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Content available Grofilia. Omówienie zjawiska na przykładzie wybranych seriali platformy Netflix
100%
Pigulak J.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2023
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tom 33
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nr 42
189-216
EN
The article discusses the communicative and artistic practice grophilia, which is appropriate for the culture of participation. It consists in the transfictional use of the structures and poetics of digital games in the field of various arts. The points of reference for the analysis of grophilia are three popular series distributed on the Netflix streaming platform: Cyberpunk: Edgerunners, Arcane and Love, Death + Robots. The author analyzes these works, focusing on the systemic character of grofil practices, the aesthetics of grofil texts and their transmedia and transdiscursive specificity. She indicates that grophilia, like genres, can be treated as an artistic strategy that precedes realizations, creates new forms of narration and guides how the work is received.
2
Content available remote Dźwięki reaktywne, dźwięki antycypujące. Z zagadnień funkcjonowania ścieżki dźwiękowej w grach wideo
100%
Pigulak J.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2020
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tom 28
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nr 37
317-327
EN
The paper aims to outline features of video games’ sounds. In order to do that, the author presents the main thesis of ludomusicology and a theory of film music. The first part of the paper deals with a brief introduction concerning the characteristic of two important aspects of video games’ sounds: reactive and anticipating sounds. In the second part of the paper, the author explores the issue of facultative dialogues and adaptive sounds, as well as diegetic and non-diegetic sources of sound. The author examines the hypothesis that using sounds in video games determines gameplay and impacts players immersion.
3
Content available Narracja linearna w grach wideo w kontekstach immersji
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Pigulak J.
Replay. The Polish Journal of Game Studies
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2019
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tom 6
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nr 1
67-79
EN
The paper aims to outline features of linear video games in context of a player immersion. The first part of the paper deals with a brief introduction concerning the characteristic of linear narrations, especially its character-centric specifics and the using of non-interactive cutscenes. In the second part of the paper, the author analyzes the selected linear game and indicates how video games’ developers design gameplay in order to involve players in narration. The author examines a hypothesis that using non-interactive scenes stimulate player’s immersion and develop narrations in linear video games.
PL
Celem artykułu jest charakterystyka narracji linearnych w grach wideo w kontekście immersji użytkownika. Autorka rozważa, w jaki sposób twórcy kształtują doświadczenie immersji w grach cechujących się niskim stopniem wariacyjności i modyfikowalności narracji. Przedmiotem analizy czyni prolog gry The Last of Us, wskazując, że ważnym mechanizmem immersji w grach linearnych jest koherentne połączenie nieinteraktywnych scen przerywnikowych (cutscenes) z interaktywnym gameplayem.
4
Content available Światotwórcze funkcje rekwizytu. Collectibles w dylogii „The Last of Us” jako źródło wiedzy o przeszłości
63%
Pigulak J. , Pigulak M.
Przestrzenie Teorii
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2023
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nr 40
129-151
EN
The article concerns the functioning of selected collectibles in the post-apocalyptic dilogy of digital games The Last of Us (Naughty Dog, 2013–2020). The authors make a typology of collectibles and distinguish among them props that support the gameplay, characterize the characters and extend the storyworld, referring to the prop theory proposed by Kendal Walton. They are particularly interested in the last type of props, which include notes, diaries and letters left in various places of the world presented by anonymous members of the American community. The authors indicate that these props can be treated as specific artifacts of the past, which, although not important from the gameplay perspective, perform important world-creating functions. In this context, they describe collectibles as an element of historical culture (J. Rüsen) and a source of social memory (M. Golka), and discuss their allotopic potential (U. Eco, K.M. Maj). They refer to those props that shape the history and mythology of the post-apocalyptic world, and especially to the notes describing Outbreak Day, the apogee of the pandemic disease that decimated humanity in the game. Written sources are of a personal nature – they present an individual perspective on a breakthrough moment in the history of the depicted world. For this reason, the authors refer to them as ego-props, thus extending the concept of ego-document.
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