Video games, narrative and game studies. Once more, with feeling!
Article Sidebar
Google Scholar citations
Main Article Content
In the current context of debate on the crisis of narrative (Han, 2023) in relation to certain trends in digital culture, we question any hasty conclusion about it and argue in favour of the interest of ludonarrative creativity in contemporary video games as a study object. We do this in relation to the recreation of narrative imaginaries, innovations in design and technology and the emergence of the indie scene, including relatively new genres such as the walking simulator. We also review the value of narrative studies within game studies, highlighting socio-cultural analyses that incorporate contributions of the humanities and literary and film studies, in relation to narrative genres and traditions that are now being replayed in various ways in video games; for example, narratives related to mythology, dystopia, and comedy. Finally, we argue that the narrative perspective can also be an interesting lens for analysing other discourses, beyond the video game itself, including the discourses and narrations of creators, fans, journalists and influencers.
Article Details
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
(c) Óliver Pérez-Latorre, Marta Fernández Ruiz, 2024
Copyright
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0).
Óliver Pérez-Latorre, Universitat Pompeu Fabra
Óliver Pérez Latorre is a senior lecturer in media and game studies at Pompeu Fabra University (Barcelona, Spain) and a member of the research group MEDIUM. His research focuses on the cultural analysis of video games and contemporary audiovisual fiction, Game Studies, Cultural Studies and Social Semiotics. He has published academic articles on journals such as Games and Culture, Game Studies, Convergence, and Social Semiotics. He has written the books El lenguaje videolúdico (Laertes, 2012) and Imaginarios ludonarrativos: análisis intertextual de juegos, videojuegos y ficción audiovisual (Shangrila, 2023), and co-edited Perspectives on the European Videogame (Amsterdam University Press, 2022).
Marta Fernández Ruiz, Universitat Politècnica de Catalunya, CITM
Marta Fernández Ruiz is lecturer and coordinator of the Degree in Video Game Design and Development at the Centre de la Imatge i la Tecnologia Multimèdia of the Universitat Politècnica de Catalunya, and head of the Game Studies research line of DiCode, Digital Culture and Creative Technologies Research Group. Her lines of research focus on video games and media ecology; the impact of video games in areas beyond entertainment; and new game aesthetics linked to emerging technologies. She has participated in projects related to indie video games, on the one hand, and learning experiences mediated by games, storytelling and virtual environments, on the other. She has published in journals such as Revista de Comunicación, Catalan Journal of Communication & Cultural Studies, Brumal and Icono 14.
Alonso-Guisande, M. A. y López-Fraile, L. A. (2024). Generación de audio procedural en el videojuego No Man´s Sky: análisis del
diseño sonoro narrativo. Hipertext.net, (29), 149-159. https://doi.org/10.31009/hipertext.net.2024.i29.12
Anable, A. (2018). Playing with Feelings. Video Games and Affect. University of Minnesota Press.
Anthropy, A. (2012). Rise of the Videogame Zinesters. Seven Stories
Aranda, D., Sánchez-Navarro, J. y Roig, T. (2014). Fanáticos. La cultura fan. UOC Press
Azuma, R. (2015). Location-based mixed and augmented reality storytelling. En W. Barfield (Ed.), Fundamentals of Wearable Computers and Augmented Reality (pp. 259-276). CRC Press.
Blanco-Fernández, V. (2024). Gaming identity in contemporary queer art: the works of Danielle Brathwaite-Shirley and Lu Yang. Hipertext.net, (29), 75-87. https://doi.org/10.31009/hipertext.net.2024.i29.06
Bolter, J. D., Engberg, M. y MacIntyre, B. (2021). Reality Media: Augmented and Virtual Reality. MIT Press.
Bonello-Rutter-Giappone, K., Majkowski, T. y Švelch, J. (Eds.) (2022). Video Games and Comedy. Palgrave Macmillan.
Boris, P. (2018). El caso BioWare: La evolución de la representación de la mujer. En A. Amores (Ed.), ¡Protesto! Videojuegos desde una
perspectiva de género (pp. 191-222). Anait Games.
Compton, K. (2019). Getting Started with Generators. En T. Short y T. Adams (Eds), Procedural Storytelling in Game Design, (pp. 3-15). CRC Press.
Cuadrado-Alvarado, A. (2024). Videojuegos de mundo abierto y parques temáticos: convergencias narrativas y lúdicas. Hipertext.net (29), 113-123. https://doi.org/10.31009/hipertext.net.2024.i29.09
de Souza e Silva, A. y Glover-Rijkse, R. (2020). Hybrid Play. Crossing Boundaries in Game Design, Players Identities and Play Spaces. Routledge.
Eklund, L. y Zanescu, A. (2024). Times They Are A-Changin’? Evolving Representations of Women in the Assassin’s Creed Franchise. Games and Culture, 0(0). https://doi.org/10.1177/15554120241246575
Farca, G. (2018). Playing Dystopia. Nightmarish Worlds in Video Games and the Player’s Aesthetic Response. Transcript Verlag.
Freire-Sánchez, A. (2024). Sincronías narrativas y travesías filosóficas en la intertextualidad entre Berserk y la obra de Hidetaka Miyazaki. Hipertext.net, (29), 125-134. https://doi.org/10.31009/hipertext.net.2024.i29.10
Fernández-Vara, C. (2014). Introduction to Game Analysis. Routledge.
Fernández-Vara, C. (2022). National Games. Spanish Games of the 80s. En V. Navarro-Remesal y Ó. Pérez-Latorre (Eds.), Perspectives on the European Videogame. Amsterdam University Press.
García-Martín, F. D. y Fernández-Rodríguez, M. (2024). El monstruo como paradigma de la alteridad: las sagas videolúdicas Dragon Age (2009-2014) y The Witcher (2007-2015). Hipertext.net, (29), 51-61. https://doi.org/10.31009/hipertext.net.2024.i29.04
Han, B-Ch. (2023). La crisis de la narración. Herder.
Harper, T. (2017). Role-Play as Queer Lens: How ‘ClosetShep’ Changed my Vision of Mass Effect. En B. Ruberg y A. Shaw (Eds.), Queer Game Studies (pp. 125-134). University of Minnesota Press.
Harwood, T. y Grussi, B. (2021). Pioneers in Machinima: The Grassroots of Virtual Production. Vernon Press.
Herrera-Mármol, M. A. (2024). “¡Hay que proteger la naturaleza!” Anticipación de catástrofes y gestión de epidemias en la saga Monster Hunter. Hipertext.net, (29), 63-73. https://doi.org/10.31009/hipertext.net.2024.i29.05
Juul, J. (2019). Handmade Pixels. Independent Games and the Quest for Authenticity. MIT Press.
Kilteni, K. y Slater, M. (2012). The Sense of Embodiment in Virtual Reality. Presence, 21(4), 373–387. https://doi.org/10.1162/PRES_a_00124
Kirkpatrick, G. (2015). The Formation of Gaming Culture. UK Gaming Magazines, 1981-1995. Palgrave Macmillan.
López-Delacruz, S. (2024). Del videojuego a los medios masivos y digitales: estrategias transmedia en el universo The Last of Us. Hipertext.net, (29), 135-148. https://doi.org/10.31009/hipertext.net.2024.i29.11
Lowood, H. y Nitsche, M. (2011). The Machinima Reader. MIT Press.
Martín-Núñez, M. y Navarro-Remesal, V. (2021). La complejidad ludonarrativa en el videojuego: un doble boomerang. L’Atalante, revista de estudios cinematográficos, (31), 7-32. https://revistaatalante.com/index.php/atalante/article/view/902
Martínez-Pérez, N. y Martín-González, R. (2024). El mito de el ser desdoblado en el videojuego contemporáneo: mitocrítica en Prince
of Persia: Las Dos Coronas. Hipertext.net, (29), 39-50. https://doi.org/10.31009/hipertext.net.2024.i29.03
Maté, D. (2024). Demoras, repeticiones, intermitencias: torsiones recientes de la enunciación videolúdica. Hipertext.net, (29), 175-185. https://doi.org/10.31009/hipertext.net.2024.i29.14
Montola, M., Stenros, J. y Waern, A. (2009). Pervasive Games. Theory and Design. CRC Press.
Mukherjee, S. (2017). Video Games and Postcolonialism. Empire Plays Back. Palgrave Macmillan.
Murcia, A. (2024). Metáforas para imaginar procesos en juegos digitales y analógicos. Hipertext.net, (29), 161-173. https://doi.org/10.31009/hipertext.net.2024.i29.13
Murray, J. (1999). Hamlet en la Holocubierta. El futuro de la narrativa en el ciberespacio. Paidós
Myagkova-Shaposhnikova, A. y Jurado-Martín, M. (2024). Tratamiento de la mujer en textos periodísticos sobre videojuegos: estudio de caso de medios impresos. Hipertext.net, (29), 103-111. https://doi.org/10.31009/hipertext.net.2024.i29.08
Navarro-Remesal, V. y Pérez-Zapata, B. (2018). Who Made Your Phone? Compassion and the Voice of the Oppressed in Phone Story
and Burn the Boards. Open Library of Humanities Journal, 4(1), 11. https://doi.org/10.16995/olh.209
Navarro-Remesal, V., Pérez-Latorre, Ó y Fernández-Vara, C. (2024). “Introducción. Fragmentar y desfragmentar el videojuego europeo”. En Ó. Pérez-Latorre, V. Navarro-Remesal y C. Fernández-Vara (Coord.), Fragmentos y microhistorias del videojuego europeo (pp. 15-36). Shangrila.
Nooney, L., Guins, R. y Lowood, H. (2019). Introducing ROMchip. What Could the History of Games Be?. ROMchip, 1(1).
https://romchip.org/index.php/romchip-journal/article/view/72
Oliva, M. (2022). Masterpiece! Auteurism and European Videogames. En Navarro-Remesal, V. y Pérez-Latorre, Ó. (Eds.), Perspectives on the European Videogame (pp. 131-150). Amsterdam University Press, pp. 131-150
op de Beke, L., Raessens, J., Werning, S. y Farca, G. (Eds.) (2024). Ecogames. Playful Perspectives on the Climate Crisis. Amsterdam
University Press
Planells, A. (2021). La Tierra Prometida en el videojuego contemporáneo: mitoanálisis de Bioshock Infinite y Death Stranding. L’Atalante, revista de estudios cinematográficos, (31), 117-130. https://revistaatalante.com/index.php/atalante/article/view/866
Rodrigo-de-Haro, M. (2024). Ontología del videojuego como medio artístico: el giro narrativo del walking simulator. Hipertext.net, (29), 187-196. https://doi.org/10.31009/hipertext.net.2024.i29.15
Romero-Medina, P. (2024). Lumpen, hipermasculinidad y clase media: el caso de Bioshock Infinite y Watch Dogs. Hipertext.net, (29), 89-101. https://doi.org/10.31009/hipertext.net.2024.i29.07
Ruberg, B. y Shaw, A. (Eds.) (2017). Queer Game Studies. University of Minnesota Press.
Sánchez-Coterón, L. (2014). Juegos pervasivos: el potencial ubicuo de los dispositivos móviles. En J. Sierra y D. Rodrigues (Eds.), Contenidos digitales en la era de la sociedad conectada (pp. 467- 482). Fragua.
Scolari, C. y Fraticelli, D. (2019). The Case of the top Spanish YouTubers: emerging media subjects and discourse practices in the new media ecology. Convergence, 25(3), 496-515. https://doi.org/10.1177/1354856517721807
Slater, M. (2009). Place illusion and plausibility can lead to realistic behaviour in immersive virtual environments. Philosophical Transactions of the royal society, (364), 3549–3557. https://doi.org/10.1098/rstb.2009.0138
Švelch, J. (2023). Player vs. Monster. The Making and Breaking of Video Games Monstrosity. MIT Press.
Swalwell, M., Ndalianis, A. y Stuckey, H. (Eds.) (2017). Fans and Videogames. Routledge.
Terrasa-Torres, M., Porta-Pérez, A. y Montañana-Velilla, J. (2024). Animal Agency. Colapso, encuadres morales e incomunicabilidad
en el videojuego ecológico. Hipertext.net, (29), 25-38. https://doi.org/10.31009/hipertext.net.2024.i29.02
Tosca, S. y Klastrup, L. (2019). Transmedial Worlds in Everyday Life. Routledge.
Villabrille-Seca, D. y Martín-Núñez, M. (2020). Lo fugaz del instante jugable en los mundos virtuales: Espacialidad y temporalidad en
SuperHOT y SuperHOT VR. Miguel Hernández Communication Journal, (11), 221-238. https://doi.org/10.21134/mhcj.v11i0.340
Wetzel, R., McCall, R., Braun, A. K. y Broll, W. (2008). Guidelines for designing augmented reality games. ACM Future Play 2008
International Academic Conference (pp. 173–180). https://doi.org/10.1145/1496984.1497013
Most read articles by the same author(s)
- Héctor Puente Bienvenido, Marta Fernández Ruiz, David Ruiz Torres, Interaction affordances, emergence and sociality in mobile augmented reality video games , Hipertext.net: No. 25 (2022): Interfaces: networks, ecology and evolution