The Independent Mode

Juul, Jesper

doi:10.1145/3402942.3409787

Cited by 6 publications

(5 citation statements)

References 4 publications

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“…The Narrator here only provides commentary during a few moments when Zagreus is interacting with other characters or with points in the environment. It must be noted that the gap between the story time and the discourse time, a concept adapted from Narratology by Juul is closed, as Zagreus is aware of the Narrator's presence and can hear his voice (Juul, 2001).…”

Section: The Narrative Of Hadesmentioning

confidence: 99%

Rescripting of the Genre Through Greek Mythology in Hades

Arthimalla¹

2023

Games and Culture

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Hades is a 2018 video game by Supergiant Games that sees the player take control of Zagreus, an obscure son of Hades. Hades offers the player freedom to shape, order, and alter its narrative through their choices of pursuit. This article attempts to highlight aspects of this game's design by contrasting it with two prominent rogue-likes. It uses The Binding of Isaac and Dead Cells for this purpose, and to further establish similarities and differences from the rest of the genre in the narrative and the ludic. It introduces the reader to the conventional elements of a rogue-like and how Hades is equipped to work around their limitations. Through this article, I also attempt to comment on whether and how the conventional idea of the genre is evolving in videogames today and highlight how games like Hades, Dead Cells, and The Binding of Isaac are contributing to this evolution.

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Section: The Narrative Of Hadesmentioning

confidence: 99%

Rescripting of the Genre Through Greek Mythology in Hades

Arthimalla¹

2023

Games and Culture

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“…Δεν θα ήταν υπερβολή να υποστηριχθεί ότι οι σημερινοί indie δημιουργοί αναπτύσσουν τίτλους με επιρροές από εκείνους που έπαιζαν ως έφηβα αγόρια και κορίτσια. Αυτές οι αισθητικές επιλογές συνδυαστικά με το μικρό προϋπολογισμό παραγωγής ταυτοποιούν το indie ως είδος (genre) και σχεδιαστική τάση (Juul, 2014). Όπως υποδεικνύει όμως και η περίπτωση του It Takes Two, η μεγάλη βιομηχανία έχει αποπειραθεί να εκμεταλλευτεί το χαρακτηρισμό των indie παιχνιδιών για δικούς της τίτλους.…”

Section: ανεξάρτητη παραγωγή: έννοια αισθητική και δικτύωσηunclassified

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ΘΕΟΔΩΡΟΠΟΥΛΟΣ

2023

AFIMEC

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Η βιομηχανία των ψηφιακών παιχνιδιών έχει εδραιωθεί σήμερα παγκοσμίως ως ένας οικονομικός, τεχνολογικός και πολιτιστικός τιτάνας. Πέρα όμως από τις κυρίαρχες περιοχές παραγωγής ψηφιακών παιχνιδιών (Κίνα, Βόρεια Αμερική, Δυτική Ευρώπη, Ιαπωνία) και τους υψηλού προϋπολογισμού τίτλους, η ανεξάρτητη ανάπτυξη και οι δημιουργοί από διάφορα μέρη του κόσμου αποτελούν σημαντικό πυλώνα της εν λόγω βιομηχανίας. Τα τελευταία δέκα χρόνια, έχει φανεί ένας νέος δυναμικός μετασχηματισμός ψηφιακού περιεχομένου σε παραγωγικό επίπεδο στη νότια περιοχή της Ευρώπης και δη της Ελλάδας. Μέσα από 35 ημι-δομημένες συνεντεύξεις που διεξήχθησαν την περίοδο 2019-2023, αυτό το άρθρο έχει ως στόχο να εξετάσει τα χαρακτηριστικά της ανεξάρτητης παραγωγής ψηφιακών παιχνιδιών στην Ελλάδα, στη σύγχρονη περίοδο. Πιο συγκεκριμένα, εστιάζει στις εργασιακές κουλτούρες και παραγωγικές ταυτότητες των Ελλ.ήνων.ηνίδων δημιουργών, στα τοπικά και διεθνή δίκτυα που υποστηρίζουν την τοπική ανεξάρτητη ανάπτυξη, καθώς και τις κύριες στιλιστικές, σχεδιαστικές τάσεις των ελληνικών ψηφιακών παιχνιδιών.

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“…We are therefore still facing a process in the search of solidification in ways of doing (Heussner, 2019). Although Narrative Design emerged as a new area in the industrial domain of digital games, it did not arise in an isolated way, since much of what is part of the problematic of this design has been discussed over the last 25 years, in the domain of what is called Interactive Narrative or Interactive Storytelling (Laurel, 1993;Murray, 1997Murray, , 2005Crawford, 2004;Mateas, 2001;Frasca, 1999;Juul, 2001;Aarseth, 2004;Ryan, 2003;Ryan & Thon 2014). It was within these areas that our work began (Zagalo, Branco, & Barker, 2003), and that came to enhance the framework of narrative design that we will present.…”

Section: Introductionmentioning

confidence: 99%

Beats & Units: A story-game design framework

Zagalo¹,

Oliveira²,

Cardoso³

et al. 2023

IJFMA

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There are no recipes or rules to develop games, any more than there are to develop stories. When we try to define a game system that not only has to create a balanced experience, but also has to tell a story, which can engage players in creating empathy and meaning, everything gets complicated. We faced this problem when we had to develop a serious game with the goal of promoting discussion and awareness among children around nutrition: FlavourGame. In this regard, we needed not only to design game mechanics that would feel complete and progressive, but also to create a narrative that provided meaning to the game experience, in order to ensure an underlying layer to the context of nutrition. For that, we had to develop a framework that could help the team in guiding the telling of the story while designing the progression of the game. In this article, we present the full framework as a story-game design approach to be employed in the creation of serious narrative games.

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The Independent Mode

Cited by 6 publications

References 4 publications

Rescripting of the Genre Through Greek Mythology in Hades

Rescripting of the Genre Through Greek Mythology in Hades

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Beats & Units: A story-game design framework

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