A narrative theory of games

Aarseth, Espen

doi:10.1145/2282338.2282365

Cited by 169 publications

(118 citation statements)

References 2 publications

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“…Those few subjects that indicated that it may be possible to achieve were well aware that it would be time consuming and complex. It appears that both tools were found to be useful but in different ends of the ludo-narrative design space (Aarseth 2012). Deig supported rapid prototyping of ludic-oriented concepts while Twine supports rapid prototyping of narrative-oriented concepts.…”

Section: Discussionmentioning

confidence: 98%

“…Almost 20 years has passed since the ''ludology versus narratology'' debate dominated the scholarly discussions on computer games (Aarseth 2012). Today, it is hard to find anybody who claims that computer games cannot be studied from a narrative perspective or that the ludic dimensions of games make them different from non-interactive narration.…”

Section: Introductionmentioning

confidence: 99%

“…Today, it is hard to find anybody who claims that computer games cannot be studied from a narrative perspective or that the ludic dimensions of games make them different from non-interactive narration. Aarseth (2012), for example, presents a ludicnarrative design-space with four independent, ontic dimensions: world, objects, agents and events. He gives examples on how different games can be positioned at the pure story-pure game scale along these dimensions.…”

Section: Introductionmentioning

confidence: 99%

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Prototyping Tools for Game Writers

2018

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A game is best evaluated by playing it and prototyping is therefore an important activity in game development. Game writers and narrative designers are responsible for the narrative structure of a game, which may have a varying degree of interactivity to it. The aim of this paper is to analyse the role of prototyping tools for game writers. There is a limited range of such tools available, of which Twine is one of the most established. Most of these tools have a text-based programming interface for modelling of game mechanics. This paper presents Deig-a prototyping tool for creating point-and-click adventure games. In Deig, game mechanics is modelled graphically using nodes from a set of primitives. We present an interview study where game writing students reflect on their experience of using Deig and Twine as prototyping tools. The result shows that both tools have their merits and complement each other. Deig was found to be intuitive for modelling of game mechanics, which lead students to create interactive narratives. Twine was found to be more useful for experimental writing. The conclusion of this work is that there is a need for a diverse set of prototyping tools to support game writing.

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Section: Discussionmentioning

confidence: 98%

Section: Introductionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

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Prototyping Tools for Game Writers

2018

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“…To establish games as a subject matter in its own right, early game studies engaged in what Bateman (2015) labelled "fiction denial": It drew a sharp conceptual distinction between "rules" and "fiction," holding that only rules are essential to games, conceding that digital games often comprise (analytically distinct) rules and narrative/fiction in one piece of "half-real" or "ludo-narrative" software (Juul 2005;Aarseth 2012).…”

Section: Positioning Make-believementioning

confidence: 99%

Make-Believe in Gameful and Playful Design

Deterding

2016

Human–Computer Interaction Series

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“…In computer games, part of which, so-called ludo-narrative games (AARSETH, 2012), also belong to the field of digital fictions, this sort of real-time dynamics is routinely taking place. Thus, in the existing digital fictions we have examples of ways to manipulate the relation between story time (the time of events told) and discourse time (the time of narration) which challenge the conventional ways of understanding fictional time.…”

Section: Understanding Fictional Timementioning

confidence: 99%

Remembered, read and experienced time in virtual text

Koskimaa

2015

TEXTO DIGITAL

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http://dx.doi.org/10.5007/1807-9288.2015v11n1p250Neste artigo vou examinar Screen (2002, por Wardrip-Fruin & al.), uma obra literária experimentada em um ambiente de realidade virtual (CAVE), especialmente a partir da perspectiva de seus aspectos temporais. Há temas óbvios de lembrar, esquecer e textualmente de construção do passado no presente trabalho, mas mais notavelmente, Screen enfatiza a temporalidade do próprio ato de leitura. Vou analisar esse trabalho em relação ao tempo lembrado, lido e experimentado corporalmente e, portanto, vou tentar compreender melhor tanto a noção de "tempo fictício" quanto a temporalidade da ficção.

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A narrative theory of games

Cited by 169 publications

References 2 publications

Prototyping Tools for Game Writers

Prototyping Tools for Game Writers

Make-Believe in Gameful and Playful Design

Remembered, read and experienced time in virtual text

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