2022
Blom, Joleen
Game Character other
2022.
Abstract | Links | Tags: Actor, Agent, Avatar, Character, Companion, Emotional attachment, Narrative, Player-character, Transmedia
@other{Blom2022e,
title = {Game Character},
author = {Joleen Blom},
editor = {Paweł Grabarczyk},
url = {https://researchportal.tuni.fi/files/63703413/GameCharacter_Blom_3_OAversionTuniCris.pdf
http://urn.fi/URN:NBN:fi:tuni-202206225775
https://eolt.org/articles/game-character},
year = {2022},
date = {2022-04-21},
urldate = {2022-04-21},
booktitle = {Encyclopedia of Ludic Terms},
edition = {Spring 2022},
abstract = {This entry explains how game characters have been discussed in Game Studies and adjacent fields, evolving from agents and human-like beings to avatars, player-characters, transmedia characters and companions. Our understanding of game characters is based on our perception of charactersin other media. Although characters are understood as pieces of writing and human-like entities in Literary Studies, Game Studies has focused mainly on the playable figure, that is, the avatar and the player-character with little interest in other types of game characters. Currently, game characters are mainly discussed in two trends: as part of a global and transmedial network of characters over different texts, and as companion characters with which players can form a romantic emotional attachment.
},
keywords = {Actor, Agent, Avatar, Character, Companion, Emotional attachment, Narrative, Player-character, Transmedia},
pubstate = {published},
tppubtype = {other}
}
This entry explains how game characters have been discussed in Game Studies and adjacent fields, evolving from agents and human-like beings to avatars, player-characters, transmedia characters and companions. Our understanding of game characters is based on our perception of charactersin other media. Although characters are understood as pieces of writing and human-like entities in Literary Studies, Game Studies has focused mainly on the playable figure, that is, the avatar and the player-character with little interest in other types of game characters. Currently, game characters are mainly discussed in two trends: as part of a global and transmedial network of characters over different texts, and as companion characters with which players can form a romantic emotional attachment.
2021
Mochocki, Michał; Koskimaa, Raine
Story Beats in Videogames as Value-Driven Choice-Based Unit Operations Journal Article
In: Images: The International Journal of European Film, Performing Arts and Audiovisual Communication, vol. 29, no. 38, pp. 5-31, 2021, ISSN: 1731-450X.
Abstract | Links | Tags: Beat, Character, Game studies, Narrative, Narratology, Transmedia, Video games
@article{Mochocki2021,
title = {Story Beats in Videogames as Value-Driven Choice-Based Unit Operations},
author = {Michał Mochocki and Raine Koskimaa},
url = {https://jyx.jyu.fi/handle/123456789/78603
https://pressto.amu.edu.pl/index.php/i/article/view/29815/26411},
doi = {https://doi.org/10.14746/i.2021.38.01},
issn = {1731-450X},
year = {2021},
date = {2021-06-15},
urldate = {2021-06-15},
journal = {Images: The International Journal of European Film, Performing Arts and Audiovisual Communication},
volume = {29},
number = {38},
pages = {5-31},
publisher = {Adam Mickiewicz University Poznan},
abstract = {We present a framework of story beats, defined as microunits of dramatic action, as a tool for the ludonarrative analysis of videogames. First, we explain the Goal - Action - Reaction - Outcome model of the story beat. Then, we present six types of story beats, Action, Interaction, Inaction, Mental, Emotion, and Sensory, providing videogame examples for each category. In the second half of the paper, we contextualise this framework in the classic game studies theory of videogame narrative and player action: unit operations, gamic action, anatomy of choice, and game design patterns, wrapping it up in the most recent trends in cognitive narratology. Ultimately, we present the story beat as a ludonarrative unit, working simultaneously as a ‘unit operation’ in the study of games as systems, and as a microunit of character action in narrative analysis. The conclusion outlines prospective directions for using story beats in formal, experiential, and cultural game research.},
keywords = {Beat, Character, Game studies, Narrative, Narratology, Transmedia, Video games},
pubstate = {published},
tppubtype = {article}
}
We present a framework of story beats, defined as microunits of dramatic action, as a tool for the ludonarrative analysis of videogames. First, we explain the Goal - Action - Reaction - Outcome model of the story beat. Then, we present six types of story beats, Action, Interaction, Inaction, Mental, Emotion, and Sensory, providing videogame examples for each category. In the second half of the paper, we contextualise this framework in the classic game studies theory of videogame narrative and player action: unit operations, gamic action, anatomy of choice, and game design patterns, wrapping it up in the most recent trends in cognitive narratology. Ultimately, we present the story beat as a ludonarrative unit, working simultaneously as a ‘unit operation’ in the study of games as systems, and as a microunit of character action in narrative analysis. The conclusion outlines prospective directions for using story beats in formal, experiential, and cultural game research.
2019
Kerttula, Tero
‘‘What an Eccentric Performance": Storytelling in Online Let's Plays Journal Article
In: Games and Culture, vol. 14, iss. 3, pp. 236-255, 2019, ISSN: 1555-4120.
Abstract | Links | Tags: Let's Play, Narrative, Video games, YouTube
@article{Kerttula2019,
title = {‘‘What an Eccentric Performance": Storytelling in Online Let's Plays},
author = {Tero Kerttula},
doi = {10.1177/1555412016678724},
issn = {1555-4120},
year = {2019},
date = {2019-11-21},
journal = {Games and Culture},
volume = {14},
issue = {3},
pages = {236-255},
abstract = {In this article, I examine the phenomenon called Let’s Play (LP) and conduct a narrative analysis on two LPs made of Sierra Entertainment’s Phantasmagoria games. The LPs tell viewers a story different from the one told in the games, that is, they tell the story of the player rather than that of the game. In that story, the experience of playing a video game is revealed to the audience. This story would be hidden without the player-narrators know as LPs around the world. I conduct my analysis by describing seven different narrative elements that form the narration of a LP and explain how these elements together form this story of the player.},
keywords = {Let's Play, Narrative, Video games, YouTube},
pubstate = {published},
tppubtype = {article}
}
In this article, I examine the phenomenon called Let’s Play (LP) and conduct a narrative analysis on two LPs made of Sierra Entertainment’s Phantasmagoria games. The LPs tell viewers a story different from the one told in the games, that is, they tell the story of the player rather than that of the game. In that story, the experience of playing a video game is revealed to the audience. This story would be hidden without the player-narrators know as LPs around the world. I conduct my analysis by describing seven different narrative elements that form the narration of a LP and explain how these elements together form this story of the player.
Tuuri, Kai; Peltola, Henna-Riikka
Building Worlds Together with Sound and Music: Imagination as an Active Engagement Between Ourselves Book Section
In: Grimshaw-Aagaard, Mark; Walther-Hansen, Mads; Knakkergaard, Martin (Ed.): The Oxford Handbook of Sound and Imagination, pp. 345-358, Oxford University Press, 2019, ISBN: 978-0-19-046016-7.
Abstract | Links | Tags: ASMR, Culturesphere, Ecosphere, Embodied experience, Enactive imagining, Human-music interaction, Kinesphere, Metaphor, Narrative
@incollection{Tuuri2019,
title = {Building Worlds Together with Sound and Music: Imagination as an Active Engagement Between Ourselves},
author = {Kai Tuuri and Henna-Riikka Peltola},
editor = {Mark Grimshaw-Aagaard and Mads Walther-Hansen and Martin Knakkergaard},
url = {http://urn.fi/URN:NBN:fi:jyu-201908273934},
doi = {10.1093/oxfordhb/9780190460167.013.17},
isbn = {978-0-19-046016-7},
year = {2019},
date = {2019-09-26},
booktitle = {The Oxford Handbook of Sound and Imagination},
pages = {345-358},
publisher = {Oxford University Press},
abstract = {By conforming to the enactive approach to human cognition, and by adopting the Tia DeNora’s concept of human–music interaction as an “in-action” perspective, Kai Tuuri and Henna-Riikka Peltola explore socially extended imagining with sounds and music. This is done through a question of how “shared places” of imagining with sound are established and maintained. Defining the activity of imagining as an essentially dynamic and generative process that takes place in a social reality, the authors propose that the processes of imagining are not only individual but also become exhibited and jointly engaged in social dialogues as well. By first discussing the theoretical foundations of this shared imagining with sound, then by examining two case examples, the authors focus on the ways that imagination—as a joint active engagement—becomes shared in an interaction between individuals.},
keywords = {ASMR, Culturesphere, Ecosphere, Embodied experience, Enactive imagining, Human-music interaction, Kinesphere, Metaphor, Narrative},
pubstate = {published},
tppubtype = {incollection}
}
By conforming to the enactive approach to human cognition, and by adopting the Tia DeNora’s concept of human–music interaction as an “in-action” perspective, Kai Tuuri and Henna-Riikka Peltola explore socially extended imagining with sounds and music. This is done through a question of how “shared places” of imagining with sound are established and maintained. Defining the activity of imagining as an essentially dynamic and generative process that takes place in a social reality, the authors propose that the processes of imagining are not only individual but also become exhibited and jointly engaged in social dialogues as well. By first discussing the theoretical foundations of this shared imagining with sound, then by examining two case examples, the authors focus on the ways that imagination—as a joint active engagement—becomes shared in an interaction between individuals.
Kerttula, Tero
“What an Eccentric Performance”: Storytelling in Online Let’s Plays Journal Article
In: Games and Culture, vol. 14, iss. 3, pp. 236-255, 2019, ISSN: 1555-4120.
Abstract | Links | Tags: Narrative, Video games, YouTube
@article{Kerttula2019b,
title = {“What an Eccentric Performance”: Storytelling in Online Let’s Plays},
author = {Tero Kerttula},
url = {https://jyx.jyu.fi/handle/123456789/63487},
doi = {10.1177/1555412016678724},
issn = {1555-4120},
year = {2019},
date = {2019-05-01},
urldate = {2019-05-01},
journal = {Games and Culture},
volume = {14},
issue = {3},
pages = {236-255},
abstract = {In this article, I examine the phenomenon called Let’s Play (LP) and conduct a narrative analysis on two LPs made of Sierra Entertainment’s Phantasmagoria games. The LPs tell viewers a story different from the one told in the games, that is, they tell the story of the player rather than that of the game. In that story, the experience of playing a video game is revealed to the audience. This story would be hidden without the player-narrators know as LPs around the world. I conduct my analysis by describing seven different narrative elements that form the narration of a LP and explain how these elements together form this story of the player.},
keywords = {Narrative, Video games, YouTube},
pubstate = {published},
tppubtype = {article}
}
In this article, I examine the phenomenon called Let’s Play (LP) and conduct a narrative analysis on two LPs made of Sierra Entertainment’s Phantasmagoria games. The LPs tell viewers a story different from the one told in the games, that is, they tell the story of the player rather than that of the game. In that story, the experience of playing a video game is revealed to the audience. This story would be hidden without the player-narrators know as LPs around the world. I conduct my analysis by describing seven different narrative elements that form the narration of a LP and explain how these elements together form this story of the player.
Kerttula, Tero
The Foundations of Let's Play: Live Action Representations of Video Games in Television and Online 1975-2018 Proceedings Article
In: Koivisto, Jonna; Hamari, Juho (Ed.): GamiFIN 2019: Proceedings of the 3rd International GamiFIN Conference, RWTH Aachen, 2019, ISSN: 1613-0073.
Links | Tags: Let's Play, Narrative, Representation, Television programs, Video games
@inproceedings{Kerttula2019c,
title = {The Foundations of Let's Play: Live Action Representations of Video Games in Television and Online 1975-2018},
author = {Tero Kerttula},
editor = {Jonna Koivisto and Juho Hamari},
url = {http://urn.fi/URN:NBN:fi:jyu-201912165304},
issn = {1613-0073},
year = {2019},
date = {2019-04-08},
booktitle = {GamiFIN 2019: Proceedings of the 3rd International GamiFIN Conference},
publisher = {RWTH Aachen},
keywords = {Let's Play, Narrative, Representation, Television programs, Video games},
pubstate = {published},
tppubtype = {inproceedings}
}