Studies on adaptation for younger audiences tend to mull over around the film adaptation of children classics. Adaptation of textual, visual, and operative elements for younger audiences in the context of literary texts with ergodicity like apps, comics, animation films, and games is understudied. This case study based descriptive qualitative study aims at exploring and investigating the phenomenon and how this adaptation is exercised. This study employs Siddharthan's text simplification, Genette's hypertextuality, Nikolajeva's Barthesian proairetic decoding for younger audiences, and Huizinga's play-function and play-mood to address the language aspects of ludic adaptation, Aarseth's ergodic literature and Sander's adaptation to address the literary aspects, and Rajewsky's intermediality to address the medial aspects. Drawing upon the theories and employing Spradleyan analysis, we argue that adaptation for younger audiences is best termed ludic adaptation, an adaptation aimed at establishing a playful communication involving textual, visual, and operative adjustments for younger audiences through transmodalization, transstylization, and transformation of the source texts. In adapting the apps, comics, animation films, and games into their simplified versions, the adapters employ what we call as babyfication, chibification, bambification, and cherubification. Scholars of language and literary studies might apply ludic adaptation to reveal how adaptation
This study revisits Hymes' ethnography of communication for game avatars, functioning as a communication nexus connecting games and gamers. Hymes formulates his ethnography of communication into SPEAKING (Settings and Scenes, Participants, Ends, Act Sequences, Keys, Instrumentalities, Norms, and Genres) and this formula deems to be unfit to explain how game avatars communicate. Implementing Klevjer's prosthetic telepresence (2012) to analyze sixty-two game titles, it is revealed that SPEAKING requires an extension when applied to study game avatars since the formula is not designed to explain the prosthetic nature of game avatars. This prosthetic nature produces specific communication ethnography of avatars, which we dub prosthetic communication ethnography. By prosthetic communication ethnography refers to technical elements of gaming, which contribute to the ways the avatars communicate. As Hymes' ethnography of communication with SPEAKING, this avatar based communication ethnography requires the same tool of analysis, which we call GAMING (Gaming systems, Attributes, Mechanics, Indexicalities, Narratives, and Geosocial systems), constructed with indexical storytelling by Fernández-Vara (2011), user interface types of games by Stonehouse (2014) and prosthetic video game theory by Jagodzinski (2019) as the theoretical foundations. GAMING and SPEAKING are integrated by bridging them with Aarseth's ludonarrative dimensions (2012).
The necessity for a children’s picturebook to generate a proairetic decoding by the children influences translators to deliver the messages of the source text as explicit as possible. This condition leads the translators to implement amplifications aimed at detailing particular information. Though a proairetic reading is achieved through amplification, negative impacts follow the implementation. This qualitative experiential study involves nine children picturebook translators. Exchanging insights and translated texts in a focused group discussion (FGD) comprising of English to Indonesian and English to Javanese children picturebook translators, we found that a typology of amplification technique constructed specifically for children picturebook translation is required to provide a guideline for the translators when forced to apply amplification. The result of the translation data, supported by FGD, indicates that amplification is classifiable into three function-based types namely naturalizing, synchronizing, and stylizing amplifications. These amplifications, when applied, generate four impacts namely congruity losses, effect rendering, reading level deviation, and deviation on the purposes of the children’s picturebooks. These impacts deal with verbosity and thus requiring a further concern on verbosity level acceptance.
This paper aims at questioning the existence of performative acts in video games and proposing the presence of acts, for the purpose of this paper, called ludorative acts. To prove that ludorative acts are existent, the award-winning and commercially successful Konami's Metal Gear Solid franchises are analyzed. The analyzed titles are Metal Gear Solid, Metal Gear Solid 2: Sons of Liberty, Metal Gear Solid 3: Snake Eater, and Metal Gear Solid 4: Guns of the Patriot. The findings reveal that ludorative acts have four characteristics distinguishing the acts from performative acts. They are mechanistic-narrative, configurative, spatialmultimodal, and HCI (Human Computer Interaction)-Infovis (Information Visualization) bound. The emergence of these four characteristics from which ludorative acts are constructed roots from the fact that ludology, the science of play, and narratology, the study of narratives, are the primary substances of video games. The two substances are linguistically embodied through the appearance of two different language uses in video games. They are instruction based expressions, derived from the ludology of the video games, and narration based, rooted from the narratology of the video games.
Linguistic research on fictional constructed language (conlang) in video game dominantly employs an approach mimetically designed for fictions and films namely a priori and a posteriori. We argue that a priori and a posteriori are unable to comprehensively analyze the relationship between fictional conlangs with game elements. This research aims at constructing a new taxonomy on fictional conlang design approach that adheres specifically to video game. To do so, first, we analyze 62 game titles with 94 fictional conlangs to prove that a priori and a posteriori display deficiencies in pointing their relationship with video game elements. The next step is constructing a taxonomy based on the integration of Crystal's notion on ludic linguistics, language studies for playful purposes, and Aarseth's textonomy, the study on how texts are accessed. The research findings indicate that a priori and a posteriori fail to classify 29 fictional conlangs into either category and to indicate the relationship between the conlangs with game elements. In response to this failure, we construct a taxonomy consisting of three approaches namely interpretive, explorative, and configurative. These three approaches are able to indicate a structural relationship between fictional game conlangs, game genres, and the immersion level of the players and to patch the weaknesses a priori and a posteriori taxonomy has. Linguists, departing from this new taxonomy, might cooperate with game designers to design comprehensive conlangs, specifically designed for video games, which conform and correspond to the game genres and immersion levels.
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