![]() īateman, C., (2011), Imaginary games (Winchester, UK, Washington: Zero Books 2011)īeasley, B.,, Standley, T. DiGRA '15 - Proceedings of the 2015 DiGRA International Conference. Analysing Cultural Heritage and its Representation in Video Games. DiGRA '13 - Proceedings of the 2013 DiGRA International Conference: DeFragging Game Studies.Īshcraft, B. From Euclidean Space to Albertian Gaze : Traditions of Visual Representation in Games Beyond the Surface. ![]() Cambridge, New York, Cambridge University Press.Īrsenault, D., Larochelle, A. A theory of computer semiotics : semiotic approaches to construction and assessment of computer systems. LocoRoco Creators on the Game That Made the World Smile. (eds.) The Routledge companion to video game studies. Intermédialités: Histoire et théorie des arts, des lettres et des techniques/Intermediality: History and Theory of the Arts, Literature and Technologies, (9), 35-44.Īarseth, E. Journal of Aesthetics and Art Criticism, 63(4), 315–326. The Artist's Sanction in Contemporary Art. In The Grasshopper: Games, Life and Utopia. I argue that the game publisher’s response to the controversy was inadequate, since the game content, due to the application of representational mechanisms, can be seen as racist even if its developers had no intention of creating such a racist content. A case study I use to illustrate how my typology helps to improve game studies discourse, is LocoRoco-an abstract game accused of containing racist imagery. I argue that the application of this typology to particular elements of games (instead of games understood as a whole) enables us to solve some of the problems caused by the relationship of games to the external world. I combine all of these distinctions to construct a typology of representations in computer games. To increase the descriptive power of Peirce’s trichotomy, I suggest two additional distinctions: the difference between external and internal representations, and the difference between diegetic and non-diegetic representations. I argue that if we use this classification, we gain the ability to make distinctions that game studies often ignore, or do not adequately grasp. The aim of this paper is to explore how Peirce’s trichotomy of symbolic, indexical and iconic representations can be applied to computer games.
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