Burn, A., Carr, D., & Schott, G. 2003, September 1. Why should we study digital games? MediaMagazine, pp. 9–11.
Added by: Mark Grimshaw-Aagaard 06/09/2004, 17:52
Burn, A., & Parker, D. (2003). Analysing media texts. London: Continuum.
Added by: Mark Grimshaw-Aagaard 08/11/2006, 09:44
Modality is explained as "how texts make truth-claims -- claims for credibility."
When referring to modes of film (or media), for the authors, modes are the elements that comprise a film and by which a film may be analyzed -- music, filmic language, dramatic action etc.
Point out that games in which the back-of-the-box hype address the player as 'you' or in the imperative ('You are agent X', 'Be a fearless warrior'), create a dramatic modality central to games in which the player takes on the role of an in-game character.
Burn, A., & Schott, G. (2004). Heavy hero or digital dummy? Multimodal player-avatar relations in Final Fantasy 7. visual communication, 3(2), 213–233.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 15/08/2006, 15:13
"One reason for comparing the playing of a computer game with a performance of oral narrative is that it foregrounds text as event, rather than as object. [However] the playing of games is iterative -- it is many text-events, all different, with a dynamic relation between the computer-game as textual resource or text in potentia, the player as a dynamic textual element, whose fingers and skills become no less a part of the game-system than the avatar's strings of code, and the player as cultural resource, interpreter and adapter of the game's resources in the production of fan art and writing."
Carr, D., Buckingham, D., Burn, A., & Schott, G. (2006). Computer games: Text, narrative and play. Cambridge: Polity.
Added by: Mark Grimshaw-Aagaard 21/08/2006, 15:38
Schott, G., & Burn, A. (2004). Art (re)production as an expression of collective agency within Oddworld fan-culture. Work and Days 43/44, 22(1&2), 251–274.
