Playing at Narratology: Digital Media as Narrative Theory

Punday, Daniel

doi:10.26818/9780814214084

Cited by 5 publications

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“…As mentioned above, by transforming the ludic elements into the fanfics, fanfics challenge Burn (2006) and Rambusch et al (2009) by showing that videogame fanfics often contain ludic elements of their source games. Furthermore, Punday (2019) notes that characters in digital media serve two functions: a media-specific role, such as a vehicle for managing a scene's point of view, and a humanistic function, in which the character is 'an entity whose interest is primarily a matter of moral analysis and understanding' (99). Our article shows that characters in fanfics can also have the function of media-specific roles.…”

Section: Declaration Of Conflicting Interestsmentioning

confidence: 99%

“…Previous research on narrative theory shows that the convergence of narratology and digital media brings new insights to narratology (Fjellestad, 2021;Fludernik, 1996;Punday, 2019;Ryan, 2004;Ryan and Thon, 2014). Punday (2019) argues for the importance of digital media to narrative theory without pitting digital media against narrative theory, but rather using digital media to explore existing narrative concepts. Punday explores what digital characters do for their texts, focusing in particular on their compositional functions.…”

Section: Introductionmentioning

confidence: 99%

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The narrativization of ludic elements in videogame fanfiction

Wu,

Martin

2023

Convergence: The International Journal of Research into New Med

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Existing scholarship on videogame fanfiction focuses on how these fictions transform game characters and narrative settings. However, this misses out on an important trope in videogame fanfictions, where authors transplant game procedures, systems, mechanics, and play styles into their stories. We term this trope the narrativization of ludic elements. This article examines how three popular fanfictions based on the Chinese MMO Jian 3 narrativize ludic elements in a way that reinforces hegemonic masculinity. The article contributes to a fuller understanding of the rhetorical strategies of fanfiction writers and explores the ideological implications of the intermedial relation between fanfictions and their source texts.

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Section: Declaration Of Conflicting Interestsmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

The narrativization of ludic elements in videogame fanfiction

Wu,

Martin

2023

Convergence: The International Journal of Research into New Med

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Journeys, Maps, Dungeons: Navigating Narrative and Cinematic Space in Open World Digital Games

Rizopoulos,

Arsenopoulou,

Poupou

2023

Proceedings of the 2nd International Conference of the ACM Greek SIGCHI Chapter

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Spatial and temporal thresholds in installation art: Jan van der Merwe’s Eclipse

Combrink

2021

KOERS

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The notion of thresholds and their potential to suggest liminality is usually associated with spatialities. However, I contend this notion can be extended to layered temporal thresholds and temporal liminalities. I present this argument, using postclassical narratological concepts as theoretical framework, with reference to the South African artist Jan van der Merwe’s installation artwork Eclipse (2002). In this work, various spatial thresholds can be distinguished that relate to issues of conflict, mourning, exclusion, surveillance and the suggestion of death. This is achieved by means of a no man’s land experienced when entering the artwork, where the viewer-participant finds him or herself compelled to follow a footpath surrounded by barbed wire on which clothes made of rusted metal are suspended. This journey culminates in a wall that presents three screens showing rose petals being dropped, as if into a grave. Various possible places suggest themselves: refugee camps, concentration camps, war zones and a cemetery. I argue that these spatialities are made possible by temporal thresholds that accompany them. Apart from the patina of the rusted material that suggest the passing of time, the moving flower petals in the screens repeat constantly to create not only liminal temporalities in terms of the artwork at large, but also an iterative sense of the ongoing culmination of these temporalities in death. Opsomming Die idee van drempels en hul potensiaal om die liminale te suggereer word tipies met ruimtelikhede geassosieer. Desnieteenstaande voer ek aan dat hierdie gedagte verbreed kan word na gelaagde tydmatige drempels en tydmatige liminaliteite. Ek bied hierdie argument vanuit die kader van postklassieke narratologie as teoretiese raamwerk en met verwysing na die Suid-Afrikaanse kunstenaar Jan van der Merwe se installasiekunswerk Eclipse (2002). In hierdie werk kan ŉ aantal tydmatige drumpels onderskei word wat telkens kwessies van konflik, bewening, uitsluiting, dophou en die suggestie van dood aan die hand doen. Dit word bewerkstelling deur die ervaring van ŉ niemandsland wanneer die kunswerk betree word, omdat die aanskouer-deelnemer noodgedwonge ŉ voetpaadjie moet volg wat deur doringdraad omhul is en waarop klere wat uit geroeste metaal gesuspendeer is. Hierdie reis kulmineer in ŉ muur waarop drie skerms gemonteer het wat roosblare toon, asof in ŉ graf. Daar word gesinspeel op verskeie moontlike plekke: vlugtelingkampe, konsentrasiekampe, oorloggebiede en ŉ begraafplaas. Ek voer aan dat hierdie ruimtelikhede moontlik gemaak word deur tydmatige drumpels wat hand aan hand met die ruimtes gesuggereer word. Benewens die patina van die geroeste materiaal wat verband hou met die verloop van tyd, stel die herhalende beweging van die blomblare in die skerms ook liminale tydsfere aan die orde binne die kunswerk as geheel, en dryf ook – op iteratiewe wyse – hierdie tydsfere op die spits om ŉ suggestie van die dood aan die hand te doen.

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Playing at Narratology: Digital Media as Narrative Theory

Cited by 5 publications

References 0 publications

The narrativization of ludic elements in videogame fanfiction

The narrativization of ludic elements in videogame fanfiction

Journeys, Maps, Dungeons: Navigating Narrative and Cinematic Space in Open World Digital Games

Spatial and temporal thresholds in installation art: Jan van der Merwe’s Eclipse

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