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1
Content available remote Kulturotwórcza funkcja gier. Cywilizacja zabawy czy zabawy cywilizacji? Rola gier we współczesności, „Homo Communicativus” 3 (5) 2008
100%
Kic-Drgas J.
Homo Ludens
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2009
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nr 1
327-329
2
Content available Gamedec. UKW in IGDA Curriculum Framework
100%
Mochocki M.
|
|
tom 3
|
nr 1
121-139
EN
Launched in October 2013, GAMEDEC: game studies & Design is a specialisation track within the 2nd Gen Humanities (aka Humanities 2.0) 3-year BA programme at Kazimierz Wielki University (UKW) in Bydgoszcz, Poland. The curriculum was created by UKW academic staff with game design experience, guided by the IGDA 2008 Framework and consulted with game dev professionals. It underwent slight modifications in 2014 and a significant transformation in 2015. This paper aims at a thorough analysis of the structure of the curriculum as seen through the lens of the IGDA Framework (2008), including the coverage of both Core Topics and Institutional Considerations. The analysis is conducted in the context of foreign (mostly U.S.- based) game degrees and supported with comments on its design, implementation and modifications.
3
Content available remote Kulturotwórcza funkcja gier. Gra jako medium, tekst i rytuał. Tom I i II
100%
Hofman A. , Motyka M.
Homo Ludens
|
2009
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nr 1
313-322
4
Content available Wyzwania cyfrowego rodzicielstwa. O Grach wideo w środowisku rodzinnym Damiana Gałuszki
100%
Paprzycka A.
|
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nr 2(59)
187-196
EN
Reviewed book: Damian Gałuszka, Gry wideo w środowisku rodzinnym. Diagnoza i rekomendacje, Kraków: Wydawnictwo Libron 2017, ISBN: 978-83-65705-37-2, pp. 253.
5
Content available remote Kobyła ma mały bok. Czyli o polskich palindromach
100%
Białek M. , Hofman A.
Homo Ludens
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2009
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nr 1
309-312
6
Content available remote Kulturotwórcza funkcja gier. Gra w kontekście edukacyjnym, społecznym i medialnym
100%
Andrzejewska-Kwiatkowska J.
Homo Ludens
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2009
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nr 1
323-326
7
Content available remote Jak badać gry komputerowe?
100%
Bomba R.
Homo Ludens
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2009
|
nr 1
305-308
8
Content available Formy tekstowości w grach wideo
100%
Wójcik T.
Creatio Fantastica
|
2016
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nr 3-4(54-55)
59-62
EN
Reviewed book: Piotr Kubiński, Gry wideo: Zarys poetyki, Kraków: Universitas 2016, ISBN: 97883-242-2788-4
9
Content available remote Pisząc dyscyplinę. O historii badań gier cyfrowych i zawiłościach jej pisania na, przykładzie "(bardzo) krótkiej historii game studies" Fransa Mäyry
89%
Kliś-Brodowska A.
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2016
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nr 1(9)
13-30
PL
Spisywanie i popularyzacja historii obszaru nauki mają niebagatelne znaczenie jako praktyki akademickie. Są aktami samostanowienia, kodowania określonej tożsamości, a także świadczą o postępującej instytucjonalizacji dziedziny nauki. W ostatnich latach można zaobserwować próby sformułowania globalnej historii studiów nad grami cyfrowymi. Niniejsza praca koncentruje się na jednej próbie tego rodzaju, podjętej przez fińskiego badacza Fransa Mäyrę. Starając się zachować krytyczny dystans wobec proponowanej przez niego historii game studies jako dyscypliny, artykuł analizuje jej podłoże i motywacje, a ponadto stara się wskazać na trudności i problemy, jakie pociąga za sobą próba ustanowienia takiej historii. Podkreśla też konieczność dalszej krytycznej analizy powstających historii badań gier.
EN
Writing and promoting the history of a field of study is a significant academic practice. In recent years, there have been attempts at formulating a global history of digital games research. This article focuses on one such attempt, by the Finnish scholar Frans Mäyrä. Distancing ourselves from the proposed representation of the history of game studies as a discipline, we analyse the basis of and motivations behind this history, and point to the problems that it turns out to pose. Finally, we also stress the need for ongoing critical scrutiny of emerging histories of digital games research.
10
Content available Body Movin’: Ecocritical and Postcolonial Readings of the Travelling Body in the Tomb Raider Series
89%
Gnat T.
Postscriptum Polonistyczne
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2021
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tom 27
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nr 1
231-246
PL
Kiedy Lara Croft podróżuje, podróżuje lekko – bez walizki, ale w większości przypadków z wystarczającą siłą ognia, by stawić czoła przeciwnikom, od dinozaurów począwszy a na krwiożerczych autochtonach skończywszy. Jednak jej pokaźna broń wydaje się często niepotrzebnym dodatkiem, ponieważ doskonale radzi sobie bez niej dzięki swoim wyśmienitym umiejętnościom akrobatycznym i walki wręcz. Potrafi przeskoczyć każdą przeszkodę, przepłynąć rwącą rzekę i zjechać po linie z najbardziej stromych wąwozów. Podróże Lary Croft są często tak fizyczne, jak tylko pozwala na to wirtualny świat. Ta fizyczność zwraca naszą uwagę na często zapominany aspekt podróżowania, a mianowicie na ciało podróżnika, nie tylko zdefiniowane przez jego położenie w przestrzeni, ale także przez zwykłe i niezwykłe okoliczności jego biologicznej interakcji z otaczającym środowiskiem. Autor niniejszego szkicu stawia sobie za cel zbadanie wzajemnego oddziaływania pomiędzy ciałem podróżnika a kontekstami, w których się ono znajduje. Konteksty te obejmują narracyjne i gameplayowe aspekty serii Tomb Raider, ale wykraczają również poza granice gry i dają się poznać w transformatywnym i refleksyjnym środowisku kulturowym gry. W szczególności autor koncentruje się na reprezentacjach Lary Croft jako archetypowej bohaterki akcji i archeologa-poszukiwacza przygód oraz na tym, jak te reprezentacje są przedstawiane w odniesieniu do zmieniających się (dojrzewających?) środowisk gier wideo. W ramach teorii postkolonialnych i ekokrytycznych zamierza zbadać dualizmy ciało – rzekoma egzotyka, ciało – środowisko naturalne, a także fizyczne – mentalne aspekty podróżowania.
EN
When Lara Croft travels, she travels light – sans suitcase, but in most cases with enough firepower to take opposing forces ranging from dinosaurs to bloodthirsty locals. However, her big guns seems often unnecessary titillation, for she can manage very well without them thanks to her exquisite acrobatic and hand-to-hand combat skills. She will vault over any obstacle, swim across rapid flowing rivers and abseil the steepest ravines. Lara Croft’s travels are often as physical as the virtual world would allow. That physicality returns our attention to the oft forgotten aspect of travelling namely the body of the traveller, not only defined by its position in space, but also by the ordinary and extraordinary circumstances of its biological interaction with the surrounding environment.In this paper I would like to explore the interplay between the body of the traveller and contexts it is located in. These contexts range from the narrative and gameplay aspects of the Tomb Raider series, but also go beyond the border of the game and are realised in the transformative and reflective cultural milieu of the game. In particular I want to focus on the representations of Lara Croft as an archetypal “action girl” and “adventurer archaeologist” and how these representations are realised in reference to the changing (maturing?) video game environments. In the framework of postcolonial and ecocritical theories I want to explore the dyads of body/the purported exotic, body/natural environment, as well as physical/mental aspects of travelling.
11
Content available Queerowanie gier AAA na przykładzie serii Assassin’s Creed – możliwości i zagrożenia
88%
Repeć E.
|
2023
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tom 33
|
nr 42
281-306
EN
The article is, fundamentally, cross-sectional. As its subject, the author chose the most recent installments of the Assassin’s Creed franchise – two digital games, Odyssey (2018) and Valhalla (2020) by Ubisoft. This analysis focuses mainly on the representation of minorities, especially the queer one. It also studies female characters and Ubisoft’s marketing strategies. The main goal of the article is to point out certain possibilities which arise due to the ongoing process of increased inclusivity, as well as potential dangers stemming from underrepresentation. Digital games have unique potential and can provide opportunities to explore one’s own identity. On the other hand, inappropriate creative strategies may result in a danger of perpetuating and strengthening harmful stereotypes. Therefore, it is equally important for developers and consumers alike to eliminate potentially detrimental elements in video games and attempt to build an inclusive and prejudice-free medium.
12
Content available Punctuated Play: Revealing the Roots of Gamification
88%
Foxman M.
Acta Ludologica
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2020
|
tom 3
|
nr 2
54-71
EN
Even at the apex of its hype cycle in the 2010s, game studies scholars and designers derided gamification. This article first explores why gamification inspired such vitriol. It finds the incursion of non-game corporations and entities into the field was a threat to those who fought so ardently to legitimize the profession and promote a more playful or ludic 21st century. The article then delves deeper into the literature of play to redefine what occurs when a player engages with a gamified app, such as the social media application Foursquare. It rescripts their activity as ‘punctuated play’, or when the competition, conflict, glory, and other aspects of traditional play pierce a moment but do not necessarily define it.
13
Content available Playing with/as Systems: Short Paper, Discussion and Demonstration
88%
Straeubig M.
Avant
|
2017
|
nr 8
EN
Complex phenomena such as play, creativity or innovation are familiar, yet difficult to describe in a systematic manner. In this short article I propose six necessary conditions for any comprehensive description of play. Against this background I discuss my systems-theoretic, constructivist and practice-informed approach to play.
14
Content available “I am thou… Thou art I…” How Persona 4’s Young Adult Fiction Communicates Japanese Values
88%
Dwulecki S.
Creatio Fantastica
|
2017
|
nr 1(56)
97-113
EN
Life is Strange, INSIDE, Oxenfree—all these video games represent a seemingly entirely new genre. Young Adult videogames diverge from the male, gloomy grown-up stereotypes and replace them with adolescent protagonists in their coming of age stories. Their commercial success seem to validate their endeavors. However, YA narratives are hidden in plain sights for many years within JRPGs. Shin Megami Tensei – Persona 4 (short Persona 4 or P4) is a cultural ambassador. This paper examines how the game’s procedural rhetoric in combination with its Young Adult story advocate in favor of specific Japanese values. The time structure of P4 reinforces a longterm orientation and requires strategic planning as well as tactical flexibility. So-called “Social Links” represents Japan unique take on collectivism. Each link encapsulates a small YA narrative and offers different benefits to social-active protagonist. Finally, grinding mechanics reflect the notion of repetition-based learning. Japanese schools teach through engaging with developing several solutions to a singular problem. The same holds true for the grinding process. All these elements combined create a game rhetoric promoting these aspects of Japanese culture
15
Content available Story beats in videogames as value-driven choice-based unit operations
75%
Mochocki M. , Koskimaa R.
|
2021
|
tom 29
|
nr 38
5-31
EN
We present a framework of story beats, defined as microunits of dramatic action, as a tool for the ludonarrative analysis of videogames. First, we explain the Goal - Action - Reaction - Outcome model of the story beat. Then, we present six types of story beats, Action, Interaction, Inaction, Mental, Emotion, and Sensory, providing videogame examples for each category. In the second half of the paper, we contextualise this framework in the classic game studies theory of videogame narrative and player action: unit operations, gamic action, anatomy of choice, and game design patterns, wrapping it up in the most recent trends in cognitive narratology. Ultimately, we present the story beat as a ludonarrative unit, working simultaneously as a ‘unit operation’ in the study of games as systems, and as a microunit of character action in narrative analysis. The conclusion outlines prospective directions for using story beats in formal, experiential, and cultural game research.
16
Content available Gry pamięci. Valiant Hearts: The Great War i My Memory of Us w perspektywie kultury historycznej
75%
Pigulak M.
|
2021
|
tom 29
|
nr 38
144-160
EN
The paper aims to outline how video games Valiant Hearts: The Great War (Ubisoft Montpellier, 2014) and My Memory of Us (Juggler Games, 2018) use narrative and ludic structures to create commemorative stories about the First World War and the Second World War. The author refer to the concept of historical culture (among others, in Jörn Rüsen’s interpretation) and examine the connections between the two video games focusing on the issue of designers’ intentions (digital games as examples of the commemoration of the past), the genre similarity (2D platform games), the intermedial convergence and the press reception. He discusses the strategy of the cultural agreement between designers and users, analyzes historical narratives as a part of the gameplay, examines relations between the individual and collective’s perspective and characterizes immersion’s mechanisms which reinforce players’ identification with the victims of both wars.
17
Content available Lost Worlds of Andromeda. Mass Effect: Andromeda and the Victorian adventure novel for boys
75%
Majkowski T. Z. , Kozyra M.
|
2021
|
nr 2
23-40
EN
The paper offers a reading of "Mass Effect: Andromeda" (BioWare 2017) vis-à-vis lost world romance (also dubbed “lost race romance”, or “imperial romance”), a late-Victorian area novelistic genre originating from H. Rider Haggard's "King Solomon's Mines" and serving as a major tool for British Empire propaganda - and as a source of the early science-fiction conventions. We claim the narrative failure of the ill-received game stems from its adherence to the rigid principles and forceful themes of the genre and the colonial and imperial imaginary informing it. Our analysis aims at highlighting the way 19th Century novelistic convention can be remediated as contemporary digital games, and to expose the link between imperial imaginary and the way open-world digital games are structured, on both narrative and gameplay levels - even when they do not directly refer to the historical colonial legacy.
18
Content available The Rise of the Cottagecore Game: The Modernity of Digital Gaming and Content Consumption
75%
Shin S.
Acta Ludologica
|
2022
|
tom 5
|
nr 2
4-17
EN
The main aim of this article is to demonstrate that contemporary gamers commit to a political nature of consuming digital game contents to facilitate cultural renewal. In illuminating how the rise of the cottagecore game at the turn of the 2020s has not only been driven by this cultural renewal but also intensified its major trajectories, the study contradicts critical assertions about the inimical relationship between gaming and real life which still remains in mainstream culture. This study aims to continue advancing the practice of game theorists who have shifted academic interest to the relevance of the digital game as a medium by conceptualizing the practice of enjoying a digital game as ‘consumption’ in the fashion defined by K. Marx. Building upon what might be termed an open-world game suggested a contradicting concept of playing a digital game, this study takes Harvest Moon as one of the early examples which inspires the swarming number of cottagecore games in the late 2010s and Stardew Valley and Animal Crossing as representatives of the rise of the cottagecore game, the study will illustrate how the rise of the cottagecore game reveals modernity of contemporary gamers who share a vision of digital game as a uniquely positioned medium for imagining a better world and themselves and, subsequently, facilitating a shift in cultural attitudes in a politically progressive manner.
19
Content available Choices, affects and trans representation: An analysis of mechanics and gameplay in Tell Me Why
75%
Marak K. , Strehlau N.
|
2023
|
tom 33
|
nr 42
267-279
EN
The article discusses selected aspects of the 2020 game Tell Me Why, focusing on particular gameplay mechanics pertaining to player choices and the manner in which they influence player emotions, as well as on the representation of trans experience in the game. The authors draw both on affect theory and on approaches derived from game studies concerning the presence of emotions in gameplay. In the final part of the text, trans representation in Tell Me Why is analysed and juxtaposed with the readings typically found in the game’s reviews.
20
Content available The Future, the Crisis, and the Future of Replay Story
75%
Imbierowicz E. T.
|
2021
|
nr 2
85-95
EN
The article explores the notion of replay story by Janet Murray. Replay story – a game telling the story through choices and allowing the player to access all of their outcomes – was supposed to be a step in the process of games becoming the most important narrative medium of a new era. Soon after that, the reasonable critique emerged: not every story can, and should, be told though a replay story. Some can even be highly controversial if told in such form. However, new ways of storytelling through replay emerged in the last years: New Game +, multiple routes that influence one another, games that are conscious of previous playthroughs. Three years ago, Ian Bogost stated that the possibilities of development of narrative games are already played-out; and yet, there still is a chance that replay story is once again a keystone in the evolution of games.
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