| Böhme, G. (2000). Acoustic atmospheres: A contribution to the study of ecological acoustics. Soundscape, 1(1), 14–18. |
 
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| Added by: Mark Grimshaw-Aagaard 10/10/2006, 08:30 |
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| Atmospheres combine Production Aesthetics and Reception Aesthetics. "Stage design is the paradigmatic example of this approach to atmospheres [Production Aesthetics]. On the other hand, however, atmospheres may also be experienced affectively, and one can only describe their characteristics insofar as one exposes oneself to their presence and experiences them as bodily sensations [Reception Aesthetics]." |
| Buckingham, D. (2006). Studying computer games. In Computer Games: Text, Narrative and Play Cambridge: Polity. |
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| Added by: Mark Grimshaw-Aagaard 08/09/2006, 12:11 |
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| "... the game text is playable: it is only realized through play, and play is a lived social and cultural experience." |
| Burn, A., & Parker, D. (2003). Analysing media texts. London: Continuum. |
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| Added by: Mark Grimshaw-Aagaard 08/11/2006, 10:44 |
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| 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. |
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| Last edited by: Mark Grimshaw-Aagaard 15/08/2006, 15:13 |
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| "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." |
| Eskelinen, M. (2001). The gaming situation. Game Studies, 1(1). Retrieved August 31, 2006, from http://www.gamestudies.org/0101/eskelinen/ |
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| Added by: Mark Grimshaw-Aagaard 31/08/2006, 14:44 |
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"According to Gerald Prince's well-known definition a narrative is "the recounting (as product and process, object and act, structure and structuration) of one or more real or fictitious events communicated by one, two or several (more or less overt) narrators to one, two or several (more or less overt) narratees." Before going into the details of this definition it is important to note one of its most obvious consequences: "a dramatic performance representing (many fascinating) events does not constitute a narrative either, since these events, rather than being recounted, occur directly on stage." (Prince 1987, 58)"
Prince, Gerald (1987) The Dictionary of Narratology. Lincoln and London: University of Nebraska Press. |
| Murray, J. H. (1997). Hamlet on the holodeck: The future of narrative in cyberspace. Cambridge: The MIT Press. |
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| Last edited by: Mark Grimshaw-Aagaard 21/08/2006, 15:46 |
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| Discussing video games and the equation between real-world movements (mouse, keyboard input) and virtual world movements, "this is not a passive board game but a live-action stage." |
| "We are all gradually becoming part of a worldwide repertory company." |
| Immersion is a participatory activity. |
| Nitsche, M., & Thomas, M. 2003, November 4–6, Stepping back: Players as active participators. Paper presented at Level Up. |
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| Added by: Mark Grimshaw-Aagaard 11/09/2006, 10:57 |
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| "Players step into a dramatic position in relation to the fictional world -- defined by the very character they control." |
| "Having two heroes battling with certain tasks spread on a virtual stage filled with dramatic elements ... transforms the space between the virtual heroes in Common Tales into a valuable expressive element of the relationship between the two main characters." |
| Wasik, B. 2006, September. Grand theft education: Literacy in the age of video games. Harper's Magazine, 31–39. |
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| Added by: Mark Grimshaw-Aagaard 23/09/2006, 16:12 |
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| Steve Johnson states: "But one of the problems we have in understanding games is that we see them as being driven by their narratives. In fact, I think the narratives tend to be a vestigial part of games that has been carried over from earlier forms. When people play games, they aren't playing them for the story. They aren't playing them for a narrative arc of any kind. In fact, if you're looking for an analogy, I would say that game design is closer to architecture than it is to novel writing. The designers do create resistances to certain types of behavior and encourage other types of behavior within the space, but first and foremost, they're creating a space that can be explored in multiple ways." |
