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
Carr, D. (2003). Play dead: Genre and affect in silent hill and planescape torment. Game Studies, 3(1). Retrieved September 16, 2003, from http://www.gamestudies.org/0301/carr/
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 04/09/2006, 15:01
Quoting Jonathan Ree: "the spatial indeterminancy of sound means that auditory illusion can be even more disconcerting than either optical or visual onces".
Carr, D. (2006). Games and narrative. In Computer Games: Text, Narrative and Play. (pp. 30–44). Cambridge: Polity.
Added by: Mark Grimshaw-Aagaard 21/08/2006, 15:48
Carr, D. (2006). Space, navigation and affect. In Computer Games: Text, Narrative and Play. (pp. 59–71). Cambridge: Polity.
Added by: Mark Grimshaw-Aagaard 17/09/2009, 09:41
Summarizing immersion as described by other writers, Carr suggests that there are two categories of immersion: "perceptual immersion, which occurs when an experience monopolizes the senses of the participant, and psychological immersion, which involves the participant becoming engrossed through their imaginative or mental absorption."
Use's Murray's (1997) maze, rhizome and labrynth terminology applied to spatial navigation (through the narrative).
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
Carr, D. (2002). Playing with Lara. In G. King & T. Krzywinska (Eds.), Screenplay: Cinema/Videogames/Interfaces. (pp. 171–180). London: Wallflower Press.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 25/10/2021, 13:44
"Cinematic space is haunted by what remains just off-screen, especially in a scary movie, but digital game space seems less able to evoke such resonance. The creepiest monsters in tomb Raider are those that manage, in their murmerings and groans, to attain a kind of uncanny, auditory ambiguity despite their digital construction."
