This article examines the notion of genre in video games. The main argument is that the market-based categories of genre that have been developed in the context of video games obscure the new medium's crucial defining feature, by dividing them into categories (loosely) organized by their similarities to prior forms of mediation. The article explores the inherent tension between the conception of video games as a unified new media form, and the current fragmented genre-based approach that explicitly or implicitly concatenates video games with prior media forms. This tension reflects the current debate, within the fledgling discipline of Game Studies, between those who advocate narrative as the primary tool for understanding video games, “narratologists,” and those that oppose this notion, “ludologists.” In reference to this tension, the article argues that video game genres be examined in order to assess what kind of assumptions stem from the uncritical acceptance of genre as a descriptive category. Through a critical examination of the key game genres, this article will demonstrate how the clearly defined genre boundaries collapse to reveal structural similarities between the genres that exist within the current genre system, defined within the context of visual aesthetic or narrative structure. The inability of the current genre descriptions to locate and highlight these particular features suggests that to privilege the categories of the visual and narrative is a failure to understand the medium. The article concludes by suggesting that the tension between “ludology” and “narratology” can be more constructively engaged by conceptualizing video games as operating in the interplay between these two taxonomies of genre.
In recent methodological scholarship on digital games, a strong connection is noted between ''platform studies'' and media archaeology. While platform studies has its critics, who primarily lament the limitations of the project, a recent spate of publications in the field suggests considerable dynamism in platform studies as the concept is further developed. This article argues that by examining platform studies from the perspective of media archaeology, it becomes apparent that platform studies establishes an ''epistemic threshold''. Additionally, platform studies is a historical method which both establish continuities and mark breaks with previous platforms and technologies. From the perspective of this threshold, this article explores epistemic questions that arise from how platform studies forms an archive, and how media archaeology can enrich the method's explicit concerns and engagements with technology and culture.
This article argues that digital games and school‐based literacy practices have much more in common than is reported in the research literature. We describe the role digital game paratexts – ancillary print and multimodal texts about digital games – can play in connecting pupils’ gaming literacy practices to ‘traditional’ school‐based literacies still needed for academic success. By including the reading, writing and design of digital game paratexts in the literacy curriculum, teachers can actively and legitimately include digital games in their literacy instruction. To help teachers understand pupils’ gaming literacy practices in relation to other forms of literacy practices, we present a heuristic for understanding gaming (HUG) literacy. We argue our heuristic can be used for effective teacher professional development because it assists teachers in identifying the elements of gameplay that would be appropriate for the demands of the literacy curriculum. The heuristic traces gaming literacy across the quadrants of actions, designs, situations and systems to provide teachers and practitioners with a knowledge of gameplay and a metalanguage for talking about digital games. We argue this knowledge will assist them in capitalising on pupils’ existing gaming literacy by connecting their out‐of‐school gaming literacy practices to the literacy and English curriculum.
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