Despite the importance that the dimension of genre holds in media studies, its very definition in the field of video games is still a matter without consensus. This study intends to outline the logic that lies within the constitution of videoludic genres, understanding them as formal devices configured as per the different thought functions stated by Piaget’s cognitive psychology theory. This project will propose a formalist approach from a cybersemiotic perspective. It seeks to establish a cardinal set of relations to understand the compatibilities and incompatibilities traceable in the syntactic functional order of the different video game genres. Furthermore, a corpus of 43 genres is used to prove the solidity of this theoretical approach, oriented to establish foundations for a praxis of the human–machine ludic relation in fields such as game design and media studies, with the performative character of function as a guiding principle.

Due to its affiliation with formalism, ludology, the scientific perspective prioritized in game studies, considers the rule–mechanic binomial to be an essential principle of any scholarly approach to video games. Nevertheless, the limitation of the game system order implies that, as a fundamental part of this epistemological approach, the empirical validity of its methodology is already being rejected. As such, this article attempts to shift the focus away from the rule–mechanic relation, and from a cybersemiotic perspective, to refocus it on a conceptualization of the human–machine relationship. In order to do so, the concept of convolution regarding said relation is defined, including both parts of the video game system in terms of signal processing. Likewise, this model is contrasted with a randomized total sample of 1,200 games ( N = 1,200, n = 300) in order to arrive at a set of conclusions about the behavior of the distinct video game genres in the indicated terms.

In recognition of the central place that the concept of tragedy holds in the historical understanding of culture and society, this paper features an analysis of its presence, current state, and value in the digital environments of the postmodern era, with special attention to videogames. Thus, the overcoming of a classic model of tragedy in the cybertextual condition is first determined, along with the discursive dimension underlying said overcoming. To this end a theoretical statement to the issue of tragedy is proposed, from the perspective of the cybertext as procedural rhetoric. This will establish the formulation of a semiotic analytical model that problematizes Greimas’ actantial system under the light of the digital and interactive reality of videogames. To avoid this constraint, we propose to attach a new variable to the base of the generative trajectory: the “configurative synthesis,” product of the so-called “gaming/playing function.” This addition will integrate the figures of the game and the player in the dynamic distinction of the “quasi-Actant.” Finally, a sample of 79 cases will be observed in regards to the implications of the cybertextual notion of tragedy to the narrative and discourse of videogames.

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Given that the democratisation of video games has allowed this industry to appropriate a series of themes traditionally the exclusive preserve of other expressive media, this work analyses the capacity of videoludic expression to elicit emotions and convey the seriousness of cancer by performing a comparative study with literature and cinema. To this end, three works (one per medium) were selected to be respectively read, viewed or played by all the study subjects (n=90). A two-step methodology was employed. Firstly, the concepts of emotion and narrative scheme were defined in the context of disciplines relating to the three media and then shared with the subjects. Secondly, once both variables, i.e. the concepts of emotion and narration, had been controlled, a questionnaire was designed to determine which of the three works comprising the corpus best conveyed the experience of cancer. The results reveal that the sample game, in spite of its shortcomings in character design, was judged to be the one that most poignantly described the development of the disease. Therefore, it is possible to claim that the common belief that video games are trivial devices, solely designed to entertain, contrasts with their true expressive ability to convey dramatic experiences.

Given that the democratisation of video games has allowed this industry to appropriate a series of themes traditionally the exclusive preserve of other expressive media, this work analyses the capacity of videoludic expression to elicit emotions and convey the seriousness of cancer by performing a comparative study with literature and cinema. To this end, three works (one per medium) were selected to be respectively read, viewed or played by all the study subjects (n=90). A two-step methodology was employed. Firstly, the concepts of emotion and narrative scheme were defined in the context of disciplines relating to the three media and then shared with the subjects. Secondly, once both variables, i.e. the concepts of emotion and narration, had been controlled, a questionnaire was designed to determine which of the three works comprising the corpus best conveyed the experience of cancer. The results reveal that the sample game, in spite of its shortcomings in character design, was judged to be the one that most poignantly described the development of the disease. Therefore, it is possible to claim that the common belief that video games are trivial devices, solely designed to entertain, contrasts with their true expressive ability to convey dramatic experiences.

En su escrito titulado ¿Qué es la verdad? (1957), Hans-Georg Gadamer recordaba la forma en que Nietzsche se había apropiado de la pregunta retórica con que Poncio Pilato respondía en el Nuevo Testamento (Jn 18, 38) a la unanimidad popular en la decisión de condenar a muerte a Jesús de Nazaret. La de Nietzsche era una crítica de arma única pero doble sentido, que alcanzaba simultáneamente al cristianismo y a la ciencia; por su parte, el discípulo de Heidegger señalaba que sólo la peculiar situación jurídico-política de un poder que gravitaba entre un "rey" judío y un gobernador romano hacía posible semejante apertura a una cuestión tal sobre lo relativo, fundamentalmente inédita hasta los albores históricos del liberalismo.En el centro dinámico de esta encrucijada de dobles contrarios (ciencia-creencia, sentenciaimputación) se inscribe la crítica estética tal como Luis Navarrete Cardero la examina minuciosamente, en sus fundamentos generales y en su particular aplicación al medio cinematográfico, en su ensayo ¿Qué es la crítica de cine?, publicado por la editorial Síntesis.Cabe en principio preguntarse por la pertinencia de un estudio relativo a este tema en concreto, como así lo hace el propio autor, atravesando un riguroso ejercicio de autoanálisis en las primeras páginas del volumen; pero el escepticismo latente en ese encausamiento sólo puede entenderse como corolario de la misma propuesta del volumen: la crítica de la crítica, la reflexión de los fundamentos que implica inflexión en la disciplina. De esta forma, no parece casual que la revitalización de la crítica a la que Navarrete insta cuente con correlatos en las figuras diversas de Terry Eagleton, Alain Finkielkraut, Hal Foster o Slavoj Zizek, hijos de la era posmoderna que reniegan de la multifacética irreverencia del sentido característica de aquella, o al menos de su apropiación capitalista.