Cut-Scenes

Ludonarrativas y narrativa visual para videojuegos: el caso Inka Madness

“…La secuencia, los núcleos de quiebre temporal y los cortes cinemáticos proporcionan en los videojuegos indicios de la segunda función narrativa de la imagen, que es la progresión temporal (Klevjer, 2014). Esta función transmite al jugador, a través de la imagen, la manera en que transcurre el tiempo en la historia, tiempo que es percibido por las acciones que realiza, que a su vez influyen en eventos futuros del juego (Zagal & Mateas, 2010).…”

“…Esta función transmite al jugador, a través de la imagen, la manera en que transcurre el tiempo en la historia, tiempo que es percibido por las acciones que realiza, que a su vez influyen en eventos futuros del juego (Zagal & Mateas, 2010). Los cortes cinemáticos comunican si hay una aceleración o disminución de la velocidad del paso temporal, abreviando secuencias largas, anticipando eventos o proporcionando información adicional al jugador, de manera que desarrollan su propio lenguaje narrativo alternativo (Klevjer, 2014). Zagal y Mateas (2010) proponen un framework con distintas formas de interacción cognitiva de los marcos temporales en videojuegos (ver Tabla 4).…”

Toward a Study of Pinball

“…They are altered for the game. In the videogame industry and in game studies, cinematic segments that are designed to help explain the game’s narrative are known as cut-scenes (Jenkins, 2004; Juul, 2001; Klevjer, 2014, p. 485; Lindley, 2005; Ip, 2011a, p. 108; Ip, 2011b, p. 208).…”

“…Some have argued that cut-scenes are “a passive mode of narrative” (Ip, 2011a, p. 108; see Klevjer, 2014, p. 485) because they interrupt the gameplay. In the current era of videogame research many contend that videogames use cut-scenes to transcend cinematics (Denson, 2020, pp.12–14; Ramsay, 2020; Veale, 2012), as the camera’s integration with the character, for one example, forms something beyond cinema and gameplay—a hybridity (see Weise, 2003, quoted in Klevjer, 2014, p. 486; see Rehak, 2003, p. 109). In pinball games, the visual component of the screen attached to the pinball machine does not contain passive footage, but rather complementary details to explain the narrative and the game’s objectives.…”

Feedback-based gameplay metrics

“…Playing a game is predominantly a configurative practice, not an interpretative one like film or literature, requiring the player to "work with the materiality of a text, the need to participate in the construction of its material structure" [24]. Game research has consequently focused much attention on seeking to develop a better understanding of the different experiential components of gameplay, for example, through the development of concepts of enjoyment [43] flow, [23] or immersion [33].…”