11-26T15:49:11Z

<p>Emre.sofuoglu: </p> <hr /> <div>Since their insurgence as a medium video games as a medium seem to have been particularly prone to controversy. This article looks to analyse controversial events within the video game industry, the effects they might have had on the industry as a whole and the discourse of video games in the public eye.<br /> <br /> [[Diablo Infinite Controversy]]<br /> <br /> [[Addictive Behaviour]]<br /> <br /> [[Lootboxes and gambling]]<br /> <br /> [[Armed rampages and Video games]]<br /> <br /> [[&quot;Casual VS Hardcore&quot;]]<br /> <br /> [[Gamergate|#gamergate]]</div>

Emre.sofuoglu https://wiki.uni-konstanz.de/gamelab/index.php?title=Controversy&diff=153 2019-11-26T15:48:33Z

<p>Emre.sofuoglu: </p> <hr /> <div>Since their insurgence as a medium video games as a medium seem to have been particularly prone to controversy. This article looks to analyse controversial events within the video game industry, the effects they might have had on the industry as a whole and the discourse of video games in the public eye.<br /> <br /> [[Diablo Infinite Controversy]]<br /> <br /> [[Addictive Behaviour]]<br /> <br /> [[Lootboxes and gambling]]<br /> <br /> [[Armed rampages and Video games]]<br /> <br /> [[&quot;Casual VS Hardcore&quot;]]<br /> <br /> [[#gamergate: gender in video games]]</div>

Emre.sofuoglu https://wiki.uni-konstanz.de/gamelab/index.php?title=Controversy&diff=152 2019-11-26T15:48:05Z

<p>Emre.sofuoglu: </p> <hr /> <div>Since their insurgence as a medium video games as a medium seem to have been particularly prone to controversy. This article looks to analyse controversial events within the video game industry, the effects they might have had on the industry as a whole and the discourse of video games in the public eye.<br /> <br /> [[#gamergate: gender in video games]]<br /> <br /> [[Diablo Infinite Controversy]]<br /> <br /> [[Addictive Behaviour]]<br /> <br /> [[Lootboxes and gambling]]<br /> <br /> [[Armed rampages and Video games]]<br /> <br /> [[&quot;Casual VS Hardcore&quot;]]</div>

Emre.sofuoglu https://wiki.uni-konstanz.de/gamelab/index.php?title=World_of_Warcraft&diff=151 2019-11-26T15:47:47Z

<p>Emre.sofuoglu: </p> <hr /> <div>World of Warcraft is a Massively Multiplayer Online Role-Playing Game ( MMORPG ), created by [https://en.wikipedia.org/wiki/Blizzard_Entertainment Blizzard Entertainment] and published in 2004. <br /> <br /> <br /> World of Warcraft changed a lot throughout the years. Therefore WoW is a good research object for many scientific disciplines and theories in the Computer Games Research.<br /> <br /> <br /> [[Competitive Gaming]]:<br /> <br /> Progress-Gilden<br /> <br /> Arenenturniere<br /> <br /> <br /> <br /> [[Serious Games]]:<br /> <br /> &quot;Corrupted Blood Plague&quot;, WoW as a scientific research for spreading of diseases.<br /> <br /> [[Addictive Behaviour]]<br /> <br /> WoW in English classes in the USA &lt;nowiki&gt;https://thejournal.com/articles/2012/10/04/wowing-language-arts.aspx&lt;/nowiki&gt;<br /> <br /> WoW as a platformer in schools in Chile &lt;nowiki&gt;https://www.youtube.com/watch?v=cc_L4eRAvJI&lt;/nowiki&gt;<br /> <br /> <br /> Workification:<br /> <br /> Player as Employer or Employee.<br /> <br /> Outsourcing ( Guilds, Groups, Payment )<br /> <br /> Growth<br /> <br /> Repetitive Game Procedures<br /> <br /> <br /> Gender:<br /> <br /> &lt;nowiki&gt;https://www.vice.com/en_us/article/ywaj4w/world-of-warcraft-changed-video-games-and-wrecked-lives&lt;/nowiki&gt;</div>

Emre.sofuoglu https://wiki.uni-konstanz.de/gamelab/index.php?title=World_of_Warcraft&diff=150 2019-11-26T15:47:02Z

<p>Emre.sofuoglu: </p> <hr /> <div>World of Warcraft is a Massively Multiplayer Online Role-Playing Game ( MMORPG ), created by [https://en.wikipedia.org/wiki/Blizzard_Entertainment Blizzard Entertainment] and published in 2004. <br /> <br /> <br /> World of Warcraft changed a lot through the years. Therefore WoW is a good research object for many scientific disciplines and theories in the Computer Games Research.<br /> <br /> <br /> [[Competitive Gaming]]:<br /> <br /> Progress-Gilden<br /> <br /> Arenenturniere<br /> <br /> <br /> <br /> [[Serious Games]]:<br /> <br /> &quot;Corrupted Blood Plague&quot;, WoW as a scientific research for spreading of diseases.<br /> <br /> Addictive Behaviour<br /> <br /> WoW in English classes in the USA &lt;nowiki&gt;https://thejournal.com/articles/2012/10/04/wowing-language-arts.aspx&lt;/nowiki&gt;<br /> <br /> WoW as a platformer in schools in Chile &lt;nowiki&gt;https://www.youtube.com/watch?v=cc_L4eRAvJI&lt;/nowiki&gt;<br /> <br /> <br /> Workification:<br /> <br /> Player as Employer or Employee.<br /> <br /> Outsourcing ( Guilds, Groups, Payment )<br /> <br /> Growth<br /> <br /> Repetitive Game Procedures<br /> <br /> <br /> Gender:<br /> <br /> &lt;nowiki&gt;https://www.vice.com/en_us/article/ywaj4w/world-of-warcraft-changed-video-games-and-wrecked-lives&lt;/nowiki&gt;</div>

Emre.sofuoglu