Narratology and Ludology - Revision history

Emre.sofuoglu: /* "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 */

2020-03-06T15:58:37Z

"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

← Older revision		Revision as of 17:58, 6 March 2020
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	====="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~~?" <ref>Tom Bissel 2011</ref>=====		====="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? " <ref>Tom Bissel 2011</ref>=====

	===='''Ludology '''====		===='''Ludology '''====

Emre.sofuoglu at 11:27, 6 February 2020

2020-02-06T11:27:22Z

← Older revision		Revision as of 13:27, 6 February 2020
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	====="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?" <ref>Tom Bissel 2011</ref>=====		====="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?" <ref>Tom Bissel 2011</ref>=====

	==== '''Ludology ''' ====		===='''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. <ref>Salen Katie and Erik Zimmermann, 2004 Roles of Play – Game Design Fundamentals, London: The MIT Press </ref>		(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. <ref>Salen Katie and Erik Zimmermann, 2004 Roles of Play – Game Design Fundamentals, London: The MIT Press </ref>

	==== '''Narratology''' ====		===='''Narratology'''====
	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 "read" 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.<ref>Barry Atkins 2006</ref>		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 "read" 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.<ref>Barry Atkins 2006</ref>
	<references />		<references />
			[[Category:Research Approaches]]

Emre.sofuoglu at 11:10, 6 February 2020

2020-02-06T11:10:48Z

← Older revision		Revision as of 13:10, 6 February 2020
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	===== "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?" <ref>Tom Bissel 2011</ref> =====		====="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?" <ref>Tom Bissel 2011</ref>=====
	'''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. <ref>Salen Katie and Erik Zimmermann, 2004 Roles of Play – Game Design Fundamentals, London: The MIT Press </ref>

	'''~~Narratology~~'''		==== '''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. <ref>Salen Katie and Erik Zimmermann, 2004 Roles of Play – Game Design Fundamentals, London: The MIT Press </ref>

			==== '''Narratology''' ====
	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 "read" 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.<ref>Barry Atkins 2006</ref>		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 "read" 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.<ref>Barry Atkins 2006</ref>
	<references />		<references />

Emre.sofuoglu at 11:10, 6 February 2020

2020-02-06T11:10:06Z

← Older revision		Revision as of 13:10, 6 February 2020
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	"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?" <ref>Tom Bissel 2011</ref>		===== "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?" <ref>Tom Bissel 2011</ref> =====

	'''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. <ref>Salen Katie and Erik Zimmermann, 2004 Roles of Play – Game Design Fundamentals, London: The MIT Press </ref>		'''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. <ref>Salen Katie and Erik Zimmermann, 2004 Roles of Play – Game Design Fundamentals, London: The MIT Press </ref>

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	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 "read" 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.<ref>Barry Atkins 2006</ref>		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 "read" 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.<ref>Barry Atkins 2006</ref>
			<references />

Emre.sofuoglu at 11:08, 6 February 2020

2020-02-06T11:08:45Z

← Older revision		Revision as of 13:08, 6 February 2020
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			"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?" <ref>Tom Bissel 2011</ref>

	'''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. <ref>Salen Katie and Erik Zimmermann, 2004 Roles of Play – Game Design Fundamentals, London: The MIT Press </ref>		'''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. <ref>Salen Katie and Erik Zimmermann, 2004 Roles of Play – Game Design Fundamentals, London: The MIT Press </ref>

Emre.sofuoglu at 11:04, 6 February 2020

2020-02-06T11:04:34Z

← Older revision	Revision as of 13:04, 6 February 2020
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		'''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. <ref>Salen Katie and Erik Zimmermann, 2004 Roles of Play – Game Design Fundamentals, London: The MIT Press </ref>

		'''Narratology'''

		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 "read" 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.<ref>Barry Atkins 2006</ref>

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2020-01-23T11:08:19Z

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