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His research spans narration and screenwriting, graphics and animation, music, and history in and of video games. As Multi-Memory Controller, he performs research-creation in making "chip metal" music to create chiptunes/heavy metal hybrids.<br /><b>Address: </b>Dominic Arsenault<br />Département d'histoire de l'art et d'études cinématographiques<br />Université de Montréal<br />CP 6128, succ. centre-ville<br />Montréal (Québec)<br />H3C 3J7<br />Canada<br /><div class="js-profile-less-about u-linkUnstyled u-tcGrayDarker u-textDecorationUnderline u-displayNone">less</div></div></div><div class="suggested-academics-container"><div class="suggested-academics--header"><h3 class="ds2-5-heading-sans-serif-xs">Related Authors</h3></div><ul class="suggested-user-card-list" data-nosnippet="true"><div class="suggested-user-card"><div class="suggested-user-card__avatar social-profile-avatar-container"><a data-nosnippet="" href="https://ufrgs.academia.edu/LeandroLima"><img class="profile-avatar u-positionAbsolute" alt="Leandro Lima related author profile picture" border="0" onerror="if (this.src != 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class="suggested-user-card__user-info"><a class="suggested-user-card__user-info__header ds2-5-body-sm-bold ds2-5-body-link" href="https://utas.academia.edu/KathleenAmyWilliams">Kathleen A Williams</a><p class="suggested-user-card__user-info__subheader ds2-5-body-xs">University of Tasmania</p></div></div></ul></div><style type="text/css">.suggested-academics--header h3{font-size:16px;font-weight:500;line-height:20px}</style><div class="ri-section"><div class="ri-section-header"><span>Interests</span><a class="ri-more-link js-profile-ri-list-card" data-click-track="profile-user-info-primary-research-interest" data-has-card-for-ri-list="149491">View All (15)</a></div><div class="ri-tags-container"><a data-click-track="profile-user-info-expand-research-interests" data-has-card-for-ri-list="149491" href="https://www.academia.edu/Documents/in/Video_Game_Theory"><div id="js-react-on-rails-context" style="display:none" 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data-dom-id="Pill-react-component-0da171b4-54ed-4792-b91a-409b610ddfb4"></div> <div id="Pill-react-component-0da171b4-54ed-4792-b91a-409b610ddfb4"></div> </a><a data-click-track="profile-user-info-expand-research-interests" data-has-card-for-ri-list="149491" href="https://www.academia.edu/Documents/in/Game_Design"><div class="js-react-on-rails-component" style="display:none" data-component-name="Pill" data-props="{"color":"gray","children":["Game Design"]}" data-trace="false" data-dom-id="Pill-react-component-ad48e6f7-32f2-4674-be3a-6f2178bb3f7c"></div> <div id="Pill-react-component-ad48e6f7-32f2-4674-be3a-6f2178bb3f7c"></div> </a></div></div><div class="external-links-container"><ul class="profile-links new-profile js-UserInfo-social"><li class="profile-profiles js-social-profiles-container"><i class="fa fa-spin fa-spinner"></i></li></ul></div></div></div><div class="right-panel-container"><div class="user-content-wrapper"><div class="uploads-container" 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class="u-taCenter"></div><div class="profile--tab_content_container js-tab-pane tab-pane active" id="all"><div class="profile--tab_heading_container js-section-heading" data-section="Books" id="Books"><h3 class="profile--tab_heading_container">Books by Dominic Arsenault</h3></div><div class="js-work-strip profile--work_container" data-work-id="35136570"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/35136570/Super_Power_Spoony_Bards_and_Silverware_The_Super_Nintendo_Entertainment_System_Introduction_"><img alt="Research paper thumbnail of Super Power, Spoony Bards, and Silverware: The Super Nintendo Entertainment System (Introduction)" class="work-thumbnail" src="https://attachments.academia-assets.com/54998021/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/35136570/Super_Power_Spoony_Bards_and_Silverware_The_Super_Nintendo_Entertainment_System_Introduction_">Super Power, Spoony Bards, and Silverware: The Super Nintendo Entertainment System (Introduction)</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Published by the MIT Press in the "Platform Studies" series, this is a book about the Super Ninte...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Published by the MIT Press in the "Platform Studies" series, this is a book about the Super Nintendo Entertainment System that is not celebratory or self-congratulatory. Most other accounts declare the Super NES the undisputed victor of the “16-bit console wars” of 1989–1995. In this book, Dominic Arsenault reminds us that although the SNES was a strong platform filled with high-quality games, it was also the product of a short-sighted corporate vision focused on maintaining Nintendo’s market share and business model. This led the firm to fall from a dominant position during its golden age (dubbed by Arsenault the “ReNESsance”) with the NES to the margins of the industry with the Nintendo 64 and GameCube consoles. Arsenault argues that Nintendo’s conservative business strategies and resistance to innovation during the SNES years explain its market defeat by Sony’s PlayStation. <br /><br />Extending the notion of “platform” to include the marketing forces that shape and constrain creative work, Arsenault draws not only on game studies and histories but on game magazines, boxes, manuals, and advertisements to identify the technological discourses and business models that formed Nintendo's "Super Power". He also describes the cultural changes in video games during the 1990s that slowly eroded the love of gamer enthusiasts ("Spoony Bards") for the SNES as the Nintendo generation matured. Finally, he chronicles the many technological changes that occurred through the SNES's lifetime, including full-motion video, CD-ROM storage, and the shift to 3D graphics. Because of the SNES platform’s "Silverware" architecture, Arsenault explains, Nintendo resisted these changes and continued to focus on traditional gameplay genres.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="bc58ef058869fdcad98f7482bbc965b6" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":54998021,"asset_id":35136570,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/54998021/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="35136570"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="35136570"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 35136570; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=35136570]").text(description); $(".js-view-count[data-work-id=35136570]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 35136570; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='35136570']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "bc58ef058869fdcad98f7482bbc965b6" } } $('.js-work-strip[data-work-id=35136570]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":35136570,"title":"Super Power, Spoony Bards, and Silverware: The Super Nintendo Entertainment System (Introduction)","translated_title":"","metadata":{"abstract":"Published by the MIT Press in the \"Platform Studies\" series, this is a book about the Super Nintendo Entertainment System that is not celebratory or self-congratulatory. 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Arsenault argues that Nintendo’s conservative business strategies and resistance to innovation during the SNES years explain its market defeat by Sony’s PlayStation. \n\nExtending the notion of “platform” to include the marketing forces that shape and constrain creative work, Arsenault draws not only on game studies and histories but on game magazines, boxes, manuals, and advertisements to identify the technological discourses and business models that formed Nintendo's \"Super Power\". He also describes the cultural changes in video games during the 1990s that slowly eroded the love of gamer enthusiasts (\"Spoony Bards\") for the SNES as the Nintendo generation matured. Finally, he chronicles the many technological changes that occurred through the SNES's lifetime, including full-motion video, CD-ROM storage, and the shift to 3D graphics. Because of the SNES platform’s \"Silverware\" architecture, Arsenault explains, Nintendo resisted these changes and continued to focus on traditional gameplay genres.","owner":{"id":149491,"first_name":"Dominic","middle_initials":null,"last_name":"Arsenault","page_name":"DominicArsenault","domain_name":"umontreal","created_at":"2010-03-25T00:16:25.829-07:00","display_name":"Dominic Arsenault","url":"https://umontreal.academia.edu/DominicArsenault"},"attachments":[{"id":54998021,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/54998021/thumbnails/1.jpg","file_name":"Arsenault-2017-SPSBSw-introduction.pdf","download_url":"https://www.academia.edu/attachments/54998021/download_file","bulk_download_file_name":"Super_Power_Spoony_Bards_and_Silverware.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/54998021/Arsenault-2017-SPSBSw-introduction-libre.pdf?1510603921=\u0026response-content-disposition=attachment%3B+filename%3DSuper_Power_Spoony_Bards_and_Silverware.pdf\u0026Expires=1743554138\u0026Signature=IIUDQTV6NehieTc1PHlQoiQLB-QeIt8xZiz4cL827t1SjvQ7Dp~geCA72F7ENmSge7ZpDlRcyblWaCOB~xYU1d155G0~7vAlj-WNRpPRDkcq7FEzJtgj-gkqk1ETmTXnhq6FEDJBEQXLTW87ZQ2Ov2bwfwEtp19S2cxYplqA-wf~V7Ka3fjPLvrssZs1Ygsu4UoL2Wd~XitUDnP-kkPYaSyoHmSE3ZUq3kpLCUo11c-TfbtGeDTQTqqiPA~aJIZrcfUsVOfkb~AetWkja40IufrDX6bzn7YWUdcda7~7JSkAEmZgHutqik3OtbAHoyovSPPz-1kUm-CPRty7WN0Mug__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":5199,"name":"Video Games","url":"https://www.academia.edu/Documents/in/Video_Games"},{"id":6631,"name":"Economics of Innovation","url":"https://www.academia.edu/Documents/in/Economics_of_Innovation"},{"id":21168,"name":"Strategy (Business)","url":"https://www.academia.edu/Documents/in/Strategy_Business_"},{"id":28248,"name":"Video Game History","url":"https://www.academia.edu/Documents/in/Video_Game_History"},{"id":32280,"name":"Platform Studies","url":"https://www.academia.edu/Documents/in/Platform_Studies"},{"id":57827,"name":"Paratexts","url":"https://www.academia.edu/Documents/in/Paratexts"},{"id":58254,"name":"Marketing in the video game industry","url":"https://www.academia.edu/Documents/in/Marketing_in_the_video_game_industry"},{"id":75270,"name":"Technology Adoption and Diffusion","url":"https://www.academia.edu/Documents/in/Technology_Adoption_and_Diffusion"},{"id":99975,"name":"Business studies","url":"https://www.academia.edu/Documents/in/Business_studies"},{"id":639633,"name":"Nintendo Company","url":"https://www.academia.edu/Documents/in/Nintendo_Company"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-35136570-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="224771"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/224771/Narration_in_the_Video_Game_An_Apologia_of_Interactive_Storytelling_and_an_Apology_to_Cut_Scene_Lovers"><img alt="Research paper thumbnail of Narration in the Video Game. An Apologia of Interactive Storytelling, and an Apology to Cut-Scene Lovers" class="work-thumbnail" src="https://attachments.academia-assets.com/833802/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/224771/Narration_in_the_Video_Game_An_Apologia_of_Interactive_Storytelling_and_an_Apology_to_Cut_Scene_Lovers">Narration in the Video Game. An Apologia of Interactive Storytelling, and an Apology to Cut-Scene Lovers</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Do video games tell stories? And if they do, how and why do they do so? In this study, Dominic Ar...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Do video games tell stories? And if they do, how and why do they do so? In this study, Dominic Arsenault takes the reader through the battlefield of ludology and narratology in video game studies, and argues for a radically new narratological conception of the video game. Like a Starcraft Zerg Drone, he extracts ideas from the rich veins of new media and video game studies, along with the latest developments of narratology and French film theory, and morphs them in with his own personal historical insights and gameplay experience with video games and pen-and-paper role-playing games. The resulting theoretical approach finds that narration, as a process, is intrinsic to video game playing, independently of the “cut-scenes” usually much touted by the proponents of interactive storytelling. Academics with an interest in video game studies, narratology or new media will find here a novel perspective on a well-researched subject, while like-minded students and amateur, professional and prospective game developers will also appreciate the quick, efficient and readable introduction to these hot topics.</span></div><div class="wp-workCard_item"><div class="carousel-container carousel-container--sm" id="profile-work-224771-figures"><div class="prev-slide-container js-prev-button-container"><button aria-label="Previous" class="carousel-navigation-button js-profile-work-224771-figures-prev"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">arrow_back_ios</span></button></div><div class="slides-container js-slides-container"><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/2289995/figure-1-grand-theft-auto-vice-city-rockstar-north-modern"><img alt="Figure 1: Grand Theft Auto: Vice City (Rockstar North, 2003), a modern descendant of early video games like Pong (Nolan Bushnell/A tari, 1972) and Adventure (Will Crowther & Don Woods, 1977). possibility of living his own story, in the tradition of Adventure (Will Crowther & " class="figure-slide-image" src="https://figures.academia-assets.com/833802/figure_001.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/2289997/figure-2-cut-scene-in-the-simpsons-hit-run-radical"><img alt="Figure 2: Cut-scene in The Simpsons: Hit & Run (Radical Entertainment, 2003). The player is given the possibility of pressing a button to skip this non-interactive segment. " class="figure-slide-image" src="https://figures.academia-assets.com/833802/figure_002.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/2290008/figure-3-the-question-at-this-stage-and-so-will-return-to"><img alt="the question at this stage, and so I will return to this later. themselves actors, but that would be adding a layer of confusion to the complexity of " class="figure-slide-image" src="https://figures.academia-assets.com/833802/figure_003.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/2290014/figure-4-mediums-action-the-first-component-of-story-model"><img alt="mediums. Figure 4: Action, the first component of a story. model of conflict, and thus are suitable to being communicated by a variety of " class="figure-slide-image" src="https://figures.academia-assets.com/833802/figure_004.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/2290020/figure-5-astrix-et-oblix-contre-csar-cryo-super-star-wars"><img alt="Figure 5: Astérix et Obélix contre César (Cryo, 2000), Super Star Wars: The Empire Strikes Back (Sculptured Software & LucasArts, 1993) and The Matrix: Path of Nec (Shiny Entertainment, 2005), three games that replicate the action of their namesake movies. " class="figure-slide-image" src="https://figures.academia-assets.com/833802/figure_005.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/2290028/figure-6-the-two-levels-of-game-material-and-content"><img alt="Figure 6: The two levels of a game: material and content. animations, and possibly story elements: characters, events and settings. " class="figure-slide-image" src="https://figures.academia-assets.com/833802/figure_006.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/2290036/figure-7-night-at-the-inn-in-final-fantasy-personal"><img alt="Figure 7: A night at the inn in Final Fantasy (personal screenshots; a speaker projecting musical notes has been added over the second frame to represent the short music that the player hears at this moment). town, he can take his party of characters to an inn. As figure 7 shows from Final Fantasy (Square, 1987), when the player is in a " class="figure-slide-image" src="https://figures.academia-assets.com/833802/figure_007.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/2290046/figure-8-dual-structuring-of-the-elements-of-the-database"><img alt="Figure 8: Dual structuring of the elements of the database (top-most), first in game levels (center) by the monstrator, then in a run-through of the game (bottom) by the narrator. (Editing of online sources: Super Mario Bros. Headquarters (http://www.smbhg.com/users/sprite/) and Gamespot.com (http://www.gamespot.com/nes/action/supermariobros/screenindex.html), accessed February 24th. 2007). " class="figure-slide-image" src="https://figures.academia-assets.com/833802/figure_008.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/2290056/figure-9-evolution-of-graphical-representation-in-the"><img alt="Figure 9: Evolution of graphical representation in the adventure video game. From left to right: Zork (Infocom, 1980), The Hobbit (Beam Software/Melbourne House, 1982), and King’s Quest V (Sierra, 1990). as Adventure and Zork (represented below in figure 9), which used only text. This fictional example perfectly matches early adventure video games, such " class="figure-slide-image" src="https://figures.academia-assets.com/833802/figure_009.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/2290066/figure-10-ninja-gaiden-emblematic-of-the-cut-scene-tecmo-see"><img alt="Figure 10: Ninja Gaiden, emblematic figure of the “cut-scene”. (Tecmo, 1988; see figure 10 below). " class="figure-slide-image" src="https://figures.academia-assets.com/833802/figure_010.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/2290071/figure-11-three-diablo-games-same-place-different-spaces"><img alt="Figure 11: Three Diablo games: same place, different spaces. (personal screenshots) different games | have started. As can be seen, each of them is quite different from the others. In such a case, how algorithms specified by the designers. Figure 11 shows three “first floors” from three " class="figure-slide-image" src="https://figures.academia-assets.com/833802/figure_011.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/2290075/table-1-narration-in-the-video-game-an-apologia-of"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/833802/table_001.jpg" /></a></figure></div><div class="next-slide-container js-next-button-container"><button aria-label="Next" class="carousel-navigation-button js-profile-work-224771-figures-next"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">arrow_forward_ios</span></button></div></div></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="d7656155c3e988c9b0da0852e882c497" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":833802,"asset_id":224771,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/833802/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="224771"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="224771"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 224771; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=224771]").text(description); $(".js-view-count[data-work-id=224771]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 224771; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='224771']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "d7656155c3e988c9b0da0852e882c497" } } $('.js-work-strip[data-work-id=224771]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":224771,"title":"Narration in the Video Game. 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Cette étude de cas témoigne de l'applicabilité plus l...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">ii genre vidéoludique : le survival horror. Cette étude de cas témoigne de l'applicabilité plus large de la pragmatique des effets génériques, et de la récursivité des questions de genre entre le jeu vidéo, la littérature et le cinéma.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="5fdcef509e99d134978878572b3fc06e" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":31020654,"asset_id":2999430,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/31020654/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="2999430"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="2999430"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 2999430; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=2999430]").text(description); $(".js-view-count[data-work-id=2999430]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 2999430; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='2999430']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "5fdcef509e99d134978878572b3fc06e" } } $('.js-work-strip[data-work-id=2999430]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":2999430,"title":"Des typologies mécaniques à l'expérience esthétique: fonctions et mutations du genre dans le jeu vidéo","translated_title":"","metadata":{"grobid_abstract":"ii genre vidéoludique : le survival horror. 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href="https://www.academia.edu/2999429/Jeux_et_enjeux_du_r%C3%A9cit_vid%C3%A9oludique_la_narration_dans_le_jeu_vid%C3%A9o">Jeux et enjeux du récit vidéoludique: la narration dans le jeu vidéo</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Jeux et enjeux du récit vidéoludique: la narration dans le jeu vidéo par Dominic Arsenault Départ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Jeux et enjeux du récit vidéoludique: la narration dans le jeu vidéo par Dominic Arsenault Département d'histoire de l'art et d'études cinématographiques Faculté des arts et des sciences Mémoire présenté à la Faculté des études supérieures en vue de l'obtention du grade de M.A. en études cinématographiques Août 2006 © Dominic 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et enjeux du récit vidéoludique: la narration dans le jeu vidéo par Dominic Arsenault Département d'histoire de l'art et d'études cinématographiques Faculté des arts et des sciences Mémoire présenté à la Faculté des études supérieures en vue de l'obtention du grade de M.A. en études cinématographiques Août 2006 © Dominic Arsenault, 2006 Université de Montréal Faculté des études supérieures Ce mémoire intitulé: Jeux et enjeux du récit vidéoludique: la narration dans le jeu vidéo présenté par: Dominic Arsenault a été évalué par un jury composé des personnes suivantes: Olivier Asselin président-rapporteur Bernard Perron directeur de recherche Bertrand Gervais membre du jury","owner":{"id":149491,"first_name":"Dominic","middle_initials":null,"last_name":"Arsenault","page_name":"DominicArsenault","domain_name":"umontreal","created_at":"2010-03-25T00:16:25.829-07:00","display_name":"Dominic 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href="https://www.academia.edu/35266600/Introduction_Its_not_Just_in_the_Game_the_Promotional_Context_of_Video_Games"><img alt="Research paper thumbnail of Introduction: " It's [not Just] in the Game " : the Promotional Context of Video Games" class="work-thumbnail" src="https://attachments.academia-assets.com/55126969/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/35266600/Introduction_Its_not_Just_in_the_Game_the_Promotional_Context_of_Video_Games">Introduction: " It's [not Just] in the Game " : the Promotional Context of Video Games</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://leicester.academia.edu/EdVollans">Ed Vollans</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://umontreal.academia.edu/CarlTherrien">Carl Therrien</a>, and <a class="" data-click-track="profile-work-strip-authors" href="https://umontreal.academia.edu/DominicArsenault">Dominic Arsenault</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Introduction to special issue "It's [not Just] in the Game" : the Promotional Context of Video G...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Introduction to special issue  "It's [not Just] in the Game" : the Promotional Context of Video Games</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="24fc3b75ad51dddd9aeb5b7f0980ff78" 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dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-35266600-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="35136708"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/35136708/In_the_Frame_of_the_Magic_Cycle_The_Circle_s_of_Gameplay"><img alt="Research paper thumbnail of In the Frame of the Magic Cycle: The Circle(s) of Gameplay" class="work-thumbnail" src="https://attachments.academia-assets.com/54998154/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/35136708/In_the_Frame_of_the_Magic_Cycle_The_Circle_s_of_Gameplay">In the Frame of the Magic Cycle: The Circle(s) of Gameplay</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">As video games will always be defined by what the player is doing, Dominic Arsenault and Bernard ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">As video games will always be defined by what the player is doing, Dominic Arsenault and Bernard Perron tackle the concept of gameplay in<br />“In the Frame of the Magic Cycle: The Circle(s) of Gameplay.” Opposed to<br />the spatial metaphor of Huizinga’s “magic circle” of gameplay, they conceptualize the partaking in a game as a cognitive frame, as an ongoing process. To cast off the implications of redundancy or stagnation contained in a circle, they resort instead to the figure of the spiral, which accounts for the gamer’s progression through the game. Their gamer- and gameplay-centric model features three interconnected spirals which represent the cycles gamers have to go through in order to answer gameplay, narrative, and interpretative questions, in both heuristic and hermeneutic fashion. They also underscore the fact that gamers cannot access a game’s algorithms directly and must instead construct an image of the game system, whose degree of fidelity towards the actual rules of the game may greatly vary (depending, for instance, if the gamer is playing to progress through the game, as opposed to playing to master the game mechanics).</span></div><div class="wp-workCard_item"><div class="carousel-container carousel-container--sm" id="profile-work-35136708-figures"><div class="prev-slide-container js-prev-button-container"><button aria-label="Previous" class="carousel-navigation-button js-profile-work-35136708-figures-prev"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">arrow_back_ios</span></button></div><div class="slides-container js-slides-container"><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/2941847/figure-1-in-the-frame-of-the-magic-cycle-the-circle-of"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/54998154/figure_001.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/2941851/figure-2-simple-way-the-rising-challenge-of-the-progression"><img alt="simple way, the “rising challenge” of the progression structure that is so common among video games.” Even in games of emergence, such as The Sims (Maxis, 2000) or Civilization (MicroProse, 1991), the gamer at first only has a few parameters and resources to manage, but eventually goes beyond the simple menial tasks and single-city micromanagement to romantic relationships and a whole kingdom or empire to run. It is not the game itself that is expanding—the game’s data and algorithms are a finite product on a CD-ROM or cartridge”—but only its gameplay. In the words of Katie Salen and Eric Zimmerman (66-67), it is the game’s space of possibility that expands, and not its design. Thee way eee! pacwpiarteaced sake Plex: sericea] axe seucwebiece Plan exnevoritves: " class="figure-slide-image" src="https://figures.academia-assets.com/54998154/figure_002.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/2941854/figure-3-in-the-frame-of-the-magic-cycle-the-circle-of"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/54998154/figure_003.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/2941857/figure-6-the-progression-through-the-cycles-of-gameplay"><img alt="Figure 6.4 The progression through the cycles of gameplay. " class="figure-slide-image" src="https://figures.academia-assets.com/54998154/figure_004.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/2941860/figure-5-in-the-frame-of-the-magic-cycle-the-circle-of"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/54998154/figure_005.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/2941863/figure-6-he-incorporates-more-and-more-of-the-games-elements"><img alt="he incorporates more and more of the game’s elements into the Game’ and uses this knowledge to apprehend the forthcoming events and have a better view of what he can do. But still, the boundaries between the Game’ and the game itself are blurred. The gamer only sees the game through his own view. In fact, as opposed to what our Figures 6.3 and 6.4 might have suggested, we have to realize that it is from outside the magic cycle that the game’s algorithm draws its information (see Figure 6.6): The activity of playing a game can then be understood as a symbiosis between the gamer (with all his background, expectations, preferences, knowledge, and skills), the gameplay (with all the spectrum of possible actions and reactions) and the Game’ (with all its varying shades of understanding). The experience of a game is a gradual shift from pre- dominantly bottom-up processes, where individual elements are analyzed before reacting, to top-down processes, where a mental image of the game system guides the gamer’s reactions and expectations.*' This echoes the conclusion Jesper Juul reaches in his essay dealing with abstraction in game design: “Actual game playing is about building and modifying one’s understanding over time. There is a first and a final impression of game. A player picks up a game, explores it, and puts it down.”” But there are " class="figure-slide-image" src="https://figures.academia-assets.com/54998154/figure_006.jpg" /></a></figure></div><div class="next-slide-container js-next-button-container"><button aria-label="Next" class="carousel-navigation-button js-profile-work-35136708-figures-next"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">arrow_forward_ios</span></button></div></div></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="944a3d1777c0a8771f0a47cbde18fb30" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":54998154,"asset_id":35136708,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/54998154/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="35136708"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="35136708"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 35136708; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=35136708]").text(description); $(".js-view-count[data-work-id=35136708]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 35136708; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='35136708']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "944a3d1777c0a8771f0a47cbde18fb30" } } $('.js-work-strip[data-work-id=35136708]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":35136708,"title":"In the Frame of the Magic Cycle: The Circle(s) of Gameplay","translated_title":"","metadata":{"abstract":"As video games will always be defined by what the player is doing, Dominic Arsenault and Bernard Perron tackle the concept of gameplay in\n“In the Frame of the Magic Cycle: The Circle(s) of Gameplay.” Opposed to\nthe spatial metaphor of Huizinga’s “magic circle” of gameplay, they conceptualize the partaking in a game as a cognitive frame, as an ongoing process. To cast off the implications of redundancy or stagnation contained in a circle, they resort instead to the figure of the spiral, which accounts for the gamer’s progression through the game. Their gamer- and gameplay-centric model features three interconnected spirals which represent the cycles gamers have to go through in order to answer gameplay, narrative, and interpretative questions, in both heuristic and hermeneutic fashion. They also underscore the fact that gamers cannot access a game’s algorithms directly and must instead construct an image of the game system, whose degree of fidelity towards the actual rules of the game may greatly vary (depending, for instance, if the gamer is playing to progress through the game, as opposed to playing to master the game mechanics).","ai_title_tag":"Rethinking Gameplay: A Spiral Perspective on Player Interaction"},"translated_abstract":"As video games will always be defined by what the player is doing, Dominic Arsenault and Bernard Perron tackle the concept of gameplay in\n“In the Frame of the Magic Cycle: The Circle(s) of Gameplay.” Opposed to\nthe spatial metaphor of Huizinga’s “magic circle” of gameplay, they conceptualize the partaking in a game as a cognitive frame, as an ongoing process. To cast off the implications of redundancy or stagnation contained in a circle, they resort instead to the figure of the spiral, which accounts for the gamer’s progression through the game. Their gamer- and gameplay-centric model features three interconnected spirals which represent the cycles gamers have to go through in order to answer gameplay, narrative, and interpretative questions, in both heuristic and hermeneutic fashion. 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This notion is theoretically unpacked in the perspectives of narratology, interaction design and game design. Existing and imagined scenarios are presented in which subjective interfaces are elevated as core interaction mechanics. Finally, technical challenges posed by this approach are reviewed alongside relevant existing research leads.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="dfc4abae4f94e1196e85255e26e1a8b5" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":50682955,"asset_id":30223909,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/50682955/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="30223909"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="30223909"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 30223909; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=30223909]").text(description); $(".js-view-count[data-work-id=30223909]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 30223909; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='30223909']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "dfc4abae4f94e1196e85255e26e1a8b5" } } $('.js-work-strip[data-work-id=30223909]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":30223909,"title":"The Character as Subjective Interface","translated_title":"","metadata":{"abstract":"This paper re-frames virtual interactive characters as \" subjective interfaces \" with the purpose of highlighting original affordances for interactive story-telling through conversation. 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It is the end product of a three-year research<br />project conducted by the INTEGRAE team, and is divided into three parts. Part 1 contextualizes<br />the research on graphics and visuality within game studies, notably through the opposition between<br />fiction and rules and the difficulties in finding common vocabulary to discuss key visual concepts<br />such as perspective and point of view. Part 2 discusses a number of visual traditions through which<br />we frame video game graphics (film, animation, art history, graphical projection and technical<br />drawing), highlighting their relevance and shortcomings in addressing the long history of video<br />games and the very different paradigms of 2D and 3D graphics. Part 3 presents the Game FAVR,<br />a model that allows any game’s visual representation to be described and discussed through a<br />common frame and vocabulary. The framework is presented in an accessible manner and is<br />organized as a toolkit, with sample case studies, templates, and a flowchart for using the FAVR<br />provided as an annex1<br />, so that researchers and students can immediately start using it.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="20656907"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="20656907"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 20656907; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=20656907]").text(description); $(".js-view-count[data-work-id=20656907]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 20656907; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='20656907']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=20656907]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":20656907,"title":"The Game FAVR: A Framework for the Analysis of Visual Representation in Video Games","translated_title":"","metadata":{"abstract":"This paper lays out a unified framework of the ergodic animage, the rule-based and interactiondriven\npart of visual representation in video games. 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The framework is presented in an accessible manner and is\norganized as a toolkit, with sample case studies, templates, and a flowchart for using the FAVR\nprovided as an annex1\n, so that researchers and students can immediately start using it. "},"translated_abstract":"This paper lays out a unified framework of the ergodic animage, the rule-based and interactiondriven\npart of visual representation in video games. It is the end product of a three-year research\nproject conducted by the INTEGRAE team, and is divided into three parts. Part 1 contextualizes\nthe research on graphics and visuality within game studies, notably through the opposition between\nfiction and rules and the difficulties in finding common vocabulary to discuss key visual concepts\nsuch as perspective and point of view. Part 2 discusses a number of visual traditions through which\nwe frame video game graphics (film, animation, art history, graphical projection and technical\ndrawing), highlighting their relevance and shortcomings in addressing the long history of video\ngames and the very different paradigms of 2D and 3D graphics. Part 3 presents the Game FAVR,\na model that allows any game’s visual representation to be described and discussed through a\ncommon frame and vocabulary. The framework is presented in an accessible manner and is\norganized as a toolkit, with sample case studies, templates, and a flowchart for using the FAVR\nprovided as an annex1\n, so that researchers and students can immediately start using it. ","internal_url":"https://www.academia.edu/20656907/The_Game_FAVR_A_Framework_for_the_Analysis_of_Visual_Representation_in_Video_Games","translated_internal_url":"","created_at":"2016-01-23T13:18:19.317-08:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":3622084,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[{"id":13517201,"work_id":20656907,"tagging_user_id":3622084,"tagged_user_id":149491,"co_author_invite_id":null,"email":"d***t@umontreal.ca","affiliation":"Université de Montréal","display_order":0,"name":"Dominic Arsenault","title":"The Game FAVR: A Framework for the Analysis of Visual Representation in Video Games"},{"id":13517202,"work_id":20656907,"tagging_user_id":3622084,"tagged_user_id":761750,"co_author_invite_id":null,"email":"l***e@gmail.com","affiliation":"Université de Montréal","display_order":4194304,"name":"Audrey Larochelle","title":"The Game FAVR: A Framework for the Analysis of Visual Representation in Video Games"},{"id":41345811,"work_id":20656907,"tagging_user_id":149491,"tagged_user_id":3622084,"co_author_invite_id":8099164,"email":"p***e@gmail.com","affiliation":"Université de Montréal","display_order":1075838976,"name":"Pierre-Marc Côté","title":"The Game FAVR: A Framework for the Analysis of Visual Representation in Video Games"}],"downloadable_attachments":[],"slug":"The_Game_FAVR_A_Framework_for_the_Analysis_of_Visual_Representation_in_Video_Games","translated_slug":"","page_count":null,"language":"en","content_type":"Work","summary":"This paper lays out a unified framework of the ergodic animage, the rule-based and interactiondriven\npart of visual representation in video games. It is the end product of a three-year research\nproject conducted by the INTEGRAE team, and is divided into three parts. Part 1 contextualizes\nthe research on graphics and visuality within game studies, notably through the opposition between\nfiction and rules and the difficulties in finding common vocabulary to discuss key visual concepts\nsuch as perspective and point of view. Part 2 discusses a number of visual traditions through which\nwe frame video game graphics (film, animation, art history, graphical projection and technical\ndrawing), highlighting their relevance and shortcomings in addressing the long history of video\ngames and the very different paradigms of 2D and 3D graphics. Part 3 presents the Game FAVR,\na model that allows any game’s visual representation to be described and discussed through a\ncommon frame and vocabulary. The framework is presented in an accessible manner and is\norganized as a toolkit, with sample case studies, templates, and a flowchart for using the FAVR\nprovided as an annex1\n, so that researchers and students can immediately start using it. ","owner":{"id":3622084,"first_name":"Pierre-Marc","middle_initials":null,"last_name":"Côté","page_name":"PierreMarcCôté","domain_name":"umontreal","created_at":"2013-03-31T05:18:44.518-07:00","display_name":"Pierre-Marc Côté","url":"https://umontreal.academia.edu/PierreMarcC%C3%B4t%C3%A9"},"attachments":[],"research_interests":[{"id":863,"name":"Visual Studies","url":"https://www.academia.edu/Documents/in/Visual_Studies"},{"id":883,"name":"Game studies","url":"https://www.academia.edu/Documents/in/Game_studies"},{"id":5199,"name":"Video Games","url":"https://www.academia.edu/Documents/in/Video_Games"}],"urls":[{"id":6224852,"url":"http://journals.sfu.ca/loading/index.php/loading/article/view/155/190"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-20656907-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="7273716"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/7273716/_a_para%C3%AEtre_Pourquoi_limage_vid%C3%A9oludique_nest_pas_que_cin%C3%A9matographique_Les_racines_plurielles_des_technologies_graphiques_dans_lhistoriographie_du_jeu_vid%C3%A9o_book_chapter_"><img alt="Research paper thumbnail of (a paraître) Pourquoi l'image vidéoludique n'est pas (que) cinématographique: Les racines plurielles des technologies graphiques dans l'historiographie du jeu vidéo (book chapter)" class="work-thumbnail" src="https://attachments.academia-assets.com/33884793/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/7273716/_a_para%C3%AEtre_Pourquoi_limage_vid%C3%A9oludique_nest_pas_que_cin%C3%A9matographique_Les_racines_plurielles_des_technologies_graphiques_dans_lhistoriographie_du_jeu_vid%C3%A9o_book_chapter_">(a paraître) Pourquoi l'image vidéoludique n'est pas (que) cinématographique: Les racines plurielles des technologies graphiques dans l'historiographie du jeu vidéo (book chapter)</a></div><div class="wp-workCard_item"><span>Nicolas Dulac et Martin Lefebvre (dir.), Du média au postmédia : continuités, ruptures. Lausanne, L’Âge d’Homme.</span><span>, 2014</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Qu’on le considère comme le dixième art à la manière des Français ou comme divertissement juvéni...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Qu’on le considère comme le dixième art à la manière des Français  ou comme divertissement juvénile dangereux à l’instar de certains médias qui en font l’objet de paniques morales , le jeu vidéo demeure dans tous les cas un phénomène économique, culturel et social d’envergure, qu’on compare fréquemment avec le cinéma. De façon superficielle ou alors a priori, le cinéma semble être un point de comparaison incontournable lorsque vient le temps de situer le jeu vidéo : tous deux emploient l’image en mouvement et le son, tous deux peuvent être vus comme une forme d’expression qui réalise la synthèse des arts de l’espace et des arts du temps, ils emploient des dispositifs technologiques communs, et sont tous deux aux prises avec les tensions entre art, divertissement et industrie. Mais ces comparaisons ont leurs limites, et entraînent même des effets pervers dès lors qu’on les laisse façonner notre conception du jeu vidéo à travers un prisme cinématographique, alors que sous bien des aspects d’autres prismes s’avéreraient plus productifs. C’est le cas notamment lorsque vient le temps d’étudier le statut, la fonction et les techniques de graphisme qui composent l’image. <br /> <br />À travers ce texte, je m’efforcerai de montrer en quoi l’image vidéoludique n’entretient pas un rapport privilégié avec l’image cinématographique, et à partir de quels autres paradigmes et séries culturelles (Gaudreault, 1997) on peut l’envisager pour en cerner les tenants et aboutissants avec plus de précision. On verra aussi que certains types de cinéma y jouent également un rôle important. Mais pour en arriver là, il me faudra d’abord établir clairement les deux raisons qui nous poussent traditionnellement à surestimer l’importance du cinéma comme modèle approprié pour l’étude du jeu vidéo, soit la grande diversité interne qui est rassemblée et gommée sous le vocable « jeu vidéo », et la lutte pour une légitimation culturelle qui le caractérise depuis les années 1990.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="4ef5b1d72af2c0b8172e04a1dda5b1a3" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":33884793,"asset_id":7273716,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/33884793/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="7273716"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="7273716"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 7273716; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=7273716]").text(description); $(".js-view-count[data-work-id=7273716]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 7273716; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='7273716']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "4ef5b1d72af2c0b8172e04a1dda5b1a3" } } $('.js-work-strip[data-work-id=7273716]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":7273716,"title":"(a paraître) Pourquoi l'image vidéoludique n'est pas (que) cinématographique: Les racines plurielles des technologies graphiques dans l'historiographie du jeu vidéo (book chapter)","translated_title":"","metadata":{"abstract":"Qu’on le considère comme le dixième art à la manière des Français ou comme divertissement juvénile dangereux à l’instar de certains médias qui en font l’objet de paniques morales , le jeu vidéo demeure dans tous les cas un phénomène économique, culturel et social d’envergure, qu’on compare fréquemment avec le cinéma. 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De façon superficielle ou alors a priori, le cinéma semble être un point de comparaison incontournable lorsque vient le temps de situer le jeu vidéo : tous deux emploient l’image en mouvement et le son, tous deux peuvent être vus comme une forme d’expression qui réalise la synthèse des arts de l’espace et des arts du temps, ils emploient des dispositifs technologiques communs, et sont tous deux aux prises avec les tensions entre art, divertissement et industrie. Mais ces comparaisons ont leurs limites, et entraînent même des effets pervers dès lors qu’on les laisse façonner notre conception du jeu vidéo à travers un prisme cinématographique, alors que sous bien des aspects d’autres prismes s’avéreraient plus productifs. C’est le cas notamment lorsque vient le temps d’étudier le statut, la fonction et les techniques de graphisme qui composent l’image. \r\n\r\nÀ travers ce texte, je m’efforcerai de montrer en quoi l’image vidéoludique n’entretient pas un rapport privilégié avec l’image cinématographique, et à partir de quels autres paradigmes et séries culturelles (Gaudreault, 1997) on peut l’envisager pour en cerner les tenants et aboutissants avec plus de précision. On verra aussi que certains types de cinéma y jouent également un rôle important. Mais pour en arriver là, il me faudra d’abord établir clairement les deux raisons qui nous poussent traditionnellement à surestimer l’importance du cinéma comme modèle approprié pour l’étude du jeu vidéo, soit la grande diversité interne qui est rassemblée et gommée sous le vocable « jeu vidéo », et la lutte pour une légitimation culturelle qui le caractérise depuis les années 1990. 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La nôtre ne peut <br />faire l’économie du jeu vidéo. <br />Quels sont les effets des jeux vidéo sur les individus ? <br />Quelles sont les mutations en cours dans le monde des jeux vidéo ? <br />Quels types de culture et de société instaurent les jeux vidéo ?</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="c059dab26a08545d8579c3d030c5f5b8" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":33884935,"asset_id":7273823,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/33884935/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="7273823"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="7273823"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 7273823; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=7273823]").text(description); $(".js-view-count[data-work-id=7273823]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 7273823; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='7273823']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "c059dab26a08545d8579c3d030c5f5b8" } } $('.js-work-strip[data-work-id=7273823]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":7273823,"title":"(2014) Les jeux vidéo au coeur de l'art, de la culture et de la société (research report)","translated_title":"","metadata":{"abstract":"Si le jeu existe depuis toujours et que, suivant la fameuse \r\nthéorie de l’historien des cultures Johan Huizinga \r\n(1951[1938]), l’être humain ne serait pas tant un homo \r\nsapiens (un homme qui raisonne) qu’un homo ludens (un \r\nhomme qui joue), il n’en demeure pas moins que l’idée que \r\nl’on se fait du jeu évolue avec les époques. 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Autour de quelques stratégies vidéoludiques de design de personnage pour gérer l’actantialité ludonarrative du joueur et son immersion fictionnelle (book chapter)" class="work-thumbnail" src="https://attachments.academia-assets.com/33885178/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/7274218/_2013_Qui_est_je_Autour_de_quelques_strat%C3%A9gies_vid%C3%A9oludiques_de_design_de_personnage_pour_g%C3%A9rer_l_actantialit%C3%A9_ludonarrative_du_joueur_et_son_immersion_fictionnelle_book_chapter_">(2013) Qui est je? Autour de quelques stratégies vidéoludiques de design de personnage pour gérer l’actantialité ludonarrative du joueur et son immersion fictionnelle (book chapter)</a></div><div class="wp-workCard_item"><span>Avatars, personnages et acteurs virtuels (Renée Bourassa et Louise Poissant, dir.)</span><span>, 2013</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated"> De plus en plus, le jeu vidéo se présente et se vit en termes de récit, ce qui n’est pas sans ca...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">De plus en plus, le jeu vidéo se présente et se vit en termes de récit, ce qui n’est pas sans causer de nombreux maux de tête aux concepteurs de jeux comme aux théoriciens. Cet article s’intéresse au rôle central joué par le personnage dans la réconciliation de la narrativité et de l’interactivité à travers une étude théorique et critique de quelques stratégies employées par les concepteurs pour réaliser une fusion identitaire du joueur avec le personnage. Il y est question de deux postures d’immersion fictionnelle identifiées par Jean-Marie Schaeffer : l’identification allosubjective et la virtualisation identitaire. Ces postures sont liées à des processus de design de personnage : l’approche avatorielle, centrée sur le concept d’avatar et qui tente d’aplanir les différences intersubjectives, et l’approche actorielle, qui au contraire vise à les accroître en faisant du personnage un acteur autonome plutôt qu’un avatar. Ces deux pratiques ne sont pas mutuellement exclusives; au contraire, il est démontré que pour réaliser l’immersion fictionnelle, la plupart des jeux tentent de conserver une trace du joueur dans l’avatar, et une trace du personnage dans l’acteur. Des marqueurs d’allosubjectivité et de subjectivisation sont identifiés par l’analyse des jeux Metroid Prime, Duke Nukem 3D, Gears of War et Shadowrun. Enfin, l’article étudie également les rapports entre le ludique et le narratif selon le rôle actantiel du joueur et du personnage, écorchant au passage la convention du « héros muet » (silent protagonist) souvent rencontrée dans le jeu vidéo mais ultimement improductive.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="6e45d04e8d1d47f4ecfabf0080dff505" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":33885178,"asset_id":7274218,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/33885178/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="7274218"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="7274218"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 7274218; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=7274218]").text(description); $(".js-view-count[data-work-id=7274218]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 7274218; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='7274218']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "6e45d04e8d1d47f4ecfabf0080dff505" } } $('.js-work-strip[data-work-id=7274218]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":7274218,"title":"(2013) Qui est je? 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","more_info":"Version pré-publication","publication_date":{"day":null,"month":null,"year":2013,"errors":{}},"publication_name":"Avatars, personnages et acteurs virtuels (Renée Bourassa et Louise Poissant, dir.)"},"translated_abstract":" De plus en plus, le jeu vidéo se présente et se vit en termes de récit, ce qui n’est pas sans causer de nombreux maux de tête aux concepteurs de jeux comme aux théoriciens. Cet article s’intéresse au rôle central joué par le personnage dans la réconciliation de la narrativité et de l’interactivité à travers une étude théorique et critique de quelques stratégies employées par les concepteurs pour réaliser une fusion identitaire du joueur avec le personnage. Il y est question de deux postures d’immersion fictionnelle identifiées par Jean-Marie Schaeffer : l’identification allosubjective et la virtualisation identitaire. 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This transition is of the utmost importance in video game history because it conflates two different issues, which analysis and research will distillate: innovation in graphical technologies, in the capacity to represent and implement tridimensional game spaces, and in types of gameplay. From a research and disciplinary standpoint, rooting this study in the graphical dimension of gameplay allows for interesting and fruitful interdisciplinary explorations of art history and film studies approaches; moreover, it makes a strong case for the shortcomings of any single disciplinary framework, and for the importance of game studies to establish itself as an academic discipline of its own.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="7274028"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="7274028"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 7274028; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=7274028]").text(description); $(".js-view-count[data-work-id=7274028]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 7274028; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='7274028']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=7274028]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":7274028,"title":"(2013) Graphical technologies, innovation and aesthetics in the video game industry: a case study of the shift from 2d to 3d graphics in the 1990s (journal)","translated_title":"","metadata":{"abstract":"The present project aims to unravel the links between graphical technologies and innovation in the games industry and in gamer culture by focusing on a specific historical corpus: the transition from 2D to 3D graphics in the 1990s. 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This transition is of the utmost importance in video game history because it conflates two different issues, which analysis and research will distillate: innovation in graphical technologies, in the capacity to represent and implement tridimensional game spaces, and in types of gameplay. From a research and disciplinary standpoint, rooting this study in the graphical dimension of gameplay allows for interesting and fruitful interdisciplinary explorations of art history and film studies approaches; moreover, it makes a strong case for the shortcomings of any single disciplinary framework, and for the importance of game studies to establish itself as an academic discipline of its own.","owner":{"id":149491,"first_name":"Dominic","middle_initials":null,"last_name":"Arsenault","page_name":"DominicArsenault","domain_name":"umontreal","created_at":"2010-03-25T00:16:25.829-07:00","display_name":"Dominic Arsenault","url":"https://umontreal.academia.edu/DominicArsenault"},"attachments":[],"research_interests":[{"id":445,"name":"Computer Graphics","url":"https://www.academia.edu/Documents/in/Computer_Graphics"},{"id":883,"name":"Game studies","url":"https://www.academia.edu/Documents/in/Game_studies"},{"id":28248,"name":"Video Game History","url":"https://www.academia.edu/Documents/in/Video_Game_History"},{"id":32280,"name":"Platform Studies","url":"https://www.academia.edu/Documents/in/Platform_Studies"}],"urls":[{"id":3004444,"url":"http://www.gamejournal.it/graphical-technologies-innovation-and-aesthetics-in-the-video-game-industry-a-case-study-of-the-shift-from-2d-to-3d-graphics-in-the-1990s/#.U5HXBPmwJ5I"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-7274028-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="7273956"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/7273956/_2013_Reverse_engineering_graphical_innovation_an_introduction_to_graphical_regimes_journal_"><img alt="Research paper thumbnail of (2013) Reverse-engineering graphical innovation: an introduction to graphical regimes (journal)" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title">(2013) Reverse-engineering graphical innovation: an introduction to graphical regimes (journal)</div><div class="wp-workCard_item"><span>GAME Italian journal of game studies, vol.2</span><span>, 2013</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">While technological innovation is important in the games industry, it only leads to success in an...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">While technological innovation is important in the games industry, it only leads to success in an indirect and limited way. Technological innovation acts as a pole of attraction for game developers by delimiting a certain technological trajectory (Nelson and Winter, 1982), and it also appeals to consumers because a technology always brings about a certain promise as well (Raynauld, 2003). However, this trajectory must be coupled with a trajectory of innovation, that is, a renewing of game forms and possibilities of action for players. It is usually taken for granted in game historiography that “Game graphics were, and to a large extent still are, the main criteria by which advancing video game technology is benchmarked” (Wolf 2003, p.53). But there is more: if we understand graphics as a conceptual interface linking consumers with the underlying, invisible technologies, we must also integrate the usages that are made of these technologies. To this end, we would like to propose a new distinction into the model of relationships between innovation, technology and graphics: the concept of graphical regime. <br /> <br />We believe that the essential feature of new graphical technologies is to cement and standardize new 'graphical regimes', as in innovative ways of viewing and - more importantly - of playing. The graphical regime is to be understood as the range of affordances that the game creators open or close for the player, independently of the technical graphical capabilities or limitations. This paper will situate the concept of graphical regime and exemplify it through a range of historically relevant technologies and singular games. It will also open up theoretical questions of point of view and perspective, and situate these along the general problematic of the gap between technological limitations in graphics and gameplay affordances.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="7273956"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="7273956"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 7273956; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=7273956]").text(description); $(".js-view-count[data-work-id=7273956]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 7273956; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='7273956']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=7273956]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":7273956,"title":"(2013) Reverse-engineering graphical innovation: an introduction to graphical regimes (journal)","translated_title":"","metadata":{"abstract":"While technological innovation is important in the games industry, it only leads to success in an indirect and limited way. Technological innovation acts as a pole of attraction for game developers by delimiting a certain technological trajectory (Nelson and Winter, 1982), and it also appeals to consumers because a technology always brings about a certain promise as well (Raynauld, 2003). However, this trajectory must be coupled with a trajectory of innovation, that is, a renewing of game forms and possibilities of action for players. It is usually taken for granted in game historiography that “Game graphics were, and to a large extent still are, the main criteria by which advancing video game technology is benchmarked” (Wolf 2003, p.53). But there is more: if we understand graphics as a conceptual interface linking consumers with the underlying, invisible technologies, we must also integrate the usages that are made of these technologies. To this end, we would like to propose a new distinction into the model of relationships between innovation, technology and graphics: the concept of graphical regime.\r\n\r\nWe believe that the essential feature of new graphical technologies is to cement and standardize new 'graphical regimes', as in innovative ways of viewing and - more importantly - of playing. The graphical regime is to be understood as the range of affordances that the game creators open or close for the player, independently of the technical graphical capabilities or limitations. This paper will situate the concept of graphical regime and exemplify it through a range of historically relevant technologies and singular games. It will also open up theoretical questions of point of view and perspective, and situate these along the general problematic of the gap between technological limitations in graphics and gameplay affordances. ","publication_date":{"day":null,"month":null,"year":2013,"errors":{}},"publication_name":"GAME Italian journal of game studies, vol.2"},"translated_abstract":"While technological innovation is important in the games industry, it only leads to success in an indirect and limited way. Technological innovation acts as a pole of attraction for game developers by delimiting a certain technological trajectory (Nelson and Winter, 1982), and it also appeals to consumers because a technology always brings about a certain promise as well (Raynauld, 2003). However, this trajectory must be coupled with a trajectory of innovation, that is, a renewing of game forms and possibilities of action for players. It is usually taken for granted in game historiography that “Game graphics were, and to a large extent still are, the main criteria by which advancing video game technology is benchmarked” (Wolf 2003, p.53). But there is more: if we understand graphics as a conceptual interface linking consumers with the underlying, invisible technologies, we must also integrate the usages that are made of these technologies. To this end, we would like to propose a new distinction into the model of relationships between innovation, technology and graphics: the concept of graphical regime.\r\n\r\nWe believe that the essential feature of new graphical technologies is to cement and standardize new 'graphical regimes', as in innovative ways of viewing and - more importantly - of playing. The graphical regime is to be understood as the range of affordances that the game creators open or close for the player, independently of the technical graphical capabilities or limitations. This paper will situate the concept of graphical regime and exemplify it through a range of historically relevant technologies and singular games. It will also open up theoretical questions of point of view and perspective, and situate these along the general problematic of the gap between technological limitations in graphics and gameplay affordances. 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To this end, we would like to propose a new distinction into the model of relationships between innovation, technology and graphics: the concept of graphical regime.\r\n\r\nWe believe that the essential feature of new graphical technologies is to cement and standardize new 'graphical regimes', as in innovative ways of viewing and - more importantly - of playing. The graphical regime is to be understood as the range of affordances that the game creators open or close for the player, independently of the technical graphical capabilities or limitations. This paper will situate the concept of graphical regime and exemplify it through a range of historically relevant technologies and singular games. It will also open up theoretical questions of point of view and perspective, and situate these along the general problematic of the gap between technological limitations in graphics and gameplay affordances. ","owner":{"id":149491,"first_name":"Dominic","middle_initials":null,"last_name":"Arsenault","page_name":"DominicArsenault","domain_name":"umontreal","created_at":"2010-03-25T00:16:25.829-07:00","display_name":"Dominic Arsenault","url":"https://umontreal.academia.edu/DominicArsenault"},"attachments":[],"research_interests":[{"id":445,"name":"Computer Graphics","url":"https://www.academia.edu/Documents/in/Computer_Graphics"},{"id":883,"name":"Game studies","url":"https://www.academia.edu/Documents/in/Game_studies"},{"id":15282,"name":"Technological Innovation","url":"https://www.academia.edu/Documents/in/Technological_Innovation"},{"id":28248,"name":"Video Game History","url":"https://www.academia.edu/Documents/in/Video_Game_History"}],"urls":[{"id":3004407,"url":"http://www.gamejournal.it/reverse-engineering-graphical-innovation-an-introduction-to-graphical-regimes/"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-7273956-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="7273899"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/7273899/_2012_Au_del%C3%A0_de_lenvie_cin%C3%A9matographique_le_complexe_transm%C3%A9diatique_dAssassins_Creed_journal_"><img alt="Research paper thumbnail of (2012) Au-delà de "l'envie cinématographique": le complexe transmédiatique d'Assassin's Creed (journal)" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title">(2012) Au-delà de "l'envie cinématographique": le complexe transmédiatique d'Assassin's Creed (journal)</div><div class="wp-workCard_item"><span>Nouvelles vues, no.13 (dir. Elspeth Tulloch)</span><span>, 2012</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Nous proposons d'aborder dans cet article la question des rapports entre le jeu vidéo et le ciném...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Nous proposons d'aborder dans cet article la question des rapports entre le jeu vidéo et le cinéma à travers une étude de cas spécifique : la franchise Assassin's Creed, qui s'inscrit dans un contexte techno-historico-culturel bien précis : celui des technologies de l'image numérique au Québec. Plus particulièrement, nous nous questionnerons sur le rôle que joue la trilogie de courts métrages Assassin's Creed: Lineage, réalisés par Yves Simoneau et Hybride Technologies, et diffusés gratuitement sur YouTube dans le but d'attiser l'intérêt des joueurs avant la sortie du jeu Assassin's Creed II. De toutes les déclinaisons médiatiques de la franchise Assassin's Creed à ce jour, c'est elle qui incarne le mieux la convergence technologique entre le cinéma et le jeu vidéo, mais aussi notre modèle original de constellation transmédiatique. Loin d'agir comme de simples outils promotionnels, les films capitalisent sur les forces du cinéma et contribuent au déploiement de la franchise, mais non sans heurts. Du général au particulier, nous nous intéresserons d'abord à la relation entre ces deux arts, que l'on peut envisager sous deux paradigmes : celui de la remédiatisation et celui de la transmédialité; puis, nous traiterons du cas Assassin's Creed comme étant la plus récente incarnation des rapports de croisement et de tension entre le cinéma et le jeu vidéo. Nous montrerons comment le modèle transmédiatique s'inscrit dans le prolongement des questionnements portant sur la remédiatisation, puis comment il éclaire et met à contribution les spécificités qui distinguent le cinéma et le jeu vidéo comme les points communs qui les rassemblent.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="7273899"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="7273899"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 7273899; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=7273899]").text(description); $(".js-view-count[data-work-id=7273899]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 7273899; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='7273899']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=7273899]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":7273899,"title":"(2012) Au-delà de \"l'envie cinématographique\": le complexe transmédiatique d'Assassin's Creed (journal)","translated_title":"","metadata":{"abstract":"Nous proposons d'aborder dans cet article la question des rapports entre le jeu vidéo et le cinéma à travers une étude de cas spécifique : la franchise Assassin's Creed, qui s'inscrit dans un contexte techno-historico-culturel bien précis : celui des technologies de l'image numérique au Québec. Plus particulièrement, nous nous questionnerons sur le rôle que joue la trilogie de courts métrages Assassin's Creed: Lineage, réalisés par Yves Simoneau et Hybride Technologies, et diffusés gratuitement sur YouTube dans le but d'attiser l'intérêt des joueurs avant la sortie du jeu Assassin's Creed II. De toutes les déclinaisons médiatiques de la franchise Assassin's Creed à ce jour, c'est elle qui incarne le mieux la convergence technologique entre le cinéma et le jeu vidéo, mais aussi notre modèle original de constellation transmédiatique. Loin d'agir comme de simples outils promotionnels, les films capitalisent sur les forces du cinéma et contribuent au déploiement de la franchise, mais non sans heurts. Du général au particulier, nous nous intéresserons d'abord à la relation entre ces deux arts, que l'on peut envisager sous deux paradigmes : celui de la remédiatisation et celui de la transmédialité; puis, nous traiterons du cas Assassin's Creed comme étant la plus récente incarnation des rapports de croisement et de tension entre le cinéma et le jeu vidéo. Nous montrerons comment le modèle transmédiatique s'inscrit dans le prolongement des questionnements portant sur la remédiatisation, puis comment il éclaire et met à contribution les spécificités qui distinguent le cinéma et le jeu vidéo comme les points communs qui les rassemblent. ","publication_date":{"day":null,"month":null,"year":2012,"errors":{}},"publication_name":"Nouvelles vues, no.13 (dir. 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Loin d'agir comme de simples outils promotionnels, les films capitalisent sur les forces du cinéma et contribuent au déploiement de la franchise, mais non sans heurts. Du général au particulier, nous nous intéresserons d'abord à la relation entre ces deux arts, que l'on peut envisager sous deux paradigmes : celui de la remédiatisation et celui de la transmédialité; puis, nous traiterons du cas Assassin's Creed comme étant la plus récente incarnation des rapports de croisement et de tension entre le cinéma et le jeu vidéo. Nous montrerons comment le modèle transmédiatique s'inscrit dans le prolongement des questionnements portant sur la remédiatisation, puis comment il éclaire et met à contribution les spécificités qui distinguent le cinéma et le jeu vidéo comme les points communs qui les rassemblent. ","internal_url":"https://www.academia.edu/7273899/_2012_Au_del%C3%A0_de_lenvie_cin%C3%A9matographique_le_complexe_transm%C3%A9diatique_dAssassins_Creed_journal_","translated_internal_url":"","created_at":"2014-06-06T00:48:47.701-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":149491,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[{"id":59969,"work_id":7273899,"tagging_user_id":149491,"tagged_user_id":149725,"co_author_invite_id":null,"email":"V***r@design.ulaval.ca","affiliation":"Université Laval","display_order":null,"name":"Vincent Mauger","title":"(2012) Au-delà de \"l'envie cinématographique\": le complexe transmédiatique d'Assassin's Creed (journal)"}],"downloadable_attachments":[],"slug":"_2012_Au_delà_de_lenvie_cinématographique_le_complexe_transmédiatique_dAssassins_Creed_journal_","translated_slug":"","page_count":null,"language":"fr","content_type":"Work","summary":"Nous proposons d'aborder dans cet article la question des rapports entre le jeu vidéo et le cinéma à travers une étude de cas spécifique : la franchise Assassin's Creed, qui s'inscrit dans un contexte techno-historico-culturel bien précis : celui des technologies de l'image numérique au Québec. Plus particulièrement, nous nous questionnerons sur le rôle que joue la trilogie de courts métrages Assassin's Creed: Lineage, réalisés par Yves Simoneau et Hybride Technologies, et diffusés gratuitement sur YouTube dans le but d'attiser l'intérêt des joueurs avant la sortie du jeu Assassin's Creed II. De toutes les déclinaisons médiatiques de la franchise Assassin's Creed à ce jour, c'est elle qui incarne le mieux la convergence technologique entre le cinéma et le jeu vidéo, mais aussi notre modèle original de constellation transmédiatique. Loin d'agir comme de simples outils promotionnels, les films capitalisent sur les forces du cinéma et contribuent au déploiement de la franchise, mais non sans heurts. Du général au particulier, nous nous intéresserons d'abord à la relation entre ces deux arts, que l'on peut envisager sous deux paradigmes : celui de la remédiatisation et celui de la transmédialité; puis, nous traiterons du cas Assassin's Creed comme étant la plus récente incarnation des rapports de croisement et de tension entre le cinéma et le jeu vidéo. Nous montrerons comment le modèle transmédiatique s'inscrit dans le prolongement des questionnements portant sur la remédiatisation, puis comment il éclaire et met à contribution les spécificités qui distinguent le cinéma et le jeu vidéo comme les points communs qui les rassemblent. ","owner":{"id":149491,"first_name":"Dominic","middle_initials":null,"last_name":"Arsenault","page_name":"DominicArsenault","domain_name":"umontreal","created_at":"2010-03-25T00:16:25.829-07:00","display_name":"Dominic Arsenault","url":"https://umontreal.academia.edu/DominicArsenault"},"attachments":[],"research_interests":[{"id":883,"name":"Game studies","url":"https://www.academia.edu/Documents/in/Game_studies"},{"id":46344,"name":"Remediation","url":"https://www.academia.edu/Documents/in/Remediation"},{"id":55650,"name":"Transmedia","url":"https://www.academia.edu/Documents/in/Transmedia"},{"id":181456,"name":"Cultural Industry","url":"https://www.academia.edu/Documents/in/Cultural_Industry"}],"urls":[{"id":3004380,"url":"http://www.nouvellesvues.ulaval.ca/no-13-hiver-printemps-2012-le-cinema-quebecois-et-les-autres-arts-dirige-par-elspeth-tulloch/articles/au-dela-de-lenvie-cinematographique-le-complexe-transmediatique-dassassins-creed-par-dominic-arsenault-et-vincent-mauger/"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-7273899-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="7401944"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/7401944/_2011_La_l%C3%A9gitimation_de_la_culture_populaire_nombres_mutations_et_autorit%C3%A9s_symboliques"><img alt="Research paper thumbnail of (2011) La légitimation de la culture populaire: nombres, mutations et autorités symboliques" class="work-thumbnail" src="https://attachments.academia-assets.com/33991649/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/7401944/_2011_La_l%C3%A9gitimation_de_la_culture_populaire_nombres_mutations_et_autorit%C3%A9s_symboliques">(2011) La légitimation de la culture populaire: nombres, mutations et autorités symboliques</a></div><div class="wp-workCard_item"><span>Kinephanos, vol.2, no.1: La légitimation culturelle / Cultural legitimization</span><span>, Apr 2011</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">La pertinence des enjeux de la légitimation culturelle aujourd’hui fait que la question ne peut ê...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">La pertinence des enjeux de la légitimation culturelle aujourd’hui fait que la question ne peut être écartée. Plus largement, c’est l’effondrement des autorités symboliques, qui traditionnellement se portaient garantes d’un certain calibre au niveau des contenus et des compétences soutenues, qui est soulevé par cette problématique. Ce numéro de Kinephanos a été pour nous une occasion privilégiée de réfléchir à cette question complexe et d’une contemporanéité tombant à point.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="534e1ebe1ee27cb76931a04fff9898f4" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":33991649,"asset_id":7401944,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/33991649/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="7401944"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="7401944"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 7401944; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=7401944]").text(description); $(".js-view-count[data-work-id=7401944]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 7401944; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='7401944']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "534e1ebe1ee27cb76931a04fff9898f4" } } $('.js-work-strip[data-work-id=7401944]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":7401944,"title":"(2011) La légitimation de la culture populaire: nombres, mutations et autorités symboliques","translated_title":"","metadata":{"abstract":"La pertinence des enjeux de la légitimation culturelle aujourd’hui fait que la question ne peut être écartée. 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Cette approche permet de résoudre les problèmes qui découlent du phénomène de l’hybridité générique, une difficulté qui limite l’analyse formelle d’objets culturels d’un point de vue générique. Ce nouveau paradigme donne la primauté non pas au texte comme objet fini, mais à l’expérience de son parcours par un lecteur/spectateur/joueur. <br />Pour la pragmatique des effets génériques, le genre s’exprime dans des effets génériques qui se manifestent ponctuellement à travers la séquence sémiotique d’un objet culturel, que le <br />lecteur/spectateur/joueur peut reconnaître et qui modulent à la fois son horizon d’attentes et sa compréhension cognitive de l’objet. <br /> <br />La pertinence et les ramifications de cette approche sont démontrées à l’aide d’une étude de cas qui porte sur le genre vidéoludique du survival horror. Celui-ci est déconstruit en ses deux composantes, soit le genre thématique de l’horreur et le genre ludique du survival. Chacun est étudié à travers deux jeux, Resident Evil et Diablo, respectivement emblématique et étranger au genre. Néanmoins, l’analyse des éléments formels et de la jouabilité de Diablo du point de vue expérientiel démontre que ses mécaniques de jeu et sa structure donnent lieu à des effets <br />d’horreur et de survival qui, bien que non prioritaires, ne peuvent être écartés d’une analyse sans risquer de dénaturer l’objet.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="7402016"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="7402016"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 7402016; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=7402016]").text(description); $(".js-view-count[data-work-id=7402016]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 7402016; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='7402016']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=7402016]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":7402016,"title":"(2010) Introduction à la pragmatique des effets génériques: l’horreur dans tous ses états ","translated_title":"","metadata":{"abstract":"Cet article pose les jalons d’une nouvelle approche théorique de la question du genre, la pragmatique des effets génériques. 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Néanmoins, l’analyse des éléments formels et de la jouabilité de Diablo du point de vue expérientiel démontre que ses mécaniques de jeu et sa structure donnent lieu à des effets \r\nd’horreur et de survival qui, bien que non prioritaires, ne peuvent être écartés d’une analyse sans risquer de dénaturer l’objet. ","internal_url":"https://www.academia.edu/7402016/_2010_Introduction_%C3%A0_la_pragmatique_des_effets_g%C3%A9n%C3%A9riques_l_horreur_dans_tous_ses_%C3%A9tats","translated_internal_url":"","created_at":"2014-06-19T15:34:27.430-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":149491,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[],"slug":"_2010_Introduction_à_la_pragmatique_des_effets_génériques_l_horreur_dans_tous_ses_états","translated_slug":"","page_count":null,"language":"fr","content_type":"Work","summary":"Cet article pose les jalons d’une nouvelle approche théorique de la question du genre, la pragmatique des effets génériques. Cette approche permet de résoudre les problèmes qui découlent du phénomène de l’hybridité générique, une difficulté qui limite l’analyse formelle d’objets culturels d’un point de vue générique. Ce nouveau paradigme donne la primauté non pas au texte comme objet fini, mais à l’expérience de son parcours par un lecteur/spectateur/joueur. \r\nPour la pragmatique des effets génériques, le genre s’exprime dans des effets génériques qui se manifestent ponctuellement à travers la séquence sémiotique d’un objet culturel, que le \r\nlecteur/spectateur/joueur peut reconnaître et qui modulent à la fois son horizon d’attentes et sa compréhension cognitive de l’objet. \r\n \r\nLa pertinence et les ramifications de cette approche sont démontrées à l’aide d’une étude de cas qui porte sur le genre vidéoludique du survival horror. Celui-ci est déconstruit en ses deux composantes, soit le genre thématique de l’horreur et le genre ludique du survival. Chacun est étudié à travers deux jeux, Resident Evil et Diablo, respectivement emblématique et étranger au genre. Néanmoins, l’analyse des éléments formels et de la jouabilité de Diablo du point de vue expérientiel démontre que ses mécaniques de jeu et sa structure donnent lieu à des effets \r\nd’horreur et de survival qui, bien que non prioritaires, ne peuvent être écartés d’une analyse sans risquer de dénaturer l’objet. ","owner":{"id":149491,"first_name":"Dominic","middle_initials":null,"last_name":"Arsenault","page_name":"DominicArsenault","domain_name":"umontreal","created_at":"2010-03-25T00:16:25.829-07:00","display_name":"Dominic Arsenault","url":"https://umontreal.academia.edu/DominicArsenault"},"attachments":[],"research_interests":[{"id":883,"name":"Game studies","url":"https://www.academia.edu/Documents/in/Game_studies"},{"id":1474,"name":"Video Game Versions of Genres and Genre Versions of Video Games","url":"https://www.academia.edu/Documents/in/Video_Game_Versions_of_Genres_and_Genre_Versions_of_Video_Games"},{"id":2206,"name":"Genre studies","url":"https://www.academia.edu/Documents/in/Genre_studies"},{"id":290768,"name":"Survival Horror Games","url":"https://www.academia.edu/Documents/in/Survival_Horror_Games"}],"urls":[{"id":3061888,"url":"http://journals.sfu.ca/loading/index.php/loading/article/view/87/84"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-7402016-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="7401985"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/7401985/_2010_Introduction_from_the_Ludicin%C3%A9_research_team"><img alt="Research paper thumbnail of (2010) Introduction from the Ludiciné research team" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title">(2010) Introduction from the Ludiciné research team</div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://umontreal.academia.edu/DominicArsenault">Dominic Arsenault</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://uqat.academia.edu/GuillaumeRouxGirard">Guillaume Roux-Girard</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://umontreal.academia.edu/CarlTherrien">Carl Therrien</a>, and <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/MartinPicard11">Martin Picard</a></span></div><div class="wp-workCard_item"><span>Loading... journal of the Canadian Game Studies Association, special issue (vol.4, no.6)</span><span>, 2010</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The papers published herein favor an intermedial approach to the manifestations of horror in othe...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The papers published herein favor an intermedial approach to the manifestations of horror in other cultural practices (literary and filmic) in order to chart the realm of videoludic horror. This study of videoludic, filmic and literary horror constitutes an essential starting point to better understand the specificity of each media, and opens up multiple areas of inquiry. Of concern are the ways in which the video game reuses the narrative strategies of novels and the staging of horror developed in film, the recurrent modalities of “ludification” in multiple videoludic adaptations of films or novels, and the expansion of filmic horror through the adaptation of horror video games. A more thorough examination of the different variations of horror in the video game also proves necessary</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="7401985"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="7401985"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 7401985; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=7401985]").text(description); $(".js-view-count[data-work-id=7401985]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 7401985; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='7401985']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=7401985]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":7401985,"title":"(2010) Introduction from the Ludiciné research team","translated_title":"","metadata":{"abstract":"The papers published herein favor an intermedial approach to the manifestations of horror in other cultural practices (literary and filmic) in order to chart the realm of videoludic horror. This study of videoludic, filmic and literary horror constitutes an essential starting point to better understand the specificity of each media, and opens up multiple areas of inquiry. Of concern are the ways in which the video game reuses the narrative strategies of novels and the staging of horror developed in film, the recurrent modalities of “ludification” in multiple videoludic adaptations of films or novels, and the expansion of filmic horror through the adaptation of horror video games. A more thorough examination of the different variations of horror in the video game also proves necessary","publication_date":{"day":null,"month":null,"year":2010,"errors":{}},"publication_name":"Loading... journal of the Canadian Game Studies Association, special issue (vol.4, no.6)"},"translated_abstract":"The papers published herein favor an intermedial approach to the manifestations of horror in other cultural practices (literary and filmic) in order to chart the realm of videoludic horror. 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A more thorough examination of the different variations of horror in the video game also proves necessary","internal_url":"https://www.academia.edu/7401985/_2010_Introduction_from_the_Ludicin%C3%A9_research_team","translated_internal_url":"","created_at":"2014-06-19T15:30:51.412-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":149491,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[{"id":59974,"work_id":7401985,"tagging_user_id":149491,"tagged_user_id":435028,"co_author_invite_id":null,"email":"g***d@uqat.ca","affiliation":"Université du Québec en Abitibi-Témiscamingue","display_order":1,"name":"Guillaume Roux-Girard","title":"(2010) Introduction from the Ludiciné research team"},{"id":59976,"work_id":7401985,"tagging_user_id":149491,"tagged_user_id":151308,"co_author_invite_id":null,"email":"c***n@gmail.com","affiliation":"Université de Montréal","display_order":2,"name":"Carl Therrien","title":"(2010) Introduction from the Ludiciné research team"},{"id":59973,"work_id":7401985,"tagging_user_id":149491,"tagged_user_id":327160,"co_author_invite_id":null,"email":"p***n@gmail.com","display_order":3,"name":"Martin Picard","title":"(2010) Introduction from the Ludiciné research team"},{"id":59971,"work_id":7401985,"tagging_user_id":149491,"tagged_user_id":175239,"co_author_invite_id":null,"email":"b***n@umontreal.ca","affiliation":"Université de Montréal","display_order":4,"name":"Bernard Perron","title":"(2010) Introduction from the Ludiciné research team"}],"downloadable_attachments":[],"slug":"_2010_Introduction_from_the_Ludiciné_research_team","translated_slug":"","page_count":null,"language":"en","content_type":"Work","summary":"The papers published herein favor an intermedial approach to the manifestations of horror in other cultural practices (literary and filmic) in order to chart the realm of videoludic horror. 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A more thorough examination of the different variations of horror in the video game also proves necessary","owner":{"id":149491,"first_name":"Dominic","middle_initials":null,"last_name":"Arsenault","page_name":"DominicArsenault","domain_name":"umontreal","created_at":"2010-03-25T00:16:25.829-07:00","display_name":"Dominic Arsenault","url":"https://umontreal.academia.edu/DominicArsenault"},"attachments":[],"research_interests":[{"id":883,"name":"Game studies","url":"https://www.academia.edu/Documents/in/Game_studies"},{"id":5549,"name":"Horror Film","url":"https://www.academia.edu/Documents/in/Horror_Film"},{"id":57489,"name":"Horror Literature","url":"https://www.academia.edu/Documents/in/Horror_Literature"},{"id":290768,"name":"Survival Horror Games","url":"https://www.academia.edu/Documents/in/Survival_Horror_Games"},{"id":999181,"name":"Film Genre Study","url":"https://www.academia.edu/Documents/in/Film_Genre_Study"}],"urls":[{"id":4654116,"url":"http://journals.sfu.ca/loading/index.php/loading/article/view/84"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-7401985-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="224767"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/224767/_2009_Video_Game_Genre_Evolution_and_Innovation_journal_"><img alt="Research paper thumbnail of (2009) Video Game Genre, Evolution and Innovation (journal)" class="work-thumbnail" src="https://attachments.academia-assets.com/31686955/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/224767/_2009_Video_Game_Genre_Evolution_and_Innovation_journal_">(2009) Video Game Genre, Evolution and Innovation (journal)</a></div><div class="wp-workCard_item"><span>Eludamos. Journal for Computer Game Culture</span><span>, 2009</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This paper provides a critical overview of the notion of genre in game studies and in the video g...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This paper provides a critical overview of the notion of genre in game studies and in the video game industry. Using the concept of genre requires one to acknowledge the recent developments of genre theory in other fields of research; one such development is the contestation of the idea of generic evolution. After a comparative analysis, video game genres are found to differ from literary and film genres precisely on the basis of evolution. The technological imperatives that characterize video game production are also pinpointed as relevant to the establishment and development of video game genres. Evolution is linked to the processes of innovation, and so a model of innovation is laid out from a compare-and-contrast approach to literary and film genre innovation. This model is tested through the history and analysis of the First-Person Shooter genre. This results in new insights for the question of genre in video games, as it is established that genre is rooted not in game mechanics, but in game aesthetics; that is, play-experiences that share a phenomenological and pragmatic quality, regardless of their technical implementation.</span></div><div class="wp-workCard_item"><div class="carousel-container carousel-container--sm" id="profile-work-224767-figures"><div class="prev-slide-container js-prev-button-container"><button aria-label="Previous" class="carousel-navigation-button js-profile-work-224767-figures-prev"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">arrow_back_ios</span></button></div><div class="slides-container js-slides-container"><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/2506608/figure-4-the-birth-of-the-first-person-shooter-label-in"><img alt="Fig. 4: The birth of the ‘First-Person Shooter’ label in Usenet discussion. Source: http://en.wikipedia.org/wiki/Doom_(video_game)) " class="figure-slide-image" src="https://figures.academia-assets.com/31686955/figure_001.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/2506615/figure-5-seamless-alternating-between-first-and-third-person"><img alt="Fig. 5: Seamless alternating between First- and Third-Person viewpoint in Rescue: The Embassy Mission " class="figure-slide-image" src="https://figures.academia-assets.com/31686955/figure_002.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/2506621/table-1-another-website-allgameguide-breaks-games-down-by"><img alt="Another website, AllGameGuide, breaks games down by genres, each containing a number of styles: " class="figure-slide-image" src="https://figures.academia-assets.com/31686955/table_001.jpg" /></a></figure></div><div class="next-slide-container js-next-button-container"><button aria-label="Next" class="carousel-navigation-button js-profile-work-224767-figures-next"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">arrow_forward_ios</span></button></div></div></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="c0a0fb0c6ecdf0dacab410012b312d3a" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":31686955,"asset_id":224767,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/31686955/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="224767"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="224767"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 224767; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=224767]").text(description); $(".js-view-count[data-work-id=224767]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 224767; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='224767']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "c0a0fb0c6ecdf0dacab410012b312d3a" } } $('.js-work-strip[data-work-id=224767]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":224767,"title":"(2009) Video Game Genre, Evolution and Innovation (journal)","translated_title":"","metadata":{"abstract":"This paper provides a critical overview of the notion of genre in game studies and in the video game industry. 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Using the concept of genre requires one to acknowledge the recent developments of genre theory in other fields of research; one such development is the contestation of the idea of generic evolution. After a comparative analysis, video game genres are found to differ from literary and film genres precisely on the basis of evolution. The technological imperatives that characterize video game production are also pinpointed as relevant to the establishment and development of video game genres. Evolution is linked to the processes of innovation, and so a model of innovation is laid out from a compare-and-contrast approach to literary and film genre innovation. This model is tested through the history and analysis of the First-Person Shooter genre. This results in new insights for the question of genre in video games, as it is established that genre is rooted not in game mechanics, but in game aesthetics; that is, play-experiences that share a phenomenological and pragmatic quality, regardless of their technical implementation. ","owner":{"id":149491,"first_name":"Dominic","middle_initials":null,"last_name":"Arsenault","page_name":"DominicArsenault","domain_name":"umontreal","created_at":"2010-03-25T00:16:25.829-07:00","display_name":"Dominic Arsenault","url":"https://umontreal.academia.edu/DominicArsenault"},"attachments":[{"id":31686955,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/31686955/thumbnails/1.jpg","file_name":"65-252-1-PB.pdf","download_url":"https://www.academia.edu/attachments/31686955/download_file","bulk_download_file_name":"2009_Video_Game_Genre_Evolution_and_Inn.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/31686955/65-252-1-PB-libre.pdf?1392406970=\u0026response-content-disposition=attachment%3B+filename%3D2009_Video_Game_Genre_Evolution_and_Inn.pdf\u0026Expires=1743554139\u0026Signature=MqA-jKrzKHqqtfiKni-cIUE69dwo8U7ZlKf58zTJiXtOLmeDFdWUrtPtQ4ZJ2QDVkTsotfaweKZp7rQt6hleXBIkL4HuMPMYxGQpXR1KmLvX82vyM4JlyltklPvztAvS7LNOm2v3SeJmUGUXruZZjTjc5PsZjop88QHkHsUCQ5H4N6zBDdZrVEAayMaSpXmgli2Po3HpJmIlDf7BSeC779Dl~plTfT8rhtZEgiYt5nEYbAReZvPjiUe1bfXqcQj4T30tjXPx8g7T1AqoWFdyoyfzVodP4WSs8Dg-9mm~CKQA4tb02Au2F0N5DmQQ5TOjPGsa0n8F1FNeuk2kl6eXkw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"},{"id":833556,"title":"Video Game Genre, Evolution and Innovation","file_type":"","scribd_thumbnail_url":"https://a.academia-assets.com/images/blank-paper.jpg","file_name":"","download_url":"https://www.academia.edu/attachments/833556/download_file","bulk_download_file_name":"2009_Video_Game_Genre_Evolution_and_Inn","bulk_download_url":"http://www.eludamos.org/index.php/eludamos/article/view/83"}],"research_interests":[{"id":883,"name":"Game studies","url":"https://www.academia.edu/Documents/in/Game_studies"},{"id":16499,"name":"Genre Theory","url":"https://www.academia.edu/Documents/in/Genre_Theory"},{"id":28248,"name":"Video Game History","url":"https://www.academia.edu/Documents/in/Video_Game_History"},{"id":330797,"name":"Video Game Genres","url":"https://www.academia.edu/Documents/in/Video_Game_Genres"},{"id":541667,"name":"First Person Shooter","url":"https://www.academia.edu/Documents/in/First_Person_Shooter"}],"urls":[{"id":4466809,"url":"http://www.eludamos.org/index.php/eludamos/article/view/83"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (true) { Aedu.setUpFigureCarousel('profile-work-224767-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="4188105"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/4188105/_2008_Methodological_questions_in_interactive_film_studies_journal_"><img alt="Research paper thumbnail of (2008) Methodological questions in ‘interactive film studies' (journal)" class="work-thumbnail" src="https://attachments.academia-assets.com/33884672/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/4188105/_2008_Methodological_questions_in_interactive_film_studies_journal_">(2008) Methodological questions in ‘interactive film studies' (journal)</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://umontreal.academia.edu/DominicArsenault">Dominic Arsenault</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://umontreal.academia.edu/BernardPerron">Bernard Perron</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/MartinPicard11">Martin Picard</a>, and <a class="" data-click-track="profile-work-strip-authors" href="https://umontreal.academia.edu/CarlTherrien">Carl Therrien</a></span></div><div class="wp-workCard_item"><span>New Review of Film and Television Studies</span><span>, Nov 2008</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This paper focuses on the phenomenon of interactive movies. As a genre that has almost totally va...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This paper focuses on the phenomenon of interactive movies. As a genre that has almost totally vanished, defined mostly by the abundant use of filmed video sequences (called Full‐Motion Video or FMV) on which the player/gamer can intervene, the interactive cinema has left an impressive corpus seemingly forgotten. In this research, we call attention to the significant historical heritage of this collection which we call early interactive cinema. Beside its cinematographic appeal (which had obviously led to its name, and probably also to its demise), our interest lies on its ergodic dimension, mainly what we are calling figures of interactivity and actional modalities.</span></div><div class="wp-workCard_item"><div class="carousel-container carousel-container--sm" id="profile-work-4188105-figures"><div class="prev-slide-container js-prev-button-container"><button aria-label="Previous" class="carousel-navigation-button js-profile-work-4188105-figures-prev"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">arrow_back_ios</span></button></div><div class="slides-container js-slides-container"><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/25358129/table-1-mainly-promote-execution-this-forms-the-first-of-our"><img alt="mainly promote execution. This forms the first of our four actional modalities. 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(journal)" class="work-thumbnail" src="https://attachments.academia-assets.com/31686953/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/224765/_2008_Guitar_Hero_Not_Like_Playing_Guitar_At_All_journal_">(2008) Guitar Hero: Not Like Playing Guitar At All? (journal)</a></div><div class="wp-workCard_item"><span>Loading... journal of the Canadian Game Studies Association</span><span>, 2008</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This paper examines the Guitar Hero franchise's ‘simulational’ fidelity in respect to actual guit...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This paper examines the Guitar Hero franchise's ‘simulational’ fidelity in respect to actual guitar-playing. This relationship is often overlooked by many who claim that the game is “not like playing guitar at all”. While there are some significant differences between Guitar Hero and guitar playing, the author takes an in-depth look at the game's controller and interface to argue that these differences are not as important as they may first seem. This paper will argue that game does not perfectly simulate any one dimension of music and guitar playing because it takes another approach toward simulation, favoring breadth over depth. This investigation herein results in a distinction being made between two simulation models for games.</span></div><div class="wp-workCard_item"><div class="carousel-container carousel-container--sm" id="profile-work-224765-figures"><div class="prev-slide-container js-prev-button-container"><button aria-label="Previous" class="carousel-navigation-button js-profile-work-224765-figures-prev"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">arrow_back_ios</span></button></div><div class="slides-container js-slides-container"><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/54237308/figure-1-guitar-fretboard-is-divided-into-frets-horizontal"><img alt="A guitar fretboard is divided into frets (horizontal metal bars placed at mathematical intervals) to even out the pitch variations.° The 6" string played open results in the lowest possible pitch of the instrument, an E in standard tuning (seen at the lower-left corner of Figure 1). Going down (right on the figure) one fret on the fretboard corresponds to one key forward (including blacks) on a piano, and every string can be thought of as a ‘jump’ forward five or four keys. A standard electric guitar has six strings and typically sports 21 to 24 frets which yield a range of 47 to 50 different notes, as illustrated in Figure 1. Figure I: Range of a 22-fret electric guitar (bottom), shown next to a keyboard (top) as reference " class="figure-slide-image" src="https://figures.academia-assets.com/31686953/figure_001.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/54237325/figure-2-earlier-mentioned-that-harmony-is-achieved-on"><img alt="Earlier I mentioned that harmony is achieved on a guitar by virtue of its six strings. I then demonstrated how the Guitar Hero controller folds these strings into each single button. While this resolves the issue of faithfulness to melody, it does not help with harmony at all. If the game controller effectively flattens the width of the guitar’s neck, it is not exaggerated to say that a dimension goes missing in the process: the possibility of playing across strings. By itself, the game controller is not a perfect simulation, but the game software remedies this through its visual interface that successfully models the two remaining dimensions of music, harmony and rhythm. Figure 2: A view of a real guitar (left) trying to replicate the Guitar Hero interface (right) " class="figure-slide-image" src="https://figures.academia-assets.com/31686953/figure_002.jpg" /></a></figure></div><div class="next-slide-container js-next-button-container"><button aria-label="Next" class="carousel-navigation-button js-profile-work-224765-figures-next"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">arrow_forward_ios</span></button></div></div></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="1575a217791315701ee3b9cefa32fc5d" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":31686953,"asset_id":224765,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/31686953/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="224765"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="224765"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 224765; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=224765]").text(description); $(".js-view-count[data-work-id=224765]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 224765; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='224765']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "1575a217791315701ee3b9cefa32fc5d" } } $('.js-work-strip[data-work-id=224765]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":224765,"title":"(2008) Guitar Hero: Not Like Playing Guitar At All? (journal)","translated_title":"","metadata":{"abstract":"This paper examines the Guitar Hero franchise's ‘simulational’ fidelity in respect to actual guitar-playing. This relationship is often overlooked by many who claim that the game is “not like playing guitar at all”. While there are some significant differences between Guitar Hero and guitar playing, the author takes an in-depth look at the game's controller and interface to argue that these differences are not as important as they may first seem. This paper will argue that game does not perfectly simulate any one dimension of music and guitar playing because it takes another approach toward simulation, favoring breadth over depth. This investigation herein results in a distinction being made between two simulation models for games. ","more_info":"Published in Vol. 1, No. 2 of the Loading... 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Most other accounts declare the Super NES the undisputed victor of the “16-bit console wars” of 1989–1995. In this book, Dominic Arsenault reminds us that although the SNES was a strong platform filled with high-quality games, it was also the product of a short-sighted corporate vision focused on maintaining Nintendo’s market share and business model. This led the firm to fall from a dominant position during its golden age (dubbed by Arsenault the “ReNESsance”) with the NES to the margins of the industry with the Nintendo 64 and GameCube consoles. Arsenault argues that Nintendo’s conservative business strategies and resistance to innovation during the SNES years explain its market defeat by Sony’s PlayStation. <br /><br />Extending the notion of “platform” to include the marketing forces that shape and constrain creative work, Arsenault draws not only on game studies and histories but on game magazines, boxes, manuals, and advertisements to identify the technological discourses and business models that formed Nintendo's "Super Power". He also describes the cultural changes in video games during the 1990s that slowly eroded the love of gamer enthusiasts ("Spoony Bards") for the SNES as the Nintendo generation matured. Finally, he chronicles the many technological changes that occurred through the SNES's lifetime, including full-motion video, CD-ROM storage, and the shift to 3D graphics. Because of the SNES platform’s "Silverware" architecture, Arsenault explains, Nintendo resisted these changes and continued to focus on traditional gameplay genres.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="bc58ef058869fdcad98f7482bbc965b6" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":54998021,"asset_id":35136570,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/54998021/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="35136570"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="35136570"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 35136570; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=35136570]").text(description); $(".js-view-count[data-work-id=35136570]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 35136570; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='35136570']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "bc58ef058869fdcad98f7482bbc965b6" } } $('.js-work-strip[data-work-id=35136570]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":35136570,"title":"Super Power, Spoony Bards, and Silverware: The Super Nintendo Entertainment System (Introduction)","translated_title":"","metadata":{"abstract":"Published by the MIT Press in the \"Platform Studies\" series, this is a book about the Super Nintendo Entertainment System that is not celebratory or self-congratulatory. 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Arsenault argues that Nintendo’s conservative business strategies and resistance to innovation during the SNES years explain its market defeat by Sony’s PlayStation. \n\nExtending the notion of “platform” to include the marketing forces that shape and constrain creative work, Arsenault draws not only on game studies and histories but on game magazines, boxes, manuals, and advertisements to identify the technological discourses and business models that formed Nintendo's \"Super Power\". He also describes the cultural changes in video games during the 1990s that slowly eroded the love of gamer enthusiasts (\"Spoony Bards\") for the SNES as the Nintendo generation matured. Finally, he chronicles the many technological changes that occurred through the SNES's lifetime, including full-motion video, CD-ROM storage, and the shift to 3D graphics. 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An Apologia of Interactive Storytelling, and an Apology to Cut-Scene Lovers" class="work-thumbnail" src="https://attachments.academia-assets.com/833802/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/224771/Narration_in_the_Video_Game_An_Apologia_of_Interactive_Storytelling_and_an_Apology_to_Cut_Scene_Lovers">Narration in the Video Game. An Apologia of Interactive Storytelling, and an Apology to Cut-Scene Lovers</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Do video games tell stories? And if they do, how and why do they do so? In this study, Dominic Ar...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Do video games tell stories? And if they do, how and why do they do so? In this study, Dominic Arsenault takes the reader through the battlefield of ludology and narratology in video game studies, and argues for a radically new narratological conception of the video game. Like a Starcraft Zerg Drone, he extracts ideas from the rich veins of new media and video game studies, along with the latest developments of narratology and French film theory, and morphs them in with his own personal historical insights and gameplay experience with video games and pen-and-paper role-playing games. The resulting theoretical approach finds that narration, as a process, is intrinsic to video game playing, independently of the “cut-scenes” usually much touted by the proponents of interactive storytelling. Academics with an interest in video game studies, narratology or new media will find here a novel perspective on a well-researched subject, while like-minded students and amateur, professional and prospective game developers will also appreciate the quick, efficient and readable introduction to these hot topics.</span></div><div class="wp-workCard_item"><div class="carousel-container carousel-container--sm" id="profile-work-224771-figures"><div class="prev-slide-container js-prev-button-container"><button aria-label="Previous" class="carousel-navigation-button js-profile-work-224771-figures-prev"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">arrow_back_ios</span></button></div><div class="slides-container js-slides-container"><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/2289995/figure-1-grand-theft-auto-vice-city-rockstar-north-modern"><img alt="Figure 1: Grand Theft Auto: Vice City (Rockstar North, 2003), a modern descendant of early video games like Pong (Nolan Bushnell/A tari, 1972) and Adventure (Will Crowther & Don Woods, 1977). possibility of living his own story, in the tradition of Adventure (Will Crowther & " class="figure-slide-image" src="https://figures.academia-assets.com/833802/figure_001.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/2289997/figure-2-cut-scene-in-the-simpsons-hit-run-radical"><img alt="Figure 2: Cut-scene in The Simpsons: Hit & Run (Radical Entertainment, 2003). The player is given the possibility of pressing a button to skip this non-interactive segment. " class="figure-slide-image" src="https://figures.academia-assets.com/833802/figure_002.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/2290008/figure-3-the-question-at-this-stage-and-so-will-return-to"><img alt="the question at this stage, and so I will return to this later. themselves actors, but that would be adding a layer of confusion to the complexity of " class="figure-slide-image" src="https://figures.academia-assets.com/833802/figure_003.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/2290014/figure-4-mediums-action-the-first-component-of-story-model"><img alt="mediums. Figure 4: Action, the first component of a story. model of conflict, and thus are suitable to being communicated by a variety of " class="figure-slide-image" src="https://figures.academia-assets.com/833802/figure_004.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/2290020/figure-5-astrix-et-oblix-contre-csar-cryo-super-star-wars"><img alt="Figure 5: Astérix et Obélix contre César (Cryo, 2000), Super Star Wars: The Empire Strikes Back (Sculptured Software & LucasArts, 1993) and The Matrix: Path of Nec (Shiny Entertainment, 2005), three games that replicate the action of their namesake movies. " class="figure-slide-image" src="https://figures.academia-assets.com/833802/figure_005.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/2290028/figure-6-the-two-levels-of-game-material-and-content"><img alt="Figure 6: The two levels of a game: material and content. animations, and possibly story elements: characters, events and settings. " class="figure-slide-image" src="https://figures.academia-assets.com/833802/figure_006.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/2290036/figure-7-night-at-the-inn-in-final-fantasy-personal"><img alt="Figure 7: A night at the inn in Final Fantasy (personal screenshots; a speaker projecting musical notes has been added over the second frame to represent the short music that the player hears at this moment). town, he can take his party of characters to an inn. As figure 7 shows from Final Fantasy (Square, 1987), when the player is in a " class="figure-slide-image" src="https://figures.academia-assets.com/833802/figure_007.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/2290046/figure-8-dual-structuring-of-the-elements-of-the-database"><img alt="Figure 8: Dual structuring of the elements of the database (top-most), first in game levels (center) by the monstrator, then in a run-through of the game (bottom) by the narrator. (Editing of online sources: Super Mario Bros. Headquarters (http://www.smbhg.com/users/sprite/) and Gamespot.com (http://www.gamespot.com/nes/action/supermariobros/screenindex.html), accessed February 24th. 2007). " class="figure-slide-image" src="https://figures.academia-assets.com/833802/figure_008.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/2290056/figure-9-evolution-of-graphical-representation-in-the"><img alt="Figure 9: Evolution of graphical representation in the adventure video game. From left to right: Zork (Infocom, 1980), The Hobbit (Beam Software/Melbourne House, 1982), and King’s Quest V (Sierra, 1990). as Adventure and Zork (represented below in figure 9), which used only text. This fictional example perfectly matches early adventure video games, such " class="figure-slide-image" src="https://figures.academia-assets.com/833802/figure_009.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/2290066/figure-10-ninja-gaiden-emblematic-of-the-cut-scene-tecmo-see"><img alt="Figure 10: Ninja Gaiden, emblematic figure of the “cut-scene”. (Tecmo, 1988; see figure 10 below). " class="figure-slide-image" src="https://figures.academia-assets.com/833802/figure_010.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/2290071/figure-11-three-diablo-games-same-place-different-spaces"><img alt="Figure 11: Three Diablo games: same place, different spaces. (personal screenshots) different games | have started. As can be seen, each of them is quite different from the others. In such a case, how algorithms specified by the designers. Figure 11 shows three “first floors” from three " class="figure-slide-image" src="https://figures.academia-assets.com/833802/figure_011.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/2290075/table-1-narration-in-the-video-game-an-apologia-of"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/833802/table_001.jpg" /></a></figure></div><div class="next-slide-container js-next-button-container"><button aria-label="Next" class="carousel-navigation-button js-profile-work-224771-figures-next"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">arrow_forward_ios</span></button></div></div></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="d7656155c3e988c9b0da0852e882c497" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":833802,"asset_id":224771,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/833802/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="224771"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="224771"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 224771; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=224771]").text(description); $(".js-view-count[data-work-id=224771]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 224771; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='224771']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "d7656155c3e988c9b0da0852e882c497" } } $('.js-work-strip[data-work-id=224771]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":224771,"title":"Narration in the Video Game. 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Like a Starcraft Zerg Drone, he extracts ideas from the rich veins of new media and video game studies, along with the latest developments of narratology and French film theory, and morphs them in with his own personal historical insights and gameplay experience with video games and pen-and-paper role-playing games. The resulting theoretical approach finds that narration, as a process, is intrinsic to video game playing, independently of the “cut-scenes” usually much touted by the proponents of interactive storytelling. Academics with an interest in video game studies, narratology or new media will find here a novel perspective on a well-researched subject, while like-minded students and amateur, professional and prospective game developers will also appreciate the quick, efficient and readable introduction to these hot topics. 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Cette étude de cas témoigne de l'applicabilité plus l...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">ii genre vidéoludique : le survival horror. 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href="https://www.academia.edu/35266600/Introduction_Its_not_Just_in_the_Game_the_Promotional_Context_of_Video_Games"><img alt="Research paper thumbnail of Introduction: " It's [not Just] in the Game " : the Promotional Context of Video Games" class="work-thumbnail" src="https://attachments.academia-assets.com/55126969/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/35266600/Introduction_Its_not_Just_in_the_Game_the_Promotional_Context_of_Video_Games">Introduction: " It's [not Just] in the Game " : the Promotional Context of Video Games</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://leicester.academia.edu/EdVollans">Ed Vollans</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://umontreal.academia.edu/CarlTherrien">Carl Therrien</a>, and <a class="" data-click-track="profile-work-strip-authors" href="https://umontreal.academia.edu/DominicArsenault">Dominic Arsenault</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Introduction to special issue "It's [not Just] in the Game" : the Promotional Context of Video G...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Introduction to special issue  "It's [not Just] in the Game" : the Promotional Context of Video Games</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="24fc3b75ad51dddd9aeb5b7f0980ff78" 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href="https://www.academia.edu/35136708/In_the_Frame_of_the_Magic_Cycle_The_Circle_s_of_Gameplay">In the Frame of the Magic Cycle: The Circle(s) of Gameplay</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">As video games will always be defined by what the player is doing, Dominic Arsenault and Bernard ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">As video games will always be defined by what the player is doing, Dominic Arsenault and Bernard Perron tackle the concept of gameplay in<br />“In the Frame of the Magic Cycle: The Circle(s) of Gameplay.” Opposed to<br />the spatial metaphor of Huizinga’s “magic circle” of gameplay, they conceptualize the partaking in a game as a cognitive frame, as an ongoing process. To cast off the implications of redundancy or stagnation contained in a circle, they resort instead to the figure of the spiral, which accounts for the gamer’s progression through the game. Their gamer- and gameplay-centric model features three interconnected spirals which represent the cycles gamers have to go through in order to answer gameplay, narrative, and interpretative questions, in both heuristic and hermeneutic fashion. They also underscore the fact that gamers cannot access a game’s algorithms directly and must instead construct an image of the game system, whose degree of fidelity towards the actual rules of the game may greatly vary (depending, for instance, if the gamer is playing to progress through the game, as opposed to playing to master the game mechanics).</span></div><div class="wp-workCard_item"><div class="carousel-container carousel-container--sm" id="profile-work-35136708-figures"><div class="prev-slide-container js-prev-button-container"><button aria-label="Previous" class="carousel-navigation-button js-profile-work-35136708-figures-prev"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">arrow_back_ios</span></button></div><div class="slides-container js-slides-container"><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/2941847/figure-1-in-the-frame-of-the-magic-cycle-the-circle-of"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/54998154/figure_001.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/2941851/figure-2-simple-way-the-rising-challenge-of-the-progression"><img alt="simple way, the “rising challenge” of the progression structure that is so common among video games.” Even in games of emergence, such as The Sims (Maxis, 2000) or Civilization (MicroProse, 1991), the gamer at first only has a few parameters and resources to manage, but eventually goes beyond the simple menial tasks and single-city micromanagement to romantic relationships and a whole kingdom or empire to run. It is not the game itself that is expanding—the game’s data and algorithms are a finite product on a CD-ROM or cartridge”—but only its gameplay. In the words of Katie Salen and Eric Zimmerman (66-67), it is the game’s space of possibility that expands, and not its design. Thee way eee! pacwpiarteaced sake Plex: sericea] axe seucwebiece Plan exnevoritves: " class="figure-slide-image" src="https://figures.academia-assets.com/54998154/figure_002.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/2941854/figure-3-in-the-frame-of-the-magic-cycle-the-circle-of"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/54998154/figure_003.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/2941857/figure-6-the-progression-through-the-cycles-of-gameplay"><img alt="Figure 6.4 The progression through the cycles of gameplay. " class="figure-slide-image" src="https://figures.academia-assets.com/54998154/figure_004.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/2941860/figure-5-in-the-frame-of-the-magic-cycle-the-circle-of"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/54998154/figure_005.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/2941863/figure-6-he-incorporates-more-and-more-of-the-games-elements"><img alt="he incorporates more and more of the game’s elements into the Game’ and uses this knowledge to apprehend the forthcoming events and have a better view of what he can do. But still, the boundaries between the Game’ and the game itself are blurred. The gamer only sees the game through his own view. In fact, as opposed to what our Figures 6.3 and 6.4 might have suggested, we have to realize that it is from outside the magic cycle that the game’s algorithm draws its information (see Figure 6.6): The activity of playing a game can then be understood as a symbiosis between the gamer (with all his background, expectations, preferences, knowledge, and skills), the gameplay (with all the spectrum of possible actions and reactions) and the Game’ (with all its varying shades of understanding). The experience of a game is a gradual shift from pre- dominantly bottom-up processes, where individual elements are analyzed before reacting, to top-down processes, where a mental image of the game system guides the gamer’s reactions and expectations.*' This echoes the conclusion Jesper Juul reaches in his essay dealing with abstraction in game design: “Actual game playing is about building and modifying one’s understanding over time. There is a first and a final impression of game. A player picks up a game, explores it, and puts it down.”” But there are " class="figure-slide-image" src="https://figures.academia-assets.com/54998154/figure_006.jpg" /></a></figure></div><div class="next-slide-container js-next-button-container"><button aria-label="Next" class="carousel-navigation-button js-profile-work-35136708-figures-next"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">arrow_forward_ios</span></button></div></div></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="944a3d1777c0a8771f0a47cbde18fb30" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":54998154,"asset_id":35136708,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/54998154/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="35136708"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="35136708"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 35136708; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=35136708]").text(description); $(".js-view-count[data-work-id=35136708]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 35136708; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='35136708']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "944a3d1777c0a8771f0a47cbde18fb30" } } $('.js-work-strip[data-work-id=35136708]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":35136708,"title":"In the Frame of the Magic Cycle: The Circle(s) of Gameplay","translated_title":"","metadata":{"abstract":"As video games will always be defined by what the player is doing, Dominic Arsenault and Bernard Perron tackle the concept of gameplay in\n“In the Frame of the Magic Cycle: The Circle(s) of Gameplay.” Opposed to\nthe spatial metaphor of Huizinga’s “magic circle” of gameplay, they conceptualize the partaking in a game as a cognitive frame, as an ongoing process. To cast off the implications of redundancy or stagnation contained in a circle, they resort instead to the figure of the spiral, which accounts for the gamer’s progression through the game. Their gamer- and gameplay-centric model features three interconnected spirals which represent the cycles gamers have to go through in order to answer gameplay, narrative, and interpretative questions, in both heuristic and hermeneutic fashion. They also underscore the fact that gamers cannot access a game’s algorithms directly and must instead construct an image of the game system, whose degree of fidelity towards the actual rules of the game may greatly vary (depending, for instance, if the gamer is playing to progress through the game, as opposed to playing to master the game mechanics).","ai_title_tag":"Rethinking Gameplay: A Spiral Perspective on Player Interaction"},"translated_abstract":"As video games will always be defined by what the player is doing, Dominic Arsenault and Bernard Perron tackle the concept of gameplay in\n“In the Frame of the Magic Cycle: The Circle(s) of Gameplay.” Opposed to\nthe spatial metaphor of Huizinga’s “magic circle” of gameplay, they conceptualize the partaking in a game as a cognitive frame, as an ongoing process. 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This notion is theoretically unpacked in the perspectives of narratology, interaction design and game design. Existing and imagined scenarios are presented in which subjective interfaces are elevated as core interaction mechanics. Finally, technical challenges posed by this approach are reviewed alongside relevant existing research leads.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="dfc4abae4f94e1196e85255e26e1a8b5" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":50682955,"asset_id":30223909,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/50682955/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="30223909"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="30223909"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 30223909; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=30223909]").text(description); $(".js-view-count[data-work-id=30223909]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 30223909; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='30223909']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "dfc4abae4f94e1196e85255e26e1a8b5" } } $('.js-work-strip[data-work-id=30223909]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":30223909,"title":"The Character as Subjective Interface","translated_title":"","metadata":{"abstract":"This paper re-frames virtual interactive characters as \" subjective interfaces \" with the purpose of highlighting original affordances for interactive story-telling through conversation. 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It is the end product of a three-year research<br />project conducted by the INTEGRAE team, and is divided into three parts. Part 1 contextualizes<br />the research on graphics and visuality within game studies, notably through the opposition between<br />fiction and rules and the difficulties in finding common vocabulary to discuss key visual concepts<br />such as perspective and point of view. Part 2 discusses a number of visual traditions through which<br />we frame video game graphics (film, animation, art history, graphical projection and technical<br />drawing), highlighting their relevance and shortcomings in addressing the long history of video<br />games and the very different paradigms of 2D and 3D graphics. Part 3 presents the Game FAVR,<br />a model that allows any game’s visual representation to be described and discussed through a<br />common frame and vocabulary. The framework is presented in an accessible manner and is<br />organized as a toolkit, with sample case studies, templates, and a flowchart for using the FAVR<br />provided as an annex1<br />, so that researchers and students can immediately start using it.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="20656907"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="20656907"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 20656907; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=20656907]").text(description); $(".js-view-count[data-work-id=20656907]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 20656907; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='20656907']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=20656907]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":20656907,"title":"The Game FAVR: A Framework for the Analysis of Visual Representation in Video Games","translated_title":"","metadata":{"abstract":"This paper lays out a unified framework of the ergodic animage, the rule-based and interactiondriven\npart of visual representation in video games. 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The framework is presented in an accessible manner and is\norganized as a toolkit, with sample case studies, templates, and a flowchart for using the FAVR\nprovided as an annex1\n, so that researchers and students can immediately start using it. "},"translated_abstract":"This paper lays out a unified framework of the ergodic animage, the rule-based and interactiondriven\npart of visual representation in video games. It is the end product of a three-year research\nproject conducted by the INTEGRAE team, and is divided into three parts. Part 1 contextualizes\nthe research on graphics and visuality within game studies, notably through the opposition between\nfiction and rules and the difficulties in finding common vocabulary to discuss key visual concepts\nsuch as perspective and point of view. Part 2 discusses a number of visual traditions through which\nwe frame video game graphics (film, animation, art history, graphical projection and technical\ndrawing), highlighting their relevance and shortcomings in addressing the long history of video\ngames and the very different paradigms of 2D and 3D graphics. Part 3 presents the Game FAVR,\na model that allows any game’s visual representation to be described and discussed through a\ncommon frame and vocabulary. The framework is presented in an accessible manner and is\norganized as a toolkit, with sample case studies, templates, and a flowchart for using the FAVR\nprovided as an annex1\n, so that researchers and students can immediately start using it. ","internal_url":"https://www.academia.edu/20656907/The_Game_FAVR_A_Framework_for_the_Analysis_of_Visual_Representation_in_Video_Games","translated_internal_url":"","created_at":"2016-01-23T13:18:19.317-08:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":3622084,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[{"id":13517201,"work_id":20656907,"tagging_user_id":3622084,"tagged_user_id":149491,"co_author_invite_id":null,"email":"d***t@umontreal.ca","affiliation":"Université de Montréal","display_order":0,"name":"Dominic Arsenault","title":"The Game FAVR: A Framework for the Analysis of Visual Representation in Video Games"},{"id":13517202,"work_id":20656907,"tagging_user_id":3622084,"tagged_user_id":761750,"co_author_invite_id":null,"email":"l***e@gmail.com","affiliation":"Université de Montréal","display_order":4194304,"name":"Audrey Larochelle","title":"The Game FAVR: A Framework for the Analysis of Visual Representation in Video Games"},{"id":41345811,"work_id":20656907,"tagging_user_id":149491,"tagged_user_id":3622084,"co_author_invite_id":8099164,"email":"p***e@gmail.com","affiliation":"Université de Montréal","display_order":1075838976,"name":"Pierre-Marc Côté","title":"The Game FAVR: A Framework for the Analysis of Visual Representation in Video Games"}],"downloadable_attachments":[],"slug":"The_Game_FAVR_A_Framework_for_the_Analysis_of_Visual_Representation_in_Video_Games","translated_slug":"","page_count":null,"language":"en","content_type":"Work","summary":"This paper lays out a unified framework of the ergodic animage, the rule-based and interactiondriven\npart of visual representation in video games. It is the end product of a three-year research\nproject conducted by the INTEGRAE team, and is divided into three parts. Part 1 contextualizes\nthe research on graphics and visuality within game studies, notably through the opposition between\nfiction and rules and the difficulties in finding common vocabulary to discuss key visual concepts\nsuch as perspective and point of view. Part 2 discusses a number of visual traditions through which\nwe frame video game graphics (film, animation, art history, graphical projection and technical\ndrawing), highlighting their relevance and shortcomings in addressing the long history of video\ngames and the very different paradigms of 2D and 3D graphics. Part 3 presents the Game FAVR,\na model that allows any game’s visual representation to be described and discussed through a\ncommon frame and vocabulary. The framework is presented in an accessible manner and is\norganized as a toolkit, with sample case studies, templates, and a flowchart for using the FAVR\nprovided as an annex1\n, so that researchers and students can immediately start using it. ","owner":{"id":3622084,"first_name":"Pierre-Marc","middle_initials":null,"last_name":"Côté","page_name":"PierreMarcCôté","domain_name":"umontreal","created_at":"2013-03-31T05:18:44.518-07:00","display_name":"Pierre-Marc Côté","url":"https://umontreal.academia.edu/PierreMarcC%C3%B4t%C3%A9"},"attachments":[],"research_interests":[{"id":863,"name":"Visual Studies","url":"https://www.academia.edu/Documents/in/Visual_Studies"},{"id":883,"name":"Game studies","url":"https://www.academia.edu/Documents/in/Game_studies"},{"id":5199,"name":"Video Games","url":"https://www.academia.edu/Documents/in/Video_Games"}],"urls":[{"id":6224852,"url":"http://journals.sfu.ca/loading/index.php/loading/article/view/155/190"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-20656907-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="7273716"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/7273716/_a_para%C3%AEtre_Pourquoi_limage_vid%C3%A9oludique_nest_pas_que_cin%C3%A9matographique_Les_racines_plurielles_des_technologies_graphiques_dans_lhistoriographie_du_jeu_vid%C3%A9o_book_chapter_"><img alt="Research paper thumbnail of (a paraître) Pourquoi l'image vidéoludique n'est pas (que) cinématographique: Les racines plurielles des technologies graphiques dans l'historiographie du jeu vidéo (book chapter)" class="work-thumbnail" src="https://attachments.academia-assets.com/33884793/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/7273716/_a_para%C3%AEtre_Pourquoi_limage_vid%C3%A9oludique_nest_pas_que_cin%C3%A9matographique_Les_racines_plurielles_des_technologies_graphiques_dans_lhistoriographie_du_jeu_vid%C3%A9o_book_chapter_">(a paraître) Pourquoi l'image vidéoludique n'est pas (que) cinématographique: Les racines plurielles des technologies graphiques dans l'historiographie du jeu vidéo (book chapter)</a></div><div class="wp-workCard_item"><span>Nicolas Dulac et Martin Lefebvre (dir.), Du média au postmédia : continuités, ruptures. Lausanne, L’Âge d’Homme.</span><span>, 2014</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Qu’on le considère comme le dixième art à la manière des Français ou comme divertissement juvéni...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Qu’on le considère comme le dixième art à la manière des Français  ou comme divertissement juvénile dangereux à l’instar de certains médias qui en font l’objet de paniques morales , le jeu vidéo demeure dans tous les cas un phénomène économique, culturel et social d’envergure, qu’on compare fréquemment avec le cinéma. De façon superficielle ou alors a priori, le cinéma semble être un point de comparaison incontournable lorsque vient le temps de situer le jeu vidéo : tous deux emploient l’image en mouvement et le son, tous deux peuvent être vus comme une forme d’expression qui réalise la synthèse des arts de l’espace et des arts du temps, ils emploient des dispositifs technologiques communs, et sont tous deux aux prises avec les tensions entre art, divertissement et industrie. Mais ces comparaisons ont leurs limites, et entraînent même des effets pervers dès lors qu’on les laisse façonner notre conception du jeu vidéo à travers un prisme cinématographique, alors que sous bien des aspects d’autres prismes s’avéreraient plus productifs. C’est le cas notamment lorsque vient le temps d’étudier le statut, la fonction et les techniques de graphisme qui composent l’image. <br /> <br />À travers ce texte, je m’efforcerai de montrer en quoi l’image vidéoludique n’entretient pas un rapport privilégié avec l’image cinématographique, et à partir de quels autres paradigmes et séries culturelles (Gaudreault, 1997) on peut l’envisager pour en cerner les tenants et aboutissants avec plus de précision. On verra aussi que certains types de cinéma y jouent également un rôle important. Mais pour en arriver là, il me faudra d’abord établir clairement les deux raisons qui nous poussent traditionnellement à surestimer l’importance du cinéma comme modèle approprié pour l’étude du jeu vidéo, soit la grande diversité interne qui est rassemblée et gommée sous le vocable « jeu vidéo », et la lutte pour une légitimation culturelle qui le caractérise depuis les années 1990.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="4ef5b1d72af2c0b8172e04a1dda5b1a3" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":33884793,"asset_id":7273716,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/33884793/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="7273716"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="7273716"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 7273716; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=7273716]").text(description); $(".js-view-count[data-work-id=7273716]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 7273716; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='7273716']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "4ef5b1d72af2c0b8172e04a1dda5b1a3" } } $('.js-work-strip[data-work-id=7273716]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":7273716,"title":"(a paraître) Pourquoi l'image vidéoludique n'est pas (que) cinématographique: Les racines plurielles des technologies graphiques dans l'historiographie du jeu vidéo (book chapter)","translated_title":"","metadata":{"abstract":"Qu’on le considère comme le dixième art à la manière des Français ou comme divertissement juvénile dangereux à l’instar de certains médias qui en font l’objet de paniques morales , le jeu vidéo demeure dans tous les cas un phénomène économique, culturel et social d’envergure, qu’on compare fréquemment avec le cinéma. 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De façon superficielle ou alors a priori, le cinéma semble être un point de comparaison incontournable lorsque vient le temps de situer le jeu vidéo : tous deux emploient l’image en mouvement et le son, tous deux peuvent être vus comme une forme d’expression qui réalise la synthèse des arts de l’espace et des arts du temps, ils emploient des dispositifs technologiques communs, et sont tous deux aux prises avec les tensions entre art, divertissement et industrie. Mais ces comparaisons ont leurs limites, et entraînent même des effets pervers dès lors qu’on les laisse façonner notre conception du jeu vidéo à travers un prisme cinématographique, alors que sous bien des aspects d’autres prismes s’avéreraient plus productifs. C’est le cas notamment lorsque vient le temps d’étudier le statut, la fonction et les techniques de graphisme qui composent l’image. \r\n\r\nÀ travers ce texte, je m’efforcerai de montrer en quoi l’image vidéoludique n’entretient pas un rapport privilégié avec l’image cinématographique, et à partir de quels autres paradigmes et séries culturelles (Gaudreault, 1997) on peut l’envisager pour en cerner les tenants et aboutissants avec plus de précision. On verra aussi que certains types de cinéma y jouent également un rôle important. Mais pour en arriver là, il me faudra d’abord établir clairement les deux raisons qui nous poussent traditionnellement à surestimer l’importance du cinéma comme modèle approprié pour l’étude du jeu vidéo, soit la grande diversité interne qui est rassemblée et gommée sous le vocable « jeu vidéo », et la lutte pour une légitimation culturelle qui le caractérise depuis les années 1990. 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La nôtre ne peut <br />faire l’économie du jeu vidéo. <br />Quels sont les effets des jeux vidéo sur les individus ? <br />Quelles sont les mutations en cours dans le monde des jeux vidéo ? <br />Quels types de culture et de société instaurent les jeux vidéo ?</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="c059dab26a08545d8579c3d030c5f5b8" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":33884935,"asset_id":7273823,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/33884935/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="7273823"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="7273823"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 7273823; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=7273823]").text(description); $(".js-view-count[data-work-id=7273823]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 7273823; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='7273823']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "c059dab26a08545d8579c3d030c5f5b8" } } $('.js-work-strip[data-work-id=7273823]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":7273823,"title":"(2014) Les jeux vidéo au coeur de l'art, de la culture et de la société (research report)","translated_title":"","metadata":{"abstract":"Si le jeu existe depuis toujours et que, suivant la fameuse \r\nthéorie de l’historien des cultures Johan Huizinga \r\n(1951[1938]), l’être humain ne serait pas tant un homo \r\nsapiens (un homme qui raisonne) qu’un homo ludens (un \r\nhomme qui joue), il n’en demeure pas moins que l’idée que \r\nl’on se fait du jeu évolue avec les époques. 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Autour de quelques stratégies vidéoludiques de design de personnage pour gérer l’actantialité ludonarrative du joueur et son immersion fictionnelle (book chapter)" class="work-thumbnail" src="https://attachments.academia-assets.com/33885178/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/7274218/_2013_Qui_est_je_Autour_de_quelques_strat%C3%A9gies_vid%C3%A9oludiques_de_design_de_personnage_pour_g%C3%A9rer_l_actantialit%C3%A9_ludonarrative_du_joueur_et_son_immersion_fictionnelle_book_chapter_">(2013) Qui est je? Autour de quelques stratégies vidéoludiques de design de personnage pour gérer l’actantialité ludonarrative du joueur et son immersion fictionnelle (book chapter)</a></div><div class="wp-workCard_item"><span>Avatars, personnages et acteurs virtuels (Renée Bourassa et Louise Poissant, dir.)</span><span>, 2013</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated"> De plus en plus, le jeu vidéo se présente et se vit en termes de récit, ce qui n’est pas sans ca...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">De plus en plus, le jeu vidéo se présente et se vit en termes de récit, ce qui n’est pas sans causer de nombreux maux de tête aux concepteurs de jeux comme aux théoriciens. Cet article s’intéresse au rôle central joué par le personnage dans la réconciliation de la narrativité et de l’interactivité à travers une étude théorique et critique de quelques stratégies employées par les concepteurs pour réaliser une fusion identitaire du joueur avec le personnage. Il y est question de deux postures d’immersion fictionnelle identifiées par Jean-Marie Schaeffer : l’identification allosubjective et la virtualisation identitaire. Ces postures sont liées à des processus de design de personnage : l’approche avatorielle, centrée sur le concept d’avatar et qui tente d’aplanir les différences intersubjectives, et l’approche actorielle, qui au contraire vise à les accroître en faisant du personnage un acteur autonome plutôt qu’un avatar. Ces deux pratiques ne sont pas mutuellement exclusives; au contraire, il est démontré que pour réaliser l’immersion fictionnelle, la plupart des jeux tentent de conserver une trace du joueur dans l’avatar, et une trace du personnage dans l’acteur. Des marqueurs d’allosubjectivité et de subjectivisation sont identifiés par l’analyse des jeux Metroid Prime, Duke Nukem 3D, Gears of War et Shadowrun. Enfin, l’article étudie également les rapports entre le ludique et le narratif selon le rôle actantiel du joueur et du personnage, écorchant au passage la convention du « héros muet » (silent protagonist) souvent rencontrée dans le jeu vidéo mais ultimement improductive.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="6e45d04e8d1d47f4ecfabf0080dff505" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":33885178,"asset_id":7274218,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/33885178/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="7274218"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="7274218"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 7274218; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=7274218]").text(description); $(".js-view-count[data-work-id=7274218]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 7274218; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='7274218']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "6e45d04e8d1d47f4ecfabf0080dff505" } } $('.js-work-strip[data-work-id=7274218]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":7274218,"title":"(2013) Qui est je? 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","more_info":"Version pré-publication","publication_date":{"day":null,"month":null,"year":2013,"errors":{}},"publication_name":"Avatars, personnages et acteurs virtuels (Renée Bourassa et Louise Poissant, dir.)"},"translated_abstract":" De plus en plus, le jeu vidéo se présente et se vit en termes de récit, ce qui n’est pas sans causer de nombreux maux de tête aux concepteurs de jeux comme aux théoriciens. Cet article s’intéresse au rôle central joué par le personnage dans la réconciliation de la narrativité et de l’interactivité à travers une étude théorique et critique de quelques stratégies employées par les concepteurs pour réaliser une fusion identitaire du joueur avec le personnage. Il y est question de deux postures d’immersion fictionnelle identifiées par Jean-Marie Schaeffer : l’identification allosubjective et la virtualisation identitaire. 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This transition is of the utmost importance in video game history because it conflates two different issues, which analysis and research will distillate: innovation in graphical technologies, in the capacity to represent and implement tridimensional game spaces, and in types of gameplay. From a research and disciplinary standpoint, rooting this study in the graphical dimension of gameplay allows for interesting and fruitful interdisciplinary explorations of art history and film studies approaches; moreover, it makes a strong case for the shortcomings of any single disciplinary framework, and for the importance of game studies to establish itself as an academic discipline of its own.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="7274028"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="7274028"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 7274028; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=7274028]").text(description); $(".js-view-count[data-work-id=7274028]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 7274028; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='7274028']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=7274028]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":7274028,"title":"(2013) Graphical technologies, innovation and aesthetics in the video game industry: a case study of the shift from 2d to 3d graphics in the 1990s (journal)","translated_title":"","metadata":{"abstract":"The present project aims to unravel the links between graphical technologies and innovation in the games industry and in gamer culture by focusing on a specific historical corpus: the transition from 2D to 3D graphics in the 1990s. 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This transition is of the utmost importance in video game history because it conflates two different issues, which analysis and research will distillate: innovation in graphical technologies, in the capacity to represent and implement tridimensional game spaces, and in types of gameplay. From a research and disciplinary standpoint, rooting this study in the graphical dimension of gameplay allows for interesting and fruitful interdisciplinary explorations of art history and film studies approaches; moreover, it makes a strong case for the shortcomings of any single disciplinary framework, and for the importance of game studies to establish itself as an academic discipline of its own.","owner":{"id":149491,"first_name":"Dominic","middle_initials":null,"last_name":"Arsenault","page_name":"DominicArsenault","domain_name":"umontreal","created_at":"2010-03-25T00:16:25.829-07:00","display_name":"Dominic Arsenault","url":"https://umontreal.academia.edu/DominicArsenault"},"attachments":[],"research_interests":[{"id":445,"name":"Computer Graphics","url":"https://www.academia.edu/Documents/in/Computer_Graphics"},{"id":883,"name":"Game studies","url":"https://www.academia.edu/Documents/in/Game_studies"},{"id":28248,"name":"Video Game History","url":"https://www.academia.edu/Documents/in/Video_Game_History"},{"id":32280,"name":"Platform Studies","url":"https://www.academia.edu/Documents/in/Platform_Studies"}],"urls":[{"id":3004444,"url":"http://www.gamejournal.it/graphical-technologies-innovation-and-aesthetics-in-the-video-game-industry-a-case-study-of-the-shift-from-2d-to-3d-graphics-in-the-1990s/#.U5HXBPmwJ5I"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-7274028-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="7273956"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/7273956/_2013_Reverse_engineering_graphical_innovation_an_introduction_to_graphical_regimes_journal_"><img alt="Research paper thumbnail of (2013) Reverse-engineering graphical innovation: an introduction to graphical regimes (journal)" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title">(2013) Reverse-engineering graphical innovation: an introduction to graphical regimes (journal)</div><div class="wp-workCard_item"><span>GAME Italian journal of game studies, vol.2</span><span>, 2013</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">While technological innovation is important in the games industry, it only leads to success in an...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">While technological innovation is important in the games industry, it only leads to success in an indirect and limited way. Technological innovation acts as a pole of attraction for game developers by delimiting a certain technological trajectory (Nelson and Winter, 1982), and it also appeals to consumers because a technology always brings about a certain promise as well (Raynauld, 2003). However, this trajectory must be coupled with a trajectory of innovation, that is, a renewing of game forms and possibilities of action for players. It is usually taken for granted in game historiography that “Game graphics were, and to a large extent still are, the main criteria by which advancing video game technology is benchmarked” (Wolf 2003, p.53). But there is more: if we understand graphics as a conceptual interface linking consumers with the underlying, invisible technologies, we must also integrate the usages that are made of these technologies. To this end, we would like to propose a new distinction into the model of relationships between innovation, technology and graphics: the concept of graphical regime. <br /> <br />We believe that the essential feature of new graphical technologies is to cement and standardize new 'graphical regimes', as in innovative ways of viewing and - more importantly - of playing. The graphical regime is to be understood as the range of affordances that the game creators open or close for the player, independently of the technical graphical capabilities or limitations. This paper will situate the concept of graphical regime and exemplify it through a range of historically relevant technologies and singular games. It will also open up theoretical questions of point of view and perspective, and situate these along the general problematic of the gap between technological limitations in graphics and gameplay affordances.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="7273956"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="7273956"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 7273956; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=7273956]").text(description); $(".js-view-count[data-work-id=7273956]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 7273956; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='7273956']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=7273956]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":7273956,"title":"(2013) Reverse-engineering graphical innovation: an introduction to graphical regimes (journal)","translated_title":"","metadata":{"abstract":"While technological innovation is important in the games industry, it only leads to success in an indirect and limited way. Technological innovation acts as a pole of attraction for game developers by delimiting a certain technological trajectory (Nelson and Winter, 1982), and it also appeals to consumers because a technology always brings about a certain promise as well (Raynauld, 2003). However, this trajectory must be coupled with a trajectory of innovation, that is, a renewing of game forms and possibilities of action for players. It is usually taken for granted in game historiography that “Game graphics were, and to a large extent still are, the main criteria by which advancing video game technology is benchmarked” (Wolf 2003, p.53). But there is more: if we understand graphics as a conceptual interface linking consumers with the underlying, invisible technologies, we must also integrate the usages that are made of these technologies. To this end, we would like to propose a new distinction into the model of relationships between innovation, technology and graphics: the concept of graphical regime.\r\n\r\nWe believe that the essential feature of new graphical technologies is to cement and standardize new 'graphical regimes', as in innovative ways of viewing and - more importantly - of playing. The graphical regime is to be understood as the range of affordances that the game creators open or close for the player, independently of the technical graphical capabilities or limitations. This paper will situate the concept of graphical regime and exemplify it through a range of historically relevant technologies and singular games. It will also open up theoretical questions of point of view and perspective, and situate these along the general problematic of the gap between technological limitations in graphics and gameplay affordances. ","publication_date":{"day":null,"month":null,"year":2013,"errors":{}},"publication_name":"GAME Italian journal of game studies, vol.2"},"translated_abstract":"While technological innovation is important in the games industry, it only leads to success in an indirect and limited way. Technological innovation acts as a pole of attraction for game developers by delimiting a certain technological trajectory (Nelson and Winter, 1982), and it also appeals to consumers because a technology always brings about a certain promise as well (Raynauld, 2003). However, this trajectory must be coupled with a trajectory of innovation, that is, a renewing of game forms and possibilities of action for players. It is usually taken for granted in game historiography that “Game graphics were, and to a large extent still are, the main criteria by which advancing video game technology is benchmarked” (Wolf 2003, p.53). But there is more: if we understand graphics as a conceptual interface linking consumers with the underlying, invisible technologies, we must also integrate the usages that are made of these technologies. To this end, we would like to propose a new distinction into the model of relationships between innovation, technology and graphics: the concept of graphical regime.\r\n\r\nWe believe that the essential feature of new graphical technologies is to cement and standardize new 'graphical regimes', as in innovative ways of viewing and - more importantly - of playing. The graphical regime is to be understood as the range of affordances that the game creators open or close for the player, independently of the technical graphical capabilities or limitations. This paper will situate the concept of graphical regime and exemplify it through a range of historically relevant technologies and singular games. It will also open up theoretical questions of point of view and perspective, and situate these along the general problematic of the gap between technological limitations in graphics and gameplay affordances. 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To this end, we would like to propose a new distinction into the model of relationships between innovation, technology and graphics: the concept of graphical regime.\r\n\r\nWe believe that the essential feature of new graphical technologies is to cement and standardize new 'graphical regimes', as in innovative ways of viewing and - more importantly - of playing. The graphical regime is to be understood as the range of affordances that the game creators open or close for the player, independently of the technical graphical capabilities or limitations. This paper will situate the concept of graphical regime and exemplify it through a range of historically relevant technologies and singular games. It will also open up theoretical questions of point of view and perspective, and situate these along the general problematic of the gap between technological limitations in graphics and gameplay affordances. ","owner":{"id":149491,"first_name":"Dominic","middle_initials":null,"last_name":"Arsenault","page_name":"DominicArsenault","domain_name":"umontreal","created_at":"2010-03-25T00:16:25.829-07:00","display_name":"Dominic Arsenault","url":"https://umontreal.academia.edu/DominicArsenault"},"attachments":[],"research_interests":[{"id":445,"name":"Computer Graphics","url":"https://www.academia.edu/Documents/in/Computer_Graphics"},{"id":883,"name":"Game studies","url":"https://www.academia.edu/Documents/in/Game_studies"},{"id":15282,"name":"Technological Innovation","url":"https://www.academia.edu/Documents/in/Technological_Innovation"},{"id":28248,"name":"Video Game History","url":"https://www.academia.edu/Documents/in/Video_Game_History"}],"urls":[{"id":3004407,"url":"http://www.gamejournal.it/reverse-engineering-graphical-innovation-an-introduction-to-graphical-regimes/"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-7273956-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="7273899"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/7273899/_2012_Au_del%C3%A0_de_lenvie_cin%C3%A9matographique_le_complexe_transm%C3%A9diatique_dAssassins_Creed_journal_"><img alt="Research paper thumbnail of (2012) Au-delà de "l'envie cinématographique": le complexe transmédiatique d'Assassin's Creed (journal)" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title">(2012) Au-delà de "l'envie cinématographique": le complexe transmédiatique d'Assassin's Creed (journal)</div><div class="wp-workCard_item"><span>Nouvelles vues, no.13 (dir. Elspeth Tulloch)</span><span>, 2012</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Nous proposons d'aborder dans cet article la question des rapports entre le jeu vidéo et le ciném...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Nous proposons d'aborder dans cet article la question des rapports entre le jeu vidéo et le cinéma à travers une étude de cas spécifique : la franchise Assassin's Creed, qui s'inscrit dans un contexte techno-historico-culturel bien précis : celui des technologies de l'image numérique au Québec. Plus particulièrement, nous nous questionnerons sur le rôle que joue la trilogie de courts métrages Assassin's Creed: Lineage, réalisés par Yves Simoneau et Hybride Technologies, et diffusés gratuitement sur YouTube dans le but d'attiser l'intérêt des joueurs avant la sortie du jeu Assassin's Creed II. De toutes les déclinaisons médiatiques de la franchise Assassin's Creed à ce jour, c'est elle qui incarne le mieux la convergence technologique entre le cinéma et le jeu vidéo, mais aussi notre modèle original de constellation transmédiatique. Loin d'agir comme de simples outils promotionnels, les films capitalisent sur les forces du cinéma et contribuent au déploiement de la franchise, mais non sans heurts. Du général au particulier, nous nous intéresserons d'abord à la relation entre ces deux arts, que l'on peut envisager sous deux paradigmes : celui de la remédiatisation et celui de la transmédialité; puis, nous traiterons du cas Assassin's Creed comme étant la plus récente incarnation des rapports de croisement et de tension entre le cinéma et le jeu vidéo. Nous montrerons comment le modèle transmédiatique s'inscrit dans le prolongement des questionnements portant sur la remédiatisation, puis comment il éclaire et met à contribution les spécificités qui distinguent le cinéma et le jeu vidéo comme les points communs qui les rassemblent.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="7273899"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="7273899"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 7273899; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=7273899]").text(description); $(".js-view-count[data-work-id=7273899]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 7273899; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='7273899']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=7273899]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":7273899,"title":"(2012) Au-delà de \"l'envie cinématographique\": le complexe transmédiatique d'Assassin's Creed (journal)","translated_title":"","metadata":{"abstract":"Nous proposons d'aborder dans cet article la question des rapports entre le jeu vidéo et le cinéma à travers une étude de cas spécifique : la franchise Assassin's Creed, qui s'inscrit dans un contexte techno-historico-culturel bien précis : celui des technologies de l'image numérique au Québec. Plus particulièrement, nous nous questionnerons sur le rôle que joue la trilogie de courts métrages Assassin's Creed: Lineage, réalisés par Yves Simoneau et Hybride Technologies, et diffusés gratuitement sur YouTube dans le but d'attiser l'intérêt des joueurs avant la sortie du jeu Assassin's Creed II. De toutes les déclinaisons médiatiques de la franchise Assassin's Creed à ce jour, c'est elle qui incarne le mieux la convergence technologique entre le cinéma et le jeu vidéo, mais aussi notre modèle original de constellation transmédiatique. Loin d'agir comme de simples outils promotionnels, les films capitalisent sur les forces du cinéma et contribuent au déploiement de la franchise, mais non sans heurts. Du général au particulier, nous nous intéresserons d'abord à la relation entre ces deux arts, que l'on peut envisager sous deux paradigmes : celui de la remédiatisation et celui de la transmédialité; puis, nous traiterons du cas Assassin's Creed comme étant la plus récente incarnation des rapports de croisement et de tension entre le cinéma et le jeu vidéo. Nous montrerons comment le modèle transmédiatique s'inscrit dans le prolongement des questionnements portant sur la remédiatisation, puis comment il éclaire et met à contribution les spécificités qui distinguent le cinéma et le jeu vidéo comme les points communs qui les rassemblent. ","publication_date":{"day":null,"month":null,"year":2012,"errors":{}},"publication_name":"Nouvelles vues, no.13 (dir. 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Loin d'agir comme de simples outils promotionnels, les films capitalisent sur les forces du cinéma et contribuent au déploiement de la franchise, mais non sans heurts. Du général au particulier, nous nous intéresserons d'abord à la relation entre ces deux arts, que l'on peut envisager sous deux paradigmes : celui de la remédiatisation et celui de la transmédialité; puis, nous traiterons du cas Assassin's Creed comme étant la plus récente incarnation des rapports de croisement et de tension entre le cinéma et le jeu vidéo. Nous montrerons comment le modèle transmédiatique s'inscrit dans le prolongement des questionnements portant sur la remédiatisation, puis comment il éclaire et met à contribution les spécificités qui distinguent le cinéma et le jeu vidéo comme les points communs qui les rassemblent. ","internal_url":"https://www.academia.edu/7273899/_2012_Au_del%C3%A0_de_lenvie_cin%C3%A9matographique_le_complexe_transm%C3%A9diatique_dAssassins_Creed_journal_","translated_internal_url":"","created_at":"2014-06-06T00:48:47.701-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":149491,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[{"id":59969,"work_id":7273899,"tagging_user_id":149491,"tagged_user_id":149725,"co_author_invite_id":null,"email":"V***r@design.ulaval.ca","affiliation":"Université Laval","display_order":null,"name":"Vincent Mauger","title":"(2012) Au-delà de \"l'envie cinématographique\": le complexe transmédiatique d'Assassin's Creed (journal)"}],"downloadable_attachments":[],"slug":"_2012_Au_delà_de_lenvie_cinématographique_le_complexe_transmédiatique_dAssassins_Creed_journal_","translated_slug":"","page_count":null,"language":"fr","content_type":"Work","summary":"Nous proposons d'aborder dans cet article la question des rapports entre le jeu vidéo et le cinéma à travers une étude de cas spécifique : la franchise Assassin's Creed, qui s'inscrit dans un contexte techno-historico-culturel bien précis : celui des technologies de l'image numérique au Québec. Plus particulièrement, nous nous questionnerons sur le rôle que joue la trilogie de courts métrages Assassin's Creed: Lineage, réalisés par Yves Simoneau et Hybride Technologies, et diffusés gratuitement sur YouTube dans le but d'attiser l'intérêt des joueurs avant la sortie du jeu Assassin's Creed II. De toutes les déclinaisons médiatiques de la franchise Assassin's Creed à ce jour, c'est elle qui incarne le mieux la convergence technologique entre le cinéma et le jeu vidéo, mais aussi notre modèle original de constellation transmédiatique. Loin d'agir comme de simples outils promotionnels, les films capitalisent sur les forces du cinéma et contribuent au déploiement de la franchise, mais non sans heurts. Du général au particulier, nous nous intéresserons d'abord à la relation entre ces deux arts, que l'on peut envisager sous deux paradigmes : celui de la remédiatisation et celui de la transmédialité; puis, nous traiterons du cas Assassin's Creed comme étant la plus récente incarnation des rapports de croisement et de tension entre le cinéma et le jeu vidéo. Nous montrerons comment le modèle transmédiatique s'inscrit dans le prolongement des questionnements portant sur la remédiatisation, puis comment il éclaire et met à contribution les spécificités qui distinguent le cinéma et le jeu vidéo comme les points communs qui les rassemblent. ","owner":{"id":149491,"first_name":"Dominic","middle_initials":null,"last_name":"Arsenault","page_name":"DominicArsenault","domain_name":"umontreal","created_at":"2010-03-25T00:16:25.829-07:00","display_name":"Dominic Arsenault","url":"https://umontreal.academia.edu/DominicArsenault"},"attachments":[],"research_interests":[{"id":883,"name":"Game studies","url":"https://www.academia.edu/Documents/in/Game_studies"},{"id":46344,"name":"Remediation","url":"https://www.academia.edu/Documents/in/Remediation"},{"id":55650,"name":"Transmedia","url":"https://www.academia.edu/Documents/in/Transmedia"},{"id":181456,"name":"Cultural Industry","url":"https://www.academia.edu/Documents/in/Cultural_Industry"}],"urls":[{"id":3004380,"url":"http://www.nouvellesvues.ulaval.ca/no-13-hiver-printemps-2012-le-cinema-quebecois-et-les-autres-arts-dirige-par-elspeth-tulloch/articles/au-dela-de-lenvie-cinematographique-le-complexe-transmediatique-dassassins-creed-par-dominic-arsenault-et-vincent-mauger/"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-7273899-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="7401944"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/7401944/_2011_La_l%C3%A9gitimation_de_la_culture_populaire_nombres_mutations_et_autorit%C3%A9s_symboliques"><img alt="Research paper thumbnail of (2011) La légitimation de la culture populaire: nombres, mutations et autorités symboliques" class="work-thumbnail" src="https://attachments.academia-assets.com/33991649/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/7401944/_2011_La_l%C3%A9gitimation_de_la_culture_populaire_nombres_mutations_et_autorit%C3%A9s_symboliques">(2011) La légitimation de la culture populaire: nombres, mutations et autorités symboliques</a></div><div class="wp-workCard_item"><span>Kinephanos, vol.2, no.1: La légitimation culturelle / Cultural legitimization</span><span>, Apr 2011</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">La pertinence des enjeux de la légitimation culturelle aujourd’hui fait que la question ne peut ê...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">La pertinence des enjeux de la légitimation culturelle aujourd’hui fait que la question ne peut être écartée. Plus largement, c’est l’effondrement des autorités symboliques, qui traditionnellement se portaient garantes d’un certain calibre au niveau des contenus et des compétences soutenues, qui est soulevé par cette problématique. Ce numéro de Kinephanos a été pour nous une occasion privilégiée de réfléchir à cette question complexe et d’une contemporanéité tombant à point.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="534e1ebe1ee27cb76931a04fff9898f4" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":33991649,"asset_id":7401944,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/33991649/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="7401944"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="7401944"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 7401944; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=7401944]").text(description); $(".js-view-count[data-work-id=7401944]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 7401944; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='7401944']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "534e1ebe1ee27cb76931a04fff9898f4" } } $('.js-work-strip[data-work-id=7401944]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":7401944,"title":"(2011) La légitimation de la culture populaire: nombres, mutations et autorités symboliques","translated_title":"","metadata":{"abstract":"La pertinence des enjeux de la légitimation culturelle aujourd’hui fait que la question ne peut être écartée. 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Cette approche permet de résoudre les problèmes qui découlent du phénomène de l’hybridité générique, une difficulté qui limite l’analyse formelle d’objets culturels d’un point de vue générique. Ce nouveau paradigme donne la primauté non pas au texte comme objet fini, mais à l’expérience de son parcours par un lecteur/spectateur/joueur. <br />Pour la pragmatique des effets génériques, le genre s’exprime dans des effets génériques qui se manifestent ponctuellement à travers la séquence sémiotique d’un objet culturel, que le <br />lecteur/spectateur/joueur peut reconnaître et qui modulent à la fois son horizon d’attentes et sa compréhension cognitive de l’objet. <br /> <br />La pertinence et les ramifications de cette approche sont démontrées à l’aide d’une étude de cas qui porte sur le genre vidéoludique du survival horror. Celui-ci est déconstruit en ses deux composantes, soit le genre thématique de l’horreur et le genre ludique du survival. Chacun est étudié à travers deux jeux, Resident Evil et Diablo, respectivement emblématique et étranger au genre. Néanmoins, l’analyse des éléments formels et de la jouabilité de Diablo du point de vue expérientiel démontre que ses mécaniques de jeu et sa structure donnent lieu à des effets <br />d’horreur et de survival qui, bien que non prioritaires, ne peuvent être écartés d’une analyse sans risquer de dénaturer l’objet.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="7402016"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="7402016"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 7402016; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=7402016]").text(description); $(".js-view-count[data-work-id=7402016]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 7402016; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='7402016']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=7402016]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":7402016,"title":"(2010) Introduction à la pragmatique des effets génériques: l’horreur dans tous ses états ","translated_title":"","metadata":{"abstract":"Cet article pose les jalons d’une nouvelle approche théorique de la question du genre, la pragmatique des effets génériques. 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Néanmoins, l’analyse des éléments formels et de la jouabilité de Diablo du point de vue expérientiel démontre que ses mécaniques de jeu et sa structure donnent lieu à des effets \r\nd’horreur et de survival qui, bien que non prioritaires, ne peuvent être écartés d’une analyse sans risquer de dénaturer l’objet. ","internal_url":"https://www.academia.edu/7402016/_2010_Introduction_%C3%A0_la_pragmatique_des_effets_g%C3%A9n%C3%A9riques_l_horreur_dans_tous_ses_%C3%A9tats","translated_internal_url":"","created_at":"2014-06-19T15:34:27.430-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":149491,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[],"slug":"_2010_Introduction_à_la_pragmatique_des_effets_génériques_l_horreur_dans_tous_ses_états","translated_slug":"","page_count":null,"language":"fr","content_type":"Work","summary":"Cet article pose les jalons d’une nouvelle approche théorique de la question du genre, la pragmatique des effets génériques. Cette approche permet de résoudre les problèmes qui découlent du phénomène de l’hybridité générique, une difficulté qui limite l’analyse formelle d’objets culturels d’un point de vue générique. Ce nouveau paradigme donne la primauté non pas au texte comme objet fini, mais à l’expérience de son parcours par un lecteur/spectateur/joueur. \r\nPour la pragmatique des effets génériques, le genre s’exprime dans des effets génériques qui se manifestent ponctuellement à travers la séquence sémiotique d’un objet culturel, que le \r\nlecteur/spectateur/joueur peut reconnaître et qui modulent à la fois son horizon d’attentes et sa compréhension cognitive de l’objet. \r\n \r\nLa pertinence et les ramifications de cette approche sont démontrées à l’aide d’une étude de cas qui porte sur le genre vidéoludique du survival horror. Celui-ci est déconstruit en ses deux composantes, soit le genre thématique de l’horreur et le genre ludique du survival. Chacun est étudié à travers deux jeux, Resident Evil et Diablo, respectivement emblématique et étranger au genre. Néanmoins, l’analyse des éléments formels et de la jouabilité de Diablo du point de vue expérientiel démontre que ses mécaniques de jeu et sa structure donnent lieu à des effets \r\nd’horreur et de survival qui, bien que non prioritaires, ne peuvent être écartés d’une analyse sans risquer de dénaturer l’objet. ","owner":{"id":149491,"first_name":"Dominic","middle_initials":null,"last_name":"Arsenault","page_name":"DominicArsenault","domain_name":"umontreal","created_at":"2010-03-25T00:16:25.829-07:00","display_name":"Dominic Arsenault","url":"https://umontreal.academia.edu/DominicArsenault"},"attachments":[],"research_interests":[{"id":883,"name":"Game studies","url":"https://www.academia.edu/Documents/in/Game_studies"},{"id":1474,"name":"Video Game Versions of Genres and Genre Versions of Video Games","url":"https://www.academia.edu/Documents/in/Video_Game_Versions_of_Genres_and_Genre_Versions_of_Video_Games"},{"id":2206,"name":"Genre studies","url":"https://www.academia.edu/Documents/in/Genre_studies"},{"id":290768,"name":"Survival Horror Games","url":"https://www.academia.edu/Documents/in/Survival_Horror_Games"}],"urls":[{"id":3061888,"url":"http://journals.sfu.ca/loading/index.php/loading/article/view/87/84"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-7402016-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="7401985"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/7401985/_2010_Introduction_from_the_Ludicin%C3%A9_research_team"><img alt="Research paper thumbnail of (2010) Introduction from the Ludiciné research team" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title">(2010) Introduction from the Ludiciné research team</div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://umontreal.academia.edu/DominicArsenault">Dominic Arsenault</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://uqat.academia.edu/GuillaumeRouxGirard">Guillaume Roux-Girard</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://umontreal.academia.edu/CarlTherrien">Carl Therrien</a>, and <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/MartinPicard11">Martin Picard</a></span></div><div class="wp-workCard_item"><span>Loading... journal of the Canadian Game Studies Association, special issue (vol.4, no.6)</span><span>, 2010</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The papers published herein favor an intermedial approach to the manifestations of horror in othe...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The papers published herein favor an intermedial approach to the manifestations of horror in other cultural practices (literary and filmic) in order to chart the realm of videoludic horror. This study of videoludic, filmic and literary horror constitutes an essential starting point to better understand the specificity of each media, and opens up multiple areas of inquiry. Of concern are the ways in which the video game reuses the narrative strategies of novels and the staging of horror developed in film, the recurrent modalities of “ludification” in multiple videoludic adaptations of films or novels, and the expansion of filmic horror through the adaptation of horror video games. A more thorough examination of the different variations of horror in the video game also proves necessary</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="7401985"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="7401985"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 7401985; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=7401985]").text(description); $(".js-view-count[data-work-id=7401985]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 7401985; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='7401985']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=7401985]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":7401985,"title":"(2010) Introduction from the Ludiciné research team","translated_title":"","metadata":{"abstract":"The papers published herein favor an intermedial approach to the manifestations of horror in other cultural practices (literary and filmic) in order to chart the realm of videoludic horror. This study of videoludic, filmic and literary horror constitutes an essential starting point to better understand the specificity of each media, and opens up multiple areas of inquiry. Of concern are the ways in which the video game reuses the narrative strategies of novels and the staging of horror developed in film, the recurrent modalities of “ludification” in multiple videoludic adaptations of films or novels, and the expansion of filmic horror through the adaptation of horror video games. A more thorough examination of the different variations of horror in the video game also proves necessary","publication_date":{"day":null,"month":null,"year":2010,"errors":{}},"publication_name":"Loading... journal of the Canadian Game Studies Association, special issue (vol.4, no.6)"},"translated_abstract":"The papers published herein favor an intermedial approach to the manifestations of horror in other cultural practices (literary and filmic) in order to chart the realm of videoludic horror. 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A more thorough examination of the different variations of horror in the video game also proves necessary","internal_url":"https://www.academia.edu/7401985/_2010_Introduction_from_the_Ludicin%C3%A9_research_team","translated_internal_url":"","created_at":"2014-06-19T15:30:51.412-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":149491,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[{"id":59974,"work_id":7401985,"tagging_user_id":149491,"tagged_user_id":435028,"co_author_invite_id":null,"email":"g***d@uqat.ca","affiliation":"Université du Québec en Abitibi-Témiscamingue","display_order":1,"name":"Guillaume Roux-Girard","title":"(2010) Introduction from the Ludiciné research team"},{"id":59976,"work_id":7401985,"tagging_user_id":149491,"tagged_user_id":151308,"co_author_invite_id":null,"email":"c***n@gmail.com","affiliation":"Université de Montréal","display_order":2,"name":"Carl Therrien","title":"(2010) Introduction from the Ludiciné research team"},{"id":59973,"work_id":7401985,"tagging_user_id":149491,"tagged_user_id":327160,"co_author_invite_id":null,"email":"p***n@gmail.com","display_order":3,"name":"Martin Picard","title":"(2010) Introduction from the Ludiciné research team"},{"id":59971,"work_id":7401985,"tagging_user_id":149491,"tagged_user_id":175239,"co_author_invite_id":null,"email":"b***n@umontreal.ca","affiliation":"Université de Montréal","display_order":4,"name":"Bernard Perron","title":"(2010) Introduction from the Ludiciné research team"}],"downloadable_attachments":[],"slug":"_2010_Introduction_from_the_Ludiciné_research_team","translated_slug":"","page_count":null,"language":"en","content_type":"Work","summary":"The papers published herein favor an intermedial approach to the manifestations of horror in other cultural practices (literary and filmic) in order to chart the realm of videoludic horror. 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A more thorough examination of the different variations of horror in the video game also proves necessary","owner":{"id":149491,"first_name":"Dominic","middle_initials":null,"last_name":"Arsenault","page_name":"DominicArsenault","domain_name":"umontreal","created_at":"2010-03-25T00:16:25.829-07:00","display_name":"Dominic Arsenault","url":"https://umontreal.academia.edu/DominicArsenault"},"attachments":[],"research_interests":[{"id":883,"name":"Game studies","url":"https://www.academia.edu/Documents/in/Game_studies"},{"id":5549,"name":"Horror Film","url":"https://www.academia.edu/Documents/in/Horror_Film"},{"id":57489,"name":"Horror Literature","url":"https://www.academia.edu/Documents/in/Horror_Literature"},{"id":290768,"name":"Survival Horror Games","url":"https://www.academia.edu/Documents/in/Survival_Horror_Games"},{"id":999181,"name":"Film Genre Study","url":"https://www.academia.edu/Documents/in/Film_Genre_Study"}],"urls":[{"id":4654116,"url":"http://journals.sfu.ca/loading/index.php/loading/article/view/84"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-7401985-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="224767"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/224767/_2009_Video_Game_Genre_Evolution_and_Innovation_journal_"><img alt="Research paper thumbnail of (2009) Video Game Genre, Evolution and Innovation (journal)" class="work-thumbnail" src="https://attachments.academia-assets.com/31686955/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/224767/_2009_Video_Game_Genre_Evolution_and_Innovation_journal_">(2009) Video Game Genre, Evolution and Innovation (journal)</a></div><div class="wp-workCard_item"><span>Eludamos. Journal for Computer Game Culture</span><span>, 2009</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This paper provides a critical overview of the notion of genre in game studies and in the video g...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This paper provides a critical overview of the notion of genre in game studies and in the video game industry. Using the concept of genre requires one to acknowledge the recent developments of genre theory in other fields of research; one such development is the contestation of the idea of generic evolution. After a comparative analysis, video game genres are found to differ from literary and film genres precisely on the basis of evolution. The technological imperatives that characterize video game production are also pinpointed as relevant to the establishment and development of video game genres. Evolution is linked to the processes of innovation, and so a model of innovation is laid out from a compare-and-contrast approach to literary and film genre innovation. This model is tested through the history and analysis of the First-Person Shooter genre. This results in new insights for the question of genre in video games, as it is established that genre is rooted not in game mechanics, but in game aesthetics; that is, play-experiences that share a phenomenological and pragmatic quality, regardless of their technical implementation.</span></div><div class="wp-workCard_item"><div class="carousel-container carousel-container--sm" id="profile-work-224767-figures"><div class="prev-slide-container js-prev-button-container"><button aria-label="Previous" class="carousel-navigation-button js-profile-work-224767-figures-prev"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">arrow_back_ios</span></button></div><div class="slides-container js-slides-container"><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/2506608/figure-4-the-birth-of-the-first-person-shooter-label-in"><img alt="Fig. 4: The birth of the ‘First-Person Shooter’ label in Usenet discussion. Source: http://en.wikipedia.org/wiki/Doom_(video_game)) " class="figure-slide-image" src="https://figures.academia-assets.com/31686955/figure_001.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/2506615/figure-5-seamless-alternating-between-first-and-third-person"><img alt="Fig. 5: Seamless alternating between First- and Third-Person viewpoint in Rescue: The Embassy Mission " class="figure-slide-image" src="https://figures.academia-assets.com/31686955/figure_002.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/2506621/table-1-another-website-allgameguide-breaks-games-down-by"><img alt="Another website, AllGameGuide, breaks games down by genres, each containing a number of styles: " class="figure-slide-image" src="https://figures.academia-assets.com/31686955/table_001.jpg" /></a></figure></div><div class="next-slide-container js-next-button-container"><button aria-label="Next" class="carousel-navigation-button js-profile-work-224767-figures-next"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">arrow_forward_ios</span></button></div></div></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="c0a0fb0c6ecdf0dacab410012b312d3a" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":31686955,"asset_id":224767,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/31686955/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="224767"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="224767"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 224767; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=224767]").text(description); $(".js-view-count[data-work-id=224767]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 224767; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='224767']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "c0a0fb0c6ecdf0dacab410012b312d3a" } } $('.js-work-strip[data-work-id=224767]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":224767,"title":"(2009) Video Game Genre, Evolution and Innovation (journal)","translated_title":"","metadata":{"abstract":"This paper provides a critical overview of the notion of genre in game studies and in the video game industry. 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Using the concept of genre requires one to acknowledge the recent developments of genre theory in other fields of research; one such development is the contestation of the idea of generic evolution. After a comparative analysis, video game genres are found to differ from literary and film genres precisely on the basis of evolution. The technological imperatives that characterize video game production are also pinpointed as relevant to the establishment and development of video game genres. Evolution is linked to the processes of innovation, and so a model of innovation is laid out from a compare-and-contrast approach to literary and film genre innovation. This model is tested through the history and analysis of the First-Person Shooter genre. This results in new insights for the question of genre in video games, as it is established that genre is rooted not in game mechanics, but in game aesthetics; that is, play-experiences that share a phenomenological and pragmatic quality, regardless of their technical implementation. ","owner":{"id":149491,"first_name":"Dominic","middle_initials":null,"last_name":"Arsenault","page_name":"DominicArsenault","domain_name":"umontreal","created_at":"2010-03-25T00:16:25.829-07:00","display_name":"Dominic Arsenault","url":"https://umontreal.academia.edu/DominicArsenault"},"attachments":[{"id":31686955,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/31686955/thumbnails/1.jpg","file_name":"65-252-1-PB.pdf","download_url":"https://www.academia.edu/attachments/31686955/download_file","bulk_download_file_name":"2009_Video_Game_Genre_Evolution_and_Inn.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/31686955/65-252-1-PB-libre.pdf?1392406970=\u0026response-content-disposition=attachment%3B+filename%3D2009_Video_Game_Genre_Evolution_and_Inn.pdf\u0026Expires=1743554139\u0026Signature=MqA-jKrzKHqqtfiKni-cIUE69dwo8U7ZlKf58zTJiXtOLmeDFdWUrtPtQ4ZJ2QDVkTsotfaweKZp7rQt6hleXBIkL4HuMPMYxGQpXR1KmLvX82vyM4JlyltklPvztAvS7LNOm2v3SeJmUGUXruZZjTjc5PsZjop88QHkHsUCQ5H4N6zBDdZrVEAayMaSpXmgli2Po3HpJmIlDf7BSeC779Dl~plTfT8rhtZEgiYt5nEYbAReZvPjiUe1bfXqcQj4T30tjXPx8g7T1AqoWFdyoyfzVodP4WSs8Dg-9mm~CKQA4tb02Au2F0N5DmQQ5TOjPGsa0n8F1FNeuk2kl6eXkw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"},{"id":833556,"title":"Video Game Genre, Evolution and Innovation","file_type":"","scribd_thumbnail_url":"https://a.academia-assets.com/images/blank-paper.jpg","file_name":"","download_url":"https://www.academia.edu/attachments/833556/download_file","bulk_download_file_name":"2009_Video_Game_Genre_Evolution_and_Inn","bulk_download_url":"http://www.eludamos.org/index.php/eludamos/article/view/83"}],"research_interests":[{"id":883,"name":"Game studies","url":"https://www.academia.edu/Documents/in/Game_studies"},{"id":16499,"name":"Genre Theory","url":"https://www.academia.edu/Documents/in/Genre_Theory"},{"id":28248,"name":"Video Game History","url":"https://www.academia.edu/Documents/in/Video_Game_History"},{"id":330797,"name":"Video Game Genres","url":"https://www.academia.edu/Documents/in/Video_Game_Genres"},{"id":541667,"name":"First Person Shooter","url":"https://www.academia.edu/Documents/in/First_Person_Shooter"}],"urls":[{"id":4466809,"url":"http://www.eludamos.org/index.php/eludamos/article/view/83"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (true) { Aedu.setUpFigureCarousel('profile-work-224767-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="4188105"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/4188105/_2008_Methodological_questions_in_interactive_film_studies_journal_"><img alt="Research paper thumbnail of (2008) Methodological questions in ‘interactive film studies' (journal)" class="work-thumbnail" src="https://attachments.academia-assets.com/33884672/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/4188105/_2008_Methodological_questions_in_interactive_film_studies_journal_">(2008) Methodological questions in ‘interactive film studies' (journal)</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://umontreal.academia.edu/DominicArsenault">Dominic Arsenault</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://umontreal.academia.edu/BernardPerron">Bernard Perron</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/MartinPicard11">Martin Picard</a>, and <a class="" data-click-track="profile-work-strip-authors" href="https://umontreal.academia.edu/CarlTherrien">Carl Therrien</a></span></div><div class="wp-workCard_item"><span>New Review of Film and Television Studies</span><span>, Nov 2008</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This paper focuses on the phenomenon of interactive movies. As a genre that has almost totally va...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This paper focuses on the phenomenon of interactive movies. As a genre that has almost totally vanished, defined mostly by the abundant use of filmed video sequences (called Full‐Motion Video or FMV) on which the player/gamer can intervene, the interactive cinema has left an impressive corpus seemingly forgotten. In this research, we call attention to the significant historical heritage of this collection which we call early interactive cinema. Beside its cinematographic appeal (which had obviously led to its name, and probably also to its demise), our interest lies on its ergodic dimension, mainly what we are calling figures of interactivity and actional modalities.</span></div><div class="wp-workCard_item"><div class="carousel-container carousel-container--sm" id="profile-work-4188105-figures"><div class="prev-slide-container js-prev-button-container"><button aria-label="Previous" class="carousel-navigation-button js-profile-work-4188105-figures-prev"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">arrow_back_ios</span></button></div><div class="slides-container js-slides-container"><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/25358129/table-1-mainly-promote-execution-this-forms-the-first-of-our"><img alt="mainly promote execution. This forms the first of our four actional modalities. 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(journal)" class="work-thumbnail" src="https://attachments.academia-assets.com/31686953/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/224765/_2008_Guitar_Hero_Not_Like_Playing_Guitar_At_All_journal_">(2008) Guitar Hero: Not Like Playing Guitar At All? (journal)</a></div><div class="wp-workCard_item"><span>Loading... journal of the Canadian Game Studies Association</span><span>, 2008</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This paper examines the Guitar Hero franchise's ‘simulational’ fidelity in respect to actual guit...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This paper examines the Guitar Hero franchise's ‘simulational’ fidelity in respect to actual guitar-playing. This relationship is often overlooked by many who claim that the game is “not like playing guitar at all”. While there are some significant differences between Guitar Hero and guitar playing, the author takes an in-depth look at the game's controller and interface to argue that these differences are not as important as they may first seem. This paper will argue that game does not perfectly simulate any one dimension of music and guitar playing because it takes another approach toward simulation, favoring breadth over depth. This investigation herein results in a distinction being made between two simulation models for games.</span></div><div class="wp-workCard_item"><div class="carousel-container carousel-container--sm" id="profile-work-224765-figures"><div class="prev-slide-container js-prev-button-container"><button aria-label="Previous" class="carousel-navigation-button js-profile-work-224765-figures-prev"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">arrow_back_ios</span></button></div><div class="slides-container js-slides-container"><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/54237308/figure-1-guitar-fretboard-is-divided-into-frets-horizontal"><img alt="A guitar fretboard is divided into frets (horizontal metal bars placed at mathematical intervals) to even out the pitch variations.° The 6" string played open results in the lowest possible pitch of the instrument, an E in standard tuning (seen at the lower-left corner of Figure 1). Going down (right on the figure) one fret on the fretboard corresponds to one key forward (including blacks) on a piano, and every string can be thought of as a ‘jump’ forward five or four keys. A standard electric guitar has six strings and typically sports 21 to 24 frets which yield a range of 47 to 50 different notes, as illustrated in Figure 1. Figure I: Range of a 22-fret electric guitar (bottom), shown next to a keyboard (top) as reference " class="figure-slide-image" src="https://figures.academia-assets.com/31686953/figure_001.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/54237325/figure-2-earlier-mentioned-that-harmony-is-achieved-on"><img alt="Earlier I mentioned that harmony is achieved on a guitar by virtue of its six strings. I then demonstrated how the Guitar Hero controller folds these strings into each single button. While this resolves the issue of faithfulness to melody, it does not help with harmony at all. If the game controller effectively flattens the width of the guitar’s neck, it is not exaggerated to say that a dimension goes missing in the process: the possibility of playing across strings. By itself, the game controller is not a perfect simulation, but the game software remedies this through its visual interface that successfully models the two remaining dimensions of music, harmony and rhythm. Figure 2: A view of a real guitar (left) trying to replicate the Guitar Hero interface (right) " class="figure-slide-image" src="https://figures.academia-assets.com/31686953/figure_002.jpg" /></a></figure></div><div class="next-slide-container js-next-button-container"><button aria-label="Next" class="carousel-navigation-button js-profile-work-224765-figures-next"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">arrow_forward_ios</span></button></div></div></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="1575a217791315701ee3b9cefa32fc5d" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":31686953,"asset_id":224765,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/31686953/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="224765"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="224765"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 224765; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=224765]").text(description); $(".js-view-count[data-work-id=224765]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 224765; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='224765']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "1575a217791315701ee3b9cefa32fc5d" } } $('.js-work-strip[data-work-id=224765]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":224765,"title":"(2008) Guitar Hero: Not Like Playing Guitar At All? 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-2999433-figures'); } }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="1502640" id="referenceworks"><div class="js-work-strip profile--work_container" data-work-id="7274527"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/7274527/_2014_Action_Routledge_Companion_to_Video_Game_Studies_"><img alt="Research paper thumbnail of (2014) Action (Routledge Companion to Video Game Studies)" class="work-thumbnail" src="https://attachments.academia-assets.com/33885400/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/7274527/_2014_Action_Routledge_Companion_to_Video_Game_Studies_">(2014) Action (Routledge Companion to Video Game Studies)</a></div><div class="wp-workCard_item"><span>The Routledge Companion to Video Game Studies (Mark J.P. Wolf and Bernard Perron, eds.)</span><span>, 2014</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This essay describes two different phenomena: action games, understood as a genre of games in whi...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This essay describes two different phenomena: action games, understood as a genre of games in which the player’s sensori-motor skills prevail over his cognitive activity, and a general theory of action-taking in context of the game-playing practice. Through a short history of the main genres and sub-genres traditionally identified with “Action games”, and the conclusion that such a categorization pertains to a mode of action rather than a given genre, the properties of action games are identified as involving a standardized repertoire of actions, emphasis on sensori-motor skills, and short-term action sequences.</span></div><div class="wp-workCard_item"><div class="carousel-container carousel-container--sm" id="profile-work-7274527-figures"><div class="prev-slide-container js-prev-button-container"><button aria-label="Previous" class="carousel-navigation-button js-profile-work-7274527-figures-prev"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">arrow_back_ios</span></button></div><div class="slides-container js-slides-container"><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/1931190/figure-1-general-properties-that-define-the-three-actional"><img alt="Fig.1: General properties that define the three actional modalities of Execution, Resolution and Strategy, according to what they share and are opposed to. 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Wolf and Bernard Peron, eds.)</span><span>, 2014</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This essay provides an overview of the different types of study that can be conducted when consid...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This essay provides an overview of the different types of study that can be conducted when considering the narrative aspects of video game play. It contextualizes this research among the larger movements of narratology, particularly concerning the structuralist roots of the discipline and the parallels between gameplay and narrative structures. A brief overview of the key points of the ludology/narratology debate is made, followed by an introduction to the three domains of narrative in video game studies: story content, story structures, and narration as the discursive mode that games use to relay the game-state.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="fa4bfc42ed883e9a35230406b537b477" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":33885342,"asset_id":7274434,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/33885342/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="7274434"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="7274434"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 7274434; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=7274434]").text(description); $(".js-view-count[data-work-id=7274434]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 7274434; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='7274434']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "fa4bfc42ed883e9a35230406b537b477" } } $('.js-work-strip[data-work-id=7274434]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":7274434,"title":"(2014) Narratology (Routledge Companion to Video Game Studies)","translated_title":"","metadata":{"abstract":"This essay provides an overview of the different types of study that can be conducted when considering the narrative aspects of video game play. 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Wolf, ed.)</span><span>, 2012</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">4,000-word entry on the NES. </span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="2000b8eddb511a8d8b1494994ee5c612" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":33885464,"asset_id":7274602,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/33885464/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="7274602"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="7274602"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 7274602; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=7274602]").text(description); $(".js-view-count[data-work-id=7274602]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 7274602; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='7274602']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "2000b8eddb511a8d8b1494994ee5c612" } } $('.js-work-strip[data-work-id=7274602]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":7274602,"title":"(2012) Nintendo Entertainment System (NES) (Encyclopedia of Video Games)","translated_title":"","metadata":{"abstract":"4,000-word entry on the NES. 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culturelle / Cultural Legitimization" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title">La légitimation culturelle / Cultural Legitimization</div><div class="wp-workCard_item"><span>Kinephanos, vol.2, no.1</span><span>, Apr 2011</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">La légitimation de la culture populaire: nombres, mutations et autorités symboliques (HÉLÈNE LAUR...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">La légitimation de la culture populaire: nombres, mutations et autorités symboliques (HÉLÈNE LAURIN & DOMINIC ARSENAULT) // Cover & Remix: Paradigms of Adaptation in Installation Art <br />(HOREA AVRAM) // Tensions, prétentions et galvaudage: gains et écueils du roman graphique comme stratégie du cheval de Troie en Amérique du Nord (GABRIEL GAUDETTE) // « Ils n’en font qu’à leur tête », ou les lycéens français face au cinéma qu’on enseigne (BARBARA LABORDE) // Vers un « Nouveau Hollywood »? 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-9803780-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="7274281"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/7274281/_2014_From_Euclidean_space_to_Albertian_gaze_Traditions_of_visual_representation_in_games_beyond_the_surface_Conference_proceedings_"><img alt="Research paper thumbnail of (2014) From Euclidean space to Albertian gaze: Traditions of visual representation in games beyond the surface (Conference proceedings)" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title">(2014) From Euclidean space to Albertian gaze: Traditions of visual representation in games beyond the surface (Conference proceedings)</div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://umontreal.academia.edu/DominicArsenault">Dominic Arsenault</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://umontreal.academia.edu/Audreylarochelle">Audrey Larochelle</a></span></div><div class="wp-workCard_item"><span>DiGRA 2013 Conference Proceedings (Art History of Games track)</span><span>, 2014</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">In this paper, we examine the two highly relevant traditions of the simulation of space, and the ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">In this paper, we examine the two highly relevant traditions of the simulation of space, and the simulation of the gaze, to develop an art history approach to video games rooted in the relationship of a gamer to the visual and play space implemented in the game through its surface and diegetic spaces. Parallel projection and perspective are both examined from their philosophical roots in Greek antiquity to their technological implementation in 2D game engines; the many techniques employed to simulate a third dimension out of the bidimensional surface of the screen (namely parallax scrolling, occlusion, depth cues and ray casting) help influence the player’s engagement with the game space, and his positioning on the continuum opposing contemplative immersion and interactive engagement. We finally present an original model of Axial-Spatial Play to account for the mapping of diegetic and surface spaces in 2D video games.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="7274281"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="7274281"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 7274281; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=7274281]").text(description); $(".js-view-count[data-work-id=7274281]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 7274281; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='7274281']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=7274281]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":7274281,"title":"(2014) From Euclidean space to Albertian gaze: Traditions of visual representation in games beyond the surface (Conference proceedings)","translated_title":"","metadata":{"abstract":"In this paper, we examine the two highly relevant traditions of the simulation of space, and the simulation of the gaze, to develop an art history approach to video games rooted in the relationship of a gamer to the visual and play space implemented in the game through its surface and diegetic spaces. 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We finally present an original model of Axial-Spatial Play to account for the mapping of diegetic and surface spaces in 2D video games.","internal_url":"https://www.academia.edu/7274281/_2014_From_Euclidean_space_to_Albertian_gaze_Traditions_of_visual_representation_in_games_beyond_the_surface_Conference_proceedings_","translated_internal_url":"","created_at":"2014-06-06T01:19:48.040-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":149491,"coauthors_can_edit":true,"document_type":"other","co_author_tags":[{"id":59990,"work_id":7274281,"tagging_user_id":149491,"tagged_user_id":761750,"co_author_invite_id":null,"email":"l***e@gmail.com","affiliation":"Université de Montréal","display_order":null,"name":"Audrey Larochelle","title":"(2014) From Euclidean space to Albertian gaze: Traditions of visual representation in games beyond the surface (Conference proceedings)"}],"downloadable_attachments":[],"slug":"_2014_From_Euclidean_space_to_Albertian_gaze_Traditions_of_visual_representation_in_games_beyond_the_surface_Conference_proceedings_","translated_slug":"","page_count":null,"language":"en","content_type":"Work","summary":"In this paper, we examine the two highly relevant traditions of the simulation of space, and the simulation of the gaze, to develop an art history approach to video games rooted in the relationship of a gamer to the visual and play space implemented in the game through its surface and diegetic spaces. 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Andy R. Brown and Kevin Fellezs), Inter-Disciplinary Press</span><span>, 2012</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Heavy metal and video games share an almost simultaneous birth, with Black Sabbath’s debut album ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Heavy metal and video games share an almost simultaneous birth, with Black Sabbath’s debut album in 1970 and Nolan Bushnell’s Computer Space in 1971. From Judas Priest’s “Freewheel Burning” music video in 1984 to Tim Schafer’s Brütal Legend in 2009, the exchanges between these two subcultures have been both reciprocal and exponential. This paper will present a historical survey of the bond between video games and heavy metal cultures through its highest-profile examples. There are two underlying reasons for this symbiosis: 1) the historical development and popular dissemination of the video game came at an opportune time, first with the video game arcades in the 1970s and early 1980s, and then with the Nintendo Entertainment System, whose technical sound-channel limitations happened to fall in line with the typical structures of heavy metal; 2) heavy metal and video games, along with their creators and consumers, have faced similar sociocultural paths and challenges, notably through the policies set in place by the PMRC and the ESRB, and a flurry of lawsuits and attacks, especially from United States congressmen, that resulted in an overlapping of their respective spaces outside dominant culture. These reasons explain the natural bond between these cultural practices, and the more recent developments like Last Chance to Reason’s Level 2 let us foresee a future where new hybrid creations could emerge.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="63b592815e59a2df93349b35bf4a11db" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":33884571,"asset_id":7273387,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/33884571/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="7273387"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="7273387"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 7273387; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=7273387]").text(description); $(".js-view-count[data-work-id=7273387]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 7273387; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='7273387']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "63b592815e59a2df93349b35bf4a11db" } } $('.js-work-strip[data-work-id=7273387]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":7273387,"title":"(2012) Thumb-Bangers: Exploring the Cultural Bond Between Video Games and Heavy Metal","translated_title":"","metadata":{"abstract":"Heavy metal and video games share an almost simultaneous birth, with Black Sabbath’s debut album in 1970 and Nolan Bushnell’s Computer Space in 1971. 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There are two underlying reasons for this symbiosis: 1) the historical development and popular dissemination of the video game came at an opportune time, first with the video game arcades in the 1970s and early 1980s, and then with the Nintendo Entertainment System, whose technical sound-channel limitations happened to fall in line with the typical structures of heavy metal; 2) heavy metal and video games, along with their creators and consumers, have faced similar sociocultural paths and challenges, notably through the policies set in place by the PMRC and the ESRB, and a flurry of lawsuits and attacks, especially from United States congressmen, that resulted in an overlapping of their respective spaces outside dominant culture. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-3995403-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="224757"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/224757/_2005_Dark_Waters_Spotlight_on_Immersion"><img alt="Research paper thumbnail of (2005) Dark Waters: Spotlight on Immersion" class="work-thumbnail" src="https://attachments.academia-assets.com/31686908/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/224757/_2005_Dark_Waters_Spotlight_on_Immersion">(2005) Dark Waters: Spotlight on Immersion</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This paper combines several empirical studies and some theoretical research to shed some light on...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This paper combines several empirical studies and some theoretical research to shed some light on the dark, undefined waters in which we plunge when we are "immersed". Immersion, across all media, comes in three different types and in three different degrees, and can be hindered by barriers, such as inaccessibility, or favored by fuel, such as using one's imagination. The resulting model of immersion can be applied to experiences formed by any type of media object, but is particularly relevant to video games.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="aa512f3d34e4d807c8a0de777a032780" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":31686908,"asset_id":224757,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/31686908/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="224757"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="224757"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 224757; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=224757]").text(description); $(".js-view-count[data-work-id=224757]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 224757; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='224757']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "aa512f3d34e4d807c8a0de777a032780" } } $('.js-work-strip[data-work-id=224757]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":224757,"title":"(2005) Dark Waters: Spotlight on Immersion","translated_title":"","metadata":{"abstract":"This paper combines several empirical studies and some theoretical research to shed some light on the dark, undefined waters in which we plunge when we are \"immersed\". 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As heir of this tradition of reconciliation, the Dynamic Range is a tool brought forth to examine how different game systems can give freedom to the players. In its present state, I am going to use it as a compass to pinpoint the close relationship between game design and narratives, and perhaps understand how such a union can be successful.</span></div><div class="wp-workCard_item"><div class="carousel-container carousel-container--sm" id="profile-work-224755-figures"><div class="prev-slide-container js-prev-button-container"><button aria-label="Previous" class="carousel-navigation-button js-profile-work-224755-figures-prev"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">arrow_back_ios</span></button></div><div class="slides-container js-slides-container"><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/3383420/figure-1-the-dynamic-range-of-level-warrior-from-diablo-in"><img alt="Figure 1.1: The dynamic range of a Level-22 Warrior from Diablo. In blue are the character’s usual game dynamics; in purple are his dynamics when he optimizes his equipment to excel in melee combat. The number of game Dynamics that can be manipulated by the player, and the amount of control he enjoys over them, varies both between games, and between different moments in a given game. Some offer a vast amount of resources and give the player little control over them; others allow only a select few resources to be managed, but the player can do so at a great extent. Therefore, the first step in drawing a game’s dynamic range is to identify which Dynamics can be influenced by player input. This makes up the game’s Scope; the Depth is the actual difference between the standard and exceptional values of a given Dynamic — in other words, how much of an influence the player has over them. The chart below gives an example taken from one of my games of Diablo: " class="figure-slide-image" src="https://figures.academia-assets.com/31686907/figure_001.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/3383422/figure-1-the-dynamic-range-of-sam-fisher-from-splinter-cell"><img alt="Figure 1.2: The dynamic range of Sam Fisher from Splinter Cell illustrates the lack of options that players face when they are stumped in skill-based games. " class="figure-slide-image" src="https://figures.academia-assets.com/31686907/figure_002.jpg" /></a></figure></div><div class="next-slide-container js-next-button-container"><button aria-label="Next" class="carousel-navigation-button js-profile-work-224755-figures-next"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">arrow_forward_ios</span></button></div></div></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="330a9d3ce22246fe356698d852791a8f" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":31686907,"asset_id":224755,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/31686907/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="224755"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="224755"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 224755; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=224755]").text(description); $(".js-view-count[data-work-id=224755]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 224755; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='224755']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "330a9d3ce22246fe356698d852791a8f" } } $('.js-work-strip[data-work-id=224755]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":224755,"title":"(2005) Abstract of Dynamic Range: When Game Design and Narratives Unite","translated_title":"","metadata":{"abstract":"As the clash between Game and Narrative rages on, many attempts to unite the two make their way. 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This concept, which I call the Dynamic Range, can be used namely to evaluate a given game system's potential for developing emergent narratives, as defined by Henry Jenkins in his publication Game Design as Narrative Architecture. While Jenkins places at the heart of the creation of narratives the concept of spatiality, I will argue that narratives can be triggered just as well by a game's very system - the rules that govern that which Janet Murray calls the participatory.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="8263389679739d08f010a58395f53f26" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":31686910,"asset_id":224758,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/31686910/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="224758"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="224758"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 224758; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=224758]").text(description); $(".js-view-count[data-work-id=224758]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 224758; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='224758']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "8263389679739d08f010a58395f53f26" } } $('.js-work-strip[data-work-id=224758]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":224758,"title":"(2005) Dynamic Range : measuring player freedom and its narrative possibilities in resource-driven games","translated_title":"","metadata":{"abstract":"This paper proposes a tool and methodology for measuring the degree of freedom given to a player in any resource-driven game (that is, any game in which managing resources is an integral part of the gameplay). 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Is it homage, pastiche, allusion, remake, inspiration, clone, and/or copycat?" <br />Intertextuality provides answers, and transtextual relationships are pointed out as a way to approach questions of game design, reiteration and innovation. <br />This leads me to conclude that Shovel Knight does not present a relationship to video game history so much as it presents a video game uchronia, a time that is neither past nor future, "like a dream from a 10-year old child from 1992 frozen in time and finally unleashed in 2014."</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="18864779"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="18864779"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 18864779; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=18864779]").text(description); $(".js-view-count[data-work-id=18864779]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 18864779; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='18864779']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=18864779]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":18864779,"title":"Shovel Knight Redug: The Retro Game as Hypertext and as Uchronia","translated_title":"","metadata":{"abstract":"I discuss the soundtrack, the map screen, and the jumping mechanics of Shovel Knight, asking: \"what is the nature of Shovel Knight’s relationships with these other games? 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Is it homage, pastiche, allusion, remake, inspiration, clone, and/or copycat?\" \nIntertextuality provides answers, and transtextual relationships are pointed out as a way to approach questions of game design, reiteration and innovation. \nThis leads me to conclude that Shovel Knight does not present a relationship to video game history so much as it presents a video game uchronia, a time that is neither past nor future, \"like a dream from a 10-year old child from 1992 frozen in time and finally unleashed in 2014.\"","internal_url":"https://www.academia.edu/18864779/Shovel_Knight_Redug_The_Retro_Game_as_Hypertext_and_as_Uchronia","translated_internal_url":"","created_at":"2015-11-23T07:27:35.822-08:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":149491,"coauthors_can_edit":true,"document_type":"other","co_author_tags":[],"downloadable_attachments":[],"slug":"Shovel_Knight_Redug_The_Retro_Game_as_Hypertext_and_as_Uchronia","translated_slug":"","page_count":null,"language":"en","content_type":"Work","summary":"I discuss the soundtrack, the map screen, and the jumping mechanics of Shovel Knight, asking: \"what is the nature of Shovel Knight’s relationships with these other games? 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-18864779-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="7867676"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/7867676/Angry_Video_Game_Nerd_The_Movie_International_Premiere_at_Fantasia_Festival_A_No_Spoilers_Review"><img alt="Research paper thumbnail of Angry Video Game Nerd: The Movie International Premiere @ Fantasia Festival: A No-Spoilers Review" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title">Angry Video Game Nerd: The Movie International Premiere @ Fantasia Festival: A No-Spoilers Review</div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="7867676"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="7867676"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 7867676; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-7867782-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="7401769"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/7401769/Game_Studies_From_Colonization_to_Columbian_Exchange"><img alt="Research paper thumbnail of Game Studies: From Colonization to Columbian Exchange" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title">Game Studies: From Colonization to Columbian Exchange</div><div class="wp-workCard_item"><span>First Person Scholar</span><span>, Jun 18, 2014</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">To rework the old spatial metaphor of game studies as a continent, we’re not facing hordes of imp...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">To rework the old spatial metaphor of game studies as a continent, we’re not facing hordes of imperialists coming from their lands and trying to stake out the New World. Rather, we have game studies researchers doing game studies on this new continent and participating in a great big Columbian exchange between fields of research, a bidirectional sharing that enlightens both worlds.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="7401769"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="7401769"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 7401769; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=7401769]").text(description); $(".js-view-count[data-work-id=7401769]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 7401769; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='7401769']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=7401769]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":7401769,"title":"Game Studies: From Colonization to Columbian Exchange","translated_title":"","metadata":{"abstract":"To rework the old spatial metaphor of game studies as a continent, we’re not facing hordes of imperialists coming from their lands and trying to stake out the New World. 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","owner":{"id":149491,"first_name":"Dominic","middle_initials":null,"last_name":"Arsenault","page_name":"DominicArsenault","domain_name":"umontreal","created_at":"2010-03-25T00:16:25.829-07:00","display_name":"Dominic Arsenault","url":"https://umontreal.academia.edu/DominicArsenault"},"attachments":[],"research_interests":[{"id":863,"name":"Visual Studies","url":"https://www.academia.edu/Documents/in/Visual_Studies"},{"id":883,"name":"Game studies","url":"https://www.academia.edu/Documents/in/Game_studies"}],"urls":[{"id":3061806,"url":"http://www.firstpersonscholar.com/game-studies/"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-7401769-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="7401754"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/7401754/Post_narratology_A_case_for_object_oriented_narrative_game_studies"><img alt="Research paper thumbnail of Post-narratology: A case for object-oriented narrative game studies" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title">Post-narratology: A case for object-oriented narrative game studies</div><div class="wp-workCard_item"><span>MediaCommons</span><span>, Nov 22, 2013</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Game studies have for a long time required researchers to specialize in some theoretical approach...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Game studies have for a long time required researchers to specialize in some theoretical approach, subject or topic. It’s now time for game scholars to embrace some form of specialization as to the objects they study as well. Because we all have a backlog of games we need to play for our specific subjects of study, and that backlog is increasingly getting as tall as the books we need to read.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="7401754"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="7401754"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 7401754; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=7401754]").text(description); $(".js-view-count[data-work-id=7401754]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 7401754; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='7401754']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=7401754]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":7401754,"title":"Post-narratology: A case for object-oriented narrative game studies","translated_title":"","metadata":{"abstract":"Game studies have for a long time required researchers to specialize in some theoretical approach, subject or topic. 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Première exposition de ce genre au Québec, elle est en fait une reprise de l’exposition « Game Story : une histoire du jeu vidéo » qui a eu lieu au Grand Palais à Paris en France (voir le catalogue « Game Story ») et organisé par MO5.com [...]. Même si l’exposition dans son ensemble est selon nous une réussite, il y a inévitablement quelques critiques à faire.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="7401787"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="7401787"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 7401787; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=7401787]").text(description); $(".js-view-count[data-work-id=7401787]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 7401787; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='7401787']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=7401787]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":7401787,"title":"Critique: Exposition « Une histoire de jeux vidéo » au Musée de la Civilisation à Québec","translated_title":"","metadata":{"abstract":"Au Musée de la Civilisation à Québec se tient du 24 avril 2013 au 16 mars 2014 l’exposition « Une histoire de jeux vidéo ». 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Même si l’exposition dans son ensemble est selon nous une réussite, il y a inévitablement quelques critiques à faire.","internal_url":"https://www.academia.edu/7401787/Critique_Exposition_Une_histoire_de_jeux_vid%C3%A9o_au_Mus%C3%A9e_de_la_Civilisation_%C3%A0_Qu%C3%A9bec","translated_internal_url":"","created_at":"2014-06-19T14:55:00.851-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":149491,"coauthors_can_edit":true,"document_type":"other","co_author_tags":[],"downloadable_attachments":[],"slug":"Critique_Exposition_Une_histoire_de_jeux_vidéo_au_Musée_de_la_Civilisation_à_Québec","translated_slug":"","page_count":null,"language":"fr","content_type":"Work","summary":"Au Musée de la Civilisation à Québec se tient du 24 avril 2013 au 16 mars 2014 l’exposition « Une histoire de jeux vidéo ». 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Bon choix de mots, puisque le désir et la sexualité figuraient dans tous les courts métrages présentés [...]. J’ai eu, en particulier, trois coups de coeur, une déception, et deux révélations. Voici une critique à chaud, à peine revenu de la salle…</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="7401838"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="7401838"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 7401838; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=7401838]").text(description); $(".js-view-count[data-work-id=7401838]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 7401838; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='7401838']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=7401838]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":7401838,"title":"Eros et Cie. – Critique Fantasia","translated_title":"","metadata":{"abstract":"La séance de Fantasia à laquelle j’ai assisté dans le cadre du Fantastique week-end du court métrage québécois était titrée Eros et cie. 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Cette dynamique transformative et discursive se trouve au cœur des processus d’innovation, de réitération et de ruptures qui animent et redéfinissent perpétuellement les contours des genres.<br /><br />Afin d’éclaircir la multidimensionnalité des ramifications génériques, l’édition 2017 du symposium est dédiée à l’exploration historique et théorique des genres ludiques et vidéoludiques. Nous invitons les chercheuses et les chercheurs à soumettre une proposition qui fait écho aux questionnements énoncés dans l’un des trois axes proposés:<br />- Forme et expérience des genres<br />- Discours et communautés autour des genres<br />- Appropriation, circulations et détournement des genres<br /><br />Conférenciers invités:<br />Gerald Voorhees<br />Andreas Lindegaard Gregersen<br />Un/e invité/e surprise!</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="d35f3647222dd5c9403ec0a4c5ffd216" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":50403675,"asset_id":29946545,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/50403675/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="29946545"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="29946545"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 29946545; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=29946545]").text(description); $(".js-view-count[data-work-id=29946545]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 29946545; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='29946545']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "d35f3647222dd5c9403ec0a4c5ffd216" } } $('.js-work-strip[data-work-id=29946545]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":29946545,"title":"Appel à communications - Symposium Annuel Histoire du Jeu 2017, Montréal","translated_title":"","metadata":{"abstract":"**Appel à communications**\nSymposium Annuel Histoire du Jeu 2017\n\"Splendeur(s) et misère(s) des genres (vidéo)ludiques\"\nMontréal, 28-30 juin\nPropositions de 500 mots pour le 1er février 2017\n \nLes étiquettes génériques comme «jeux de plateforme», «jeux de tir à la première personne», «jeux d’aventure», «jeux d’action» ou encore «jeux de stratégie en temps réel» définissent en partie les horizons d’attentes et les dynamiques des échanges entre les joueurs, les développeurs et les journalistes. Cette dynamique transformative et discursive se trouve au cœur des processus d’innovation, de réitération et de ruptures qui animent et redéfinissent perpétuellement les contours des genres.\n\nAfin d’éclaircir la multidimensionnalité des ramifications génériques, l’édition 2017 du symposium est dédiée à l’exploration historique et théorique des genres ludiques et vidéoludiques. Nous invitons les chercheuses et les chercheurs à soumettre une proposition qui fait écho aux questionnements énoncés dans l’un des trois axes proposés:\n- Forme et expérience des genres\n- Discours et communautés autour des genres\n- Appropriation, circulations et détournement des genres\n\nConférenciers invités:\nGerald Voorhees\nAndreas Lindegaard Gregersen\nUn/e invité/e surprise! \n"},"translated_abstract":"**Appel à communications**\nSymposium Annuel Histoire du Jeu 2017\n\"Splendeur(s) et misère(s) des genres (vidéo)ludiques\"\nMontréal, 28-30 juin\nPropositions de 500 mots pour le 1er février 2017\n \nLes étiquettes génériques comme «jeux de plateforme», «jeux de tir à la première personne», «jeux d’aventure», «jeux d’action» ou encore «jeux de stratégie en temps réel» définissent en partie les horizons d’attentes et les dynamiques des échanges entre les joueurs, les développeurs et les journalistes. 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Parce que qui parle d...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">«Qu'est ce que le jeu vidéo pose comme questions à la narration en général? Parce que qui parle de narration parle de fiction. Qui parle de jeu vidéo parle de jeu. Qui parle de jeu parle de ludique et qui parle de ludique parle de simulation. Il y a donc une parenté et un lien fort entre la fiction et le jeu. Le jeu vidéo s'articule autour d'un récit, met en place des récits d'une façon qui, sans être nouvelle, ramène à la surface des choses, d'une façon qui était déjà présente dans les récits, dans la fiction, dès le départ.»</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="7273252"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="7273252"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 7273252; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=7273252]").text(description); $(".js-view-count[data-work-id=7273252]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 7273252; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='7273252']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=7273252]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":7273252,"title":"(2014) Enjeux de la narration dans le jeu vidéo (et vice-versa): Repenser le récit au prisme du jeu et de la simulation (AUDIO)","translated_title":"","metadata":{"abstract":"«Qu'est ce que le jeu vidéo pose comme questions à la narration en général? 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[1] Bien que le phénomène de la dépendance dont souffrait l'homme est relativement connu, les causes exactes qui la créent sont beaucoup moins évidentes. Néanmoins, une notion revient souvent lorsque vient le temps de comprendre l'obsession de certains joueurs envers des univers virtuels, une notion qui est du même coup indispensable à l'expérience du joueur dans son ensemble. Nous parlons bien entendu du concept d'immersion. Cette notion, dont tous et chacun a une idée plus ou moins précise de son essence, devient rapidement problématique lorsque l'on tente de la définir. Prenant appui sur quelques études empiriques du phénomène d'immersion, nous souhaitons ici proposer un modèle qui nous permettra de mieux comprendre le phénomène. L'expérience vidéoludique est souvent décrite en termes de plaisir qui découle de l'activité, d'évasion que l'univers virtuel procure au joueur, et de défi posé par la construction du jeu. Mais parmi ces caractéristiques de la jouabilité, qu'est-ce qui permet concrètement de rendre un jeu plus amusant, plus attrayant que le réel, ou plus incitant pour le joueur à vaincre les difficultés ? Nous répondrons que c'est l'immersion. En ce sens, à l'instar de la définition générale qu'en donne Janet Murray dans son ouvrage Hamlet on the Holodeck, nous pouvons comprendre l'immersion comme un terme métaphorique, dérivé de l'expérience physique d'être submergé dans l'eau. 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