This chapter contains sections titled: The Stories Games Tell Would You Kindly Put down That Wrench? Reconciling Games and Narratives.

The 1968 Olympic Games in Mexico included innovative practices and technological knowledge of human biology. The first time that cytogenetic techniques had been applied to athletes was in the 1966 European Athletics Championship in Budapest and used on Olympic athletes for the first time in Mexico in 1968. The Genetics and Human Biology Program was created for this purpose in 1966 in close collaboration with the Local Organizing Committee, by Mexican geneticists Alfonso León de Garay and Rodolfo Félix Estrada (...) who led the project. The main objective was to study the genetic and anthropological components which determine an Olympic athlete’s abilities. This investigation studied 1,265 game participants and included family studies, cytological analyses, research on single genes, and the study of sex determination. In terms of influence beyond Mexico, this Program was significant as a site of transnational collaboration. It mobilized cognitive and financial resources, scientific practices, and material culture to set up a clinical laboratory in the Olympic Village. The Program also hosted three international seminars in Mexico City, two before the games, to calibrate clinical trials and anthropological tests. One in 1969 to analyze the results and proceed to their publication in 1974. This manuscript will focus on the PGBH to show how its work fits in the larger tapestry of post-1945 human biological studies. Also, to explore how the Olympic athlete populations studied can be considered laboratories of knowledge production or sites of cognition conceived as specific entities for scientific inquiry, standardization of medical practices, and the production or application of medicines. Finally, through the narrative of the different trajectories and collaborations of the leaders of the PGBH, this manuscript will show how contact between their scientific practices brought cytogenetics and sports together. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Wittgenstein’s Reflection in Lewis Carroll’s Looking-GlassLeila S. MayAccording to one tradition in the theory of fiction, there is a kind of fantasy whose function is to invite the reader to "acknowledge the possibility of a different reality."1 In this essay I want to ask whether Lewis Carroll's Alice books fit into this category; that is, I want to explore the possibility that Alice's Adventures in Wonderland and Through the (...) Looking-Glass are not the pure nonsense that many readers take them to be. In considering the Alice books as fantasy offering a view of a "different reality" I do not deny that there are in these stories some mimetic elements alongside the fantastic—representations of things going on somewhere, somehow, in Victorian society—in which case the "different reality" presented will not be so terribly different as to be unrecognizable. For example, the Mad Tea Party in Alice's Adventures in Wonderland is not only an act of fantasy but also an act of mimesis. It certainly imitates the real tea parties often held throughout Victorian England—if caricature is a form of imitation—but it may also mime those mock tea parties held in English asylums whose goal was to model sane-like behavior to the inmates.2 An analogous question can be asked about Carroll's books in general: In addition to the component of fantasy, are they mimetic of Victorian culture itself, or merely of the Victorian conception of madness? Michel Foucault has argued that, while the very idea of la folie is an historical construct, the dialectical relationship between reason and unreason, with each pole parasitic on the other, is a structural constant. Carroll's Alice books produce images that are discharged in the confused nineteenth-century landscape where these two opposites meet. In that respect, his books are not so different from many of the more standard novels written in mid-century England. In this essay I [End Page 79] will explore features of this landscape, using a theoretical framework that has been synthesized from a number of related claims in the work of the linguistic philosopher Ludwig Wittgenstein. In addition to my long-range aim of urging further study of Wittgenstein's work by literary critics, one of my specific goals is to show that the application of Wittgensteinian methods to the works of Lewis Carroll reveals something about the hidden logic of Carroll's stories, and conversely that this procedure tests some of Wittgenstein's intuitions concerning language. Yet another goal is to suggest that the structure of the discourse of domesticity as reflected in many mid-nineteenth-century novels is curiously similar to the structure of discourse in Wonderland and Looking-Glass Land—that the language-games played at these sites are at the same time functional and dysfunctional in much the same way. That may seem like a lot to attempt in a few pages,... but to paraphrase Humpty-Dumpty, when I ask words to do that much extra work, I pay them overtime.In 1965 the philosopher George Pitcher published an essay, "Wittgenstein, Nonsense, and Lewis Carroll," in which he sought to demonstrate "the remarkable extent and depth of affinity between these two great writers with respect to nonsense." In addition, he showed that "the very same confusions with which Wittgenstein charged philosophers were deliberately employed by Carroll for comic effect," and that many of the examples that Wittgenstein used to illustrate his points "resemble, in varying degrees, examples that are found in the works of Carroll."3 While I agree with Pitcher's observation that the examples of nonsense that Wittgenstein offers are very similar to a primary strain of nonsense that runs through the Alice books, in the first section I intend to go beyond that observation and to apply some of Wittgenstein's tools to Carroll's work and show that Wittgenstein's work can be used to reveal features of literary narrative that might otherwise be obscured, and in the second section, to apply these tools to the works of fiction this side of the Looking-Glass.IWittgenstein says that a language is a "language-game." He... (shrink)

The paper has a twofold aim. On the one hand, it provides what appears to be the first game-theoretic modeling of Napoleon’s last campaign, which ended dramatically on 18 June 1815 at Waterloo. It is specifically concerned with the decision Napoleon made on 17 June 1815 to detach part of his army against the Prussians he had defeated, though not destroyed, on 16 June at Ligny. Military historians agree that this decision was crucial but disagree about whether it was rational. (...) Hypothesizing a zero-sum game between Napoleon and Blücher, and computing its solution, we show that it could have been a cautious strategy on the former's part to divide his army, a conclusion which runs counter to the charges of misjudgement commonly heard since Clausewitz. On the other hand, the paper addresses methodological issues. We defend its case study against the objections of irrelevance that have been raised elsewhere against “analytic narratives”, and conclude that military campaigns provide an opportunity for successful application of the formal theories of rational choice. Generalizing the argument, we finally investigate the conflict between narrative accounts – the historians' standard mode of expression – and mathematical modeling. (shrink)

By studying the logic that unites play, the rules of games and the body of players, this article intends to highlight a spatial mimesis through play and games. It consists of carrying out a Ricœurian anthropology of play and game, taking Ricœur's analysis of the relationship between time and narrative as a model. The article then shows that play prefigures the physical space as a lived space, that game configures a space of rules and that the player's body (...) is refigured by the spatiality of the rules of the game. This application of the ternary model of Ricœurian mimesis thus allows a unified understanding of play and games by space, and of space by play and games. (shrink)

“Unraveling Braid” analyzes how unconventional, non-linear narrative fiction can help explain the ways in which video games signify. Specifically, this essay looks at the links between the semiotic features of Jonathan Blow’s 2008 puzzle-platform video game Braid and similar elements in Georges Perec’s 1978 novel Life A User’s Manual, as well as in other puzzle-themed literary precursors. Blow’s game design concepts “dynamical meaning” and “game play rhetoric” are explained in relation to a number of Braid levels; along side this (...) analysis is a parallel examination of the relationship between puzzle-makers and puzzle-solvers in Life A User’s Manual, revealed from a close reading of textual and organizational elements of Perec’s novel. Ultimately, Braid and Life A User’s Manual are shown to draw upon the same signifying processes, which are understood by their authors to operate within an implicitly communicative model. “Unraveling Braid”develops this model by positing a theory of storytelling in the imperative mood, in which the representation and arrangement of objects in the visual/organizational space of the text or game world becomes a fundamental rhetorical technique and meaning-maker.This technique signal show the reader/player is meant to progress through the work and interpret it as narrative, telling the reader/player what to do (but not necessarily how to do it). An understanding of “imperative” storytelling, this essay concludes, allows for a discussion of games and other media that denies neither the importance of player interactivity nor that of authorial design. (shrink)

A threat to humanity portending the end of our species lurks in the cold recesses of space. Our only hope is an eleven-year-old boy. Celebrating the long-awaited release of the movie adaptation of Orson Scott Card’s novel about highly trained child geniuses fighting a race of invading aliens, this collection of original essays probes key philosophical questions raised in the narrative, including the ethics of child soldiers, politics on the internet, and the morality of war and genocide. Original essays dissect (...) the diverse philosophical questions raised in Card’s best-selling sci-fi classic, winner of the Nebula and Hugo Awards and which has been translated in 29 languages Publication coincides with planned release of major motion picture adaptation of _Ender’s Game_ starring Asa Butterfield and Harrison Ford Treats a wealth of core contemporary issues in morality and ethics, including child soldiers, the best kind of education and the use and misuse of global communications for political purposes A stand-out addition to the Blackwell Philosophy and Pop Culture series. (shrink)

The deceptive clues in the impossible puzzle film confirm the viewer’s internal expectations and allow retrospective attributing. In the film, a transcendental object negates an internal expectation, causing a retrospective blockage. Retrospectivity does not stop there; the transcendental object reinterpreting deceptive clues in the associative area leads to repeated attribution. This article consists of three parts. First, it discusses impossible puzzle films in the context of complex narrative classification. The following section introduces the Jungian concept of synchronicity and illustrates how (...) it works. The article concludes with a case study of Long Day’s Journey into Night (2018), which contains more complicated puzzles and explains how mind-game narrative techniques create deceptive clues and induce deceptive retrospective attribution. (shrink)

Abstractabstract:This article refurbishes the view of antiutopianism as the ruling orthodoxy of late-capitalist common sense (pragmatics) and writings plus media (narrative). After a half-century descent into a contemporary neofeudalism (Fascism 2.0), the operation of totalized antiutopianism on utopian narrative genres is powerfully evident in the TV series Game of Thrones, a rigidly Social Darwinist fantasy world, reveling in mass slaughters and presupposing neofeudalism: a black fable for lesioned personalities.

Resumen Este artículo ofrece una lectura de la pintura renacentista según los principios establecidos por Leon Battista Alberti, uno de los primeros teóricos de la perspectiva en cuyo Tratado de pintura se refiere al cuadro como “una ventana abierta a la historia”. El concepto de historia empleado por Alberti, que se presta a numerosas interpretaciones, es abordado a partir de las reflexiones de Erwin Panofsky en torno a la perspectiva como “forma simbólica”, avanzando hacia una hipótesis en torno al carácter (...) simbólico de la configuración y representación del tiempo en el cuadro-ventana albertiano.This paper offers a reading of the renaissance painting according to the principles established by Leon Battista Alberti, one of the first theorists of perspective in painting which Trattato della pittura define the frame of the painting as “an open window into history”. The concept of history employed by Alberti, which lends itself to many interpretations, is approached from the reflections of Erwin Panofsky about the prospect as “symbolic form”, moving towards a hypothesis about the symbolic nature of the configuration and representation of time in the alberti’s window. (shrink)

The interpretation of character motivations is a crucial part of the understanding of many narratives, including those found in video games. This interpretation can be complicated in video games by the player performing the role of a player-character within the game narrative. Such performance finds the player making choices for the character and also interpreting the resulting character actions and their effect on the game's narrative. This can lead to interpretative difficulties for game narratives and their (...) players: if a decision to act is made by the player, is it that the player's own imaginative reasons for acting warrant some narrative interpretations and exclude others? To answer this I argue that we need to investigate the interactive ontology of video game narratives, the notion of game playing as interpretative performance, and the player-character, an artifact through which performance is focused in narrative games. Doing so shows there to be at least two problems with the notion of the correct interpretation of narrative games. Neither of these problems entirely negates the normativity of game narratives, however, and so players are left with the problem of how they might decide which of the possible playings are warranted. I end by making some practical suggestions for the thoughtful and narratively interested game player. (shrink)

Contemporary ICTs such as speaking machines and computer games tend to create illusions. Is this ethically problematic? Is it deception? And what kind of “reality” do we presuppose when we talk about illusion in this context? Inspired by work on similarities between ICT design and the art of magic and illusion, responding to literature on deception in robot ethics and related fields, and briefly considering the issue in the context of the history of machines, this paper discusses these questions (...) through the lens of stage magic and illusionism, with the aim of reframing the very question of deception. It investigates if we can take a more positive or at least morally neutral view of magic, illusion, and performance, while still being able to understand and criticize the relevant phenomena, and if we can describe and evaluate these phenomena without recourse to the term “deception” at all. This leads the paper into a discussion about metaphysics and into taking a relational and narrative turn. Replying to Tognazzini, the paper identifies and analyses two metaphysical positions: a narrative and performative non-dualist position is articulated in response to what is taken to be a dualist, in particular Platonic, approach to “deception” phenomena. The latter is critically discussed and replaced by a performative and relational approach which avoids a distant “view from nowhere” metaphysics and brings us back to the phenomena and experience in the performance relation. The paper also reflects on the ethical and political implications of the two positions: for the responsibility of ICT designers and users, which are seen as co-responsible magicians or co-performers, and for the responsibility of those who influence the social structures that shape who has power to deceive or to let others perform. (shrink)

In the film “Kaili Blues” by Bi Gan, intricate clues create complex connections between the plots steered by various characters. This relationship manifests in splitting time and alternating between dream and reality. This article analyzes Bi Gan’s approach to temporality and dreams by focusing on how he employs various film metaphors to deal with poetic narratives in his films. The article consists of three sections: First, it introduces the (puzzle) storytelling form of “Kaili Blues” as a promising area in (...) many Chinese films. Second, it examines how puzzle films contribute to the ambiguity (plots) between characters from the perspective of infinite games. Moreover, third, the article discusses the two levels of metaphors in “Kaili Blues” that result from the condensation and displacement of metaphors, including the mutual projection of roles caused by the time-forking effect and the audience’s associations caused by the significance of dreams in Chinese tradition (or local) culture. (shrink)

This paper interprets the influential colony management simulator ‘Dwarf Fortress’ existentially, in terms of finitude, absurdity, and narrative. It applies Aarseth/Möring’s proposed method of game interpretation, adopting their definition of ‘cybermedia’ as a generalized game ontology, then providing a specialized ontology of ‘Dwarf Fortress’ which describes its genre and salient gameplay features, incorporating Ian Bogost’s concept of ‘procedural rhetoric’. It then gives an existentialist interpretation of ‘Dwarf Fortress’ which centres on ‘finitude’, ‘absurdity’, and ‘narrative’, showing that ‘Dwarf Fortress’ is a (...) game about the existential tensions involved in being human. We live knowing our lives and civilizations are finite, that there are radical limits on what we can know and do. There is no meaning inherent in the world, or in history, so it is up to us to create our own, and one of our most powerful ways of doing this is narrative. (shrink)

"_Of Literature and Knowledge_ looks... like an important advance in this new and very important subject... literature is about to become even more interesting." – Edward O. Wilson, Pellegrino University Professor, Harvard University. Framed by the theory of evolution, this colourful and engaging volume presents a new understanding of the mechanisms by which we transfer information from narrative make-believe to real life. Ranging across game theory and philosophy of science, as well as poetics and aesthetics, Peter Swirski explains how literary (...) fictions perform as a systematic tool of enquiry, driven by thought experiments. Crucially, he argues for a continuum between the cognitive tools employed by scientists, philosophers and scholars or writers of fiction. The result is a provocative study of our talent and propensity for creating imaginary worlds, different from the world we know yet invaluable to our understanding of it. _Of Literature and Knowledge_ is a noteworthy challenge to contemporary critical theory, arguing that by bridging the gap between literature and science we might not only reinvigorate literary studies but, above all, further our understanding of literature. (shrink)

Framed by the theory of evolution, this volume offers a new understanding of the mechanisms by which we transfer information from narrative make-believe to real life. Ranging across game theory and philosophy of science, as well as poetics and aesthetics, Peter Swirski explains how literary fictions perform as a systematic tool of enquiry, driven by thought experiments. Crucially, he argues for a continuum between the cognitive tools employed by scientists, philosophers, and scholars or writers of fiction."--Jacket.

Jon Robson and Aaron Meskin have argued that the insights obtained through the philosophical analysis of video games is not specific to video games, but to a larger class of artistic creations they term Self-Involving Interactive Fictions, or SIIFs. But there is at least one aspect of SIIF video games that is philosophically interesting and does not apply to the class of SIIFs as a whole, the ability to represent non-classical time. If SIIF video games are (...) considered to be an extension of the art form of graphic narrative story-telling, the art form dominated by film, then the ability to represent time in in this fashion represents a revolution akin to that of vanishing point perspective in painting. This makes SIIF video games philosophically interesting for both philosophers of film and philosophers of video games. (shrink)

Through a phenomenological study of horse-human relations, this article explores the ways in which, as embodied beings, we live relationally, rather than as separate human identities. Conceptually this challenges oppositional logic and humanist assumptions, but where poststructuralist treatments of these issues tend to remain abstract, this article is concerned with an embodied demonstration of the ways in which we experience a relational or in-between logic in our everyday lives.

We argue that pedagogic authority relies on love, which is misunderstood if seen as a matter of actions and subjects. Love is based not on finite subjects and objects existing in Euclidean space and linear time, but, rather, on the non-finite ontology, space and time of relations. Loving authority is a matter of calling and vocation, arising from the spontaneous and simultaneous call-and-response of a lively relation. We make this argument through a reading of Buber’s I–You relation and Murdoch’ s (...) account of the responsiveness of ascetic discipline. In presenting this analysis, we draw upon a case study from a research project on Australian teachers and students. (shrink)

Narrative fictions have surely become the single most widespread source of entertainment in the world. In their free time, humans read novels and comics, watch movies and TV series, and play video games: they consume stories that they know to be false. Such behaviors are expanding at lightning speed in modern societies. Yet, the question of the origin of fictions has been an evolutionary puzzle for decades: Are fictions biological adaptations, or the by-products of cognitive mechanisms that evolved for (...) another purpose? The absence of any consensus in cognitive science has made it difficult to explain how narrative fictions evolve culturally. We argue that current conflicting hypotheses are partly wrong, and partly right: narrative fictions areby-productsof the human mind, because they obviously co-opt some pre-existing cognitive preferences and mechanisms, such as our interest for social information, and our abilities to do mindreading and to imagine counterfactuals. But humans reap some fitness benefits from producing and consuming such appealing cultural items, making fictionsadaptive. To reconcile these two views, we put forward the hypothesis that narrative fictions are best seen asentertainment technologiesthat is, as items crafted by some people for the proximate goal to grab the attention of other people, and with the ultimate goal to fulfill other evolutionary-relevant functions that become easier once other people’s attention is caught. This hypothesis explains why fictions are filled with exaggerated and entertaining stimuli, why they fit so well the changing preferences of the audience they target, and why producers constantly make their fictions more attractive as time goes by, in a cumulative manner. (shrink)

This study examined the link between employees’ adult attachment orientations and perceptions of line managers’ interpersonal justice behaviors, and the moderating effect of national culture. Participants from countries categorized as low collectivistic and high collectivistic completed an online survey. Attachment anxiety and avoidance were negatively related to interpersonal justice perceptions. Cultural differences did not moderate the effects of avoidance. However, the relationship between attachment anxiety and interpersonal justice was non-significant in the Southern Asia cultural cluster. Our findings indicate the importance (...) of ‘fit’ between cultural relational values and individual attachment orientations in shaping interpersonal justice perceptions, and highlight the need for more non-western organizational justice research. (shrink)

Prior research suggests brokers do not always act in the best interests of clients, although morally obligated to do so. We empirically investigated this issue focusing on trades executed at best execution price, before and after the introduction of electronic limit-order trading, on the London Stock Exchange. As a result of limit-order trading, the proportion of trades executed at the best execution price for the customer significantly increased. We attribute this to a sustained increase in the liquidity of stocks as (...) a result of limit-order trading, regardless of market capitalisation. We discuss the ethical implications of our findings and conclude that market structures that enhance market competitiveness may help reconcile broker and client interests. (shrink)

Farming computer games enable the ‘desk chair countryside’—millions of people actively engaged in performing farming and rural activities on-line—to co-produce their desired representations of rural life, in line with the parameters set by game creators. In this paper, I critique the narratives and images of farming life expressed in the popular computer game ‘Stardew Valley’. Stardew is based on a scenario whereby players leave a [meaningless] urban desk job to revitalize the family farm. Player are given a choice (...) to invest in the Community Center or to support ‘JojaMart’, a ‘big-box’ development. The farming narrative demonstrates the hallmarks of classical American agrarianism: farming as the basic profession on which other occupations depend, the virtue of hard work, the ‘natural’ and moral nature of agricultural life, and the economic independence of the farmer. More recent discourses of critical agrarianism are noticeably absent, particularly in relation to environmental protection. Conflict is centred on urban-based big business, whereas the farm is represented as a ‘bolt-hole’ or sanctuary from urban life. I argue that embedding issues of big-box development in gameplay enrols players in active reflection and debate on desirable responses, whereas the emphasis on reproducing classical agrarian tropes risks desensitizing game players to contemporary agrarian social and environmental justice issues. However, Stardew Valley gameplay implicitly reinforces the ideal that low input farming is the way that agriculture should be practiced. The success of the game in eliciting on-line debates, and the requirement for active performance and decision-making, demonstrates the specific potential of computer games as mediums for influencing and intervening in ongoing reworking of farming imaginaries, and enabling more critically engagement of the ‘desk chair countryside’ in important global debates. (shrink)

The expression "analytic narratives" is used to refer to a range of quite recent studies that lie on the boundaries between history, political science, and economics. These studies purport to explain specific historical events by combining the usual narrative approach of historians with the analytic tools that economists and political scientists draw from formal rational choice theories. Game theory, especially of the extensive form version, is currently prominent among these tools, but there is nothing inevitable about such a technical (...) choice. The chapter explains what analytic narratives are by reviewing the studies of the major book Analytic Narratives (1998), which are concerned with the workings of political institutions broadly speaking, as well as several cases drawn from military and security studies, which form an independent source of the analytic narratives literature. At the same time as it gradually develops a definition of analytic narratives, the chapter investigates how they fulfil one of their main purposes, which is to provide explanations of a better standing than those of traditional history. An important principle that will emerge in the course of the discussion is that narration is called upon not only to provide facts and problems, but also to contribute to the explanation itself. The chapter distinguishes between several expository schemes of analytic narratives according to the way they implement this principle. From all the arguments developed here, it seems clear that the current applications of analytic narratives do not exhaust their potential, and in particular that they deserve the attention of economic historians, if only because they are concerned with microeconomic interactions that are not currently their focus of attention. (shrink)

Ethics in video gaming is broad topic that extends beyond the familiar instances of “moral panics”. This chapter will first divide ethical issues into internal and external moral questions. Roughly, this equates to a distinction between the ethics in games and the ethics of games. The ethical issues internal to video games arise due to both their status as fictions and their status as games. Many games afford players the opportunity to perform violent and vicious (...) acts; however, these are of course fictional actions and are often contextualized as part of the game’s competitive play. This raises the general question whether it can ever be morally wrong to perform some fictional action in a video game. To approach this question, this section will first consider how moral values are inherent within games. Players engage with the embedded moral values of games both at the level of their narratives and their rules. Games become objects for moral reflection, not only through the stories that they tell, but also through the ways in which players are invited to engage actively with those stories. Next, external ethical issues are those that focus on the nature of the gaming industry and gaming cultures. The gaming industry has notoriously struggled with representations of gender and race, both in their workforce and in the games that they produce. Turning to the ecological impacts, the gaming industry is a major source of e-waste through the production of gaming technologies. The hardware used in gaming has a lifecycle that begins with the exploitation of resource-rich developing countries that produce the precious materials used in computer screens and processing chips and ends with those same products being dumped in toxic landfills in other developing countries. Additionally, gaming is a major source of energy consumption, particularly as cloud gaming servers are required to run continuously. When considering the ethics of games, such social and ecological concerns must surely figure in one’s moral calculation. Finally, some moral issues straddle the line between the above distinction between internal and external due to the porous nature of virtual interactivity, particularly regarding multiplayer games. Various gaming cultures struggle with their own ethical issues—from the failure to promote sportsmanship in e-sports to the widespread harassment of players in online platforms. This final section will briefly consider problems with multiplayer games, harassment, and trolling. (shrink)

Interactive narratives have been used in a variety of applications, including video games, educational games, and training simulations. Maintaining engagement within such environments is an important problem, because it affects entertainment, motivation, and presence. Performance arts theorists have discussed and formalized many techniques that increase engagement and enhance dramatic content of art productions. While constructing a narrative manually, using these techniques, is acceptable for linear media, using this approach for interactive environments results in inflexible experiences due to (...) the unpredictability of users’ actions. Few researchers attempted to develop adaptive interactive narrative experiences. However, developing a quality interactive experience is largely an art process, and many of these adaptive techniques do not encode artistic principles. This paper presents a new interactive narrative architecture designed using a set of dramatic techniques that have been formulated based on several years of training in film and theatre. (shrink)

Interactive narratives have been used in a variety of applications, including video games, educational games, and training simulations. Maintaining engagement within such environments is an important problem, because it affects entertainment, motivation, and presence. Performance arts theorists have discussed and formalized many techniques that increase engagement and enhance dramatic content of art productions. While constructing a narrative manually, using these techniques, is acceptable for linear media, using this approach for interactive environments results in inflexible experiences due to (...) the unpredictability of users’ actions. Few researchers attempted to develop adaptive interactive narrative experiences. However, developing a quality interactive experience is largely an art process, and many of these adaptive techniques do not encode artistic principles. This paper presents a new interactive narrative architecture designed using a set of dramatic techniques that have been formulated based on several years of training in film and theatre. (shrink)

Interactive narratives have been used in a variety of applications, including video games, educational games, and training simulations. Maintaining engagement within such environments is an important problem, because it affects entertainment, motivation, and presence. Performance arts theorists have discussed and formalized many techniques that increase engagement and enhance dramatic content of art productions. While constructing a narrative manually, using these techniques, is acceptable for linear media, using this approach for interactive environments results in inflexible experiences due to (...) the unpredictability of users’ actions. Few researchers attempted to develop adaptive interactive narrative experiences. However, developing a quality interactive experience is largely an art process, and many of these adaptive techniques do not encode artistic principles. This paper presents a new interactive narrative architecture designed using a set of dramatic techniques that have been formulated based on several years of training in film and theatre. (shrink)

Digital games have matured substantially as a narrative medium in the last decade. However, there is still much work to be done to more fully understand the poetics of story-based-games. Game narrative remains an important issue with significant cultural, economic and scholarly implications. In this article, we undertake a critical analysis of the design of narrative within Mass Effect 2: a game whose narrative is highly regarded in both scholarly and vernacular communities. We follow the classic humanities methodology (...) of “close-reading”: the detailed observation, deconstruction, and analysis of a text. Our close-reading employs a critical framework from our previous work to isolate and highlight the central narrative design parameters within digital games. This framework is grounded in the scholarly discourse around games and narrative, and has been tested and revised in the process of close-reading and analyzing contemporary games. The narrative design parameters we examine are character, storyworld, narrativized interface, emotion, and plot coherence. Our analysis uses these parameters to explicate a series of design decisions for the effective creation of narrative experience in Mass Effect 2, and by extension, for game narratives in general. We also expand our previous methodology through a focused “edge-case” strategy for exploring the limits of character, action, and story in the game. Finally, we position our analysis of Mass Effect 2 within contemporary discourses of “bounded agency”, and explore how the game negotiates the tension between player-expression, and narrative inevitability to create opportunities for sophisticated narrative poetics including tragedy and sacrifice. (shrink)

Digital games have matured substantially as a narrative medium in the last decade. However, there is still much work to be done to more fully understand the poetics of story-based-games. Game narrative remains an important issue with significant cultural, economic and scholarly implications. In this article, we undertake a critical analysis of the design of narrative within Mass Effect 2: a game whose narrative is highly regarded in both scholarly and vernacular communities. We follow the classic humanities methodology (...) of “close-reading”: the detailed observation, deconstruction, and analysis of a text. Our close-reading employs a critical framework from our previous work to isolate and highlight the central narrative design parameters within digital games. This framework is grounded in the scholarly discourse around games and narrative, and has been tested and revised in the process of close-reading and analyzing contemporary games. The narrative design parameters we examine are character, storyworld, narrativized interface, emotion, and plot coherence. Our analysis uses these parameters to explicate a series of design decisions for the effective creation of narrative experience in Mass Effect 2, and by extension, for game narratives in general. We also expand our previous methodology through a focused “edge-case” strategy for exploring the limits of character, action, and story in the game. Finally, we position our analysis of Mass Effect 2 within contemporary discourses of “bounded agency”, and explore how the game negotiates the tension between player-expression, and narrative inevitability to create opportunities for sophisticated narrative poetics including tragedy and sacrifice. (shrink)

From mainstream blockbusters to art house cinema, narrative and narration are the driving forces that organize a film. Yet attempts to explain these forces are often mired in notoriously complex terminology and dense theory. Warren Buckland provides a clear and accessible introduction that explains how narrative and narration work using straightforward language. Narrative and Narration distills the basic components of cinematic storytelling into a set of core concepts: narrative structure, processes of narration, and narrative agents. The book opens with a (...) discussion of the emergence of narrative and narration in early cinema and proceeds to illustrate key ideas through numerous case studies. Each chapter guides readers through different methods that they can use to analyze cinematic storytelling. Buckland also discusses how departures from traditional modes, such as feminist narratives, art cinema, and unreliable narrators, can complicate and corroborate the book's understanding of narrative and narration. Examples include mainstream films, both classic and contemporary; art house films of every stripe; and two relatively new styles of cinematic storytelling: the puzzle film and those driven by a narrative logic derived from video games. Narrative and Narration is a concise introduction that provides readers with fundamental tools to understand cinematic storytelling. (shrink)

Equilibrium game theory borrows from neoclassical economics its rationality concept which it immediately puts to work in order to produce the basic results it needs for building an elaborate narrative of social interaction. This paper focuses on some recent objections to game theory's use of rationality assumptions in general, and of backward induction and subgame perfection in particular, and interprets them in the light of the postmodern critique of the grand meta-narratives which social theorists often rely on for social (...) explanation. The paper presents a defence of game theory which seeks to accommodate the postmodern critique. However, it goes on to show that such a defence is illegitimate and claims that the problem lies with the faulty conceptualisation of the main concept on which game theory rests: that of Reason. Having established the nature of the problem, it considers three alternative interpretations (Humean, postmodern and Hegelian) of why the problem resists logical solutions and of its significance for social theory. (shrink)

Recent literary methods have opened new possibilities in reading and understanding the logic of narratives. The Greimassian approach offers such a possibility. Though Greimas’ approach is by now accepted as part of the canon of narratology, some of its components have not yet received due attention. This is the case with his ‘veridictory square’, a diagram that applies especially to texts where oppositions such as truth-falsehood, hero-villain and subject-anti-subject are prominent themes. This article aims to demonstrate that these kinds (...) of narratives, such as Susanna, do not concern themselves with objective truth but persuasion about truth, that is, veridiction. Truth telling in those stories corresponds to manipulation, exercising a particular cognitive doing or causing to appear as true. In other words, such a manipulation of truth aims at causing people to believe. Using Greimas’ veridictory square built on opposing modalities of being and seeming, the contrast between reality and appearance, this article provides insight into the games of truth in Susanna and thus offers a new inspiring way of reading these kinds of stories. (shrink)

As the official UK COVID Inquiry is investigating the response by the government to the 2020 global pandemic, revealing the difficulties that the Johnson administration had to face and the overall lack of adequate preparedness at the top of the UK executive, people are becoming growingly aware of the many challenges that such situations pose in terms of crisis management and public governance. Beyond the somewhat sterile blame game played by leading political actors, this formal accountability forum has also revealed (...) competing narratives about the crisis that might have hampered any coherent political solution. This article proposes to focus on the ‘official’ narratives by the UK government and to analyse critically the way Boris Johnson narrativised his political response to the pandemic in order to examine how his unconventional style of leadership was deployed during a global crisis. Using a typology of crisis management inspired by crisis expert and leadership scholar Arjen Boin, the objective is to examine how ‘crisis narratives’ framed the way the UK government responded to the crisis. (shrink)

Alongside the direct parallels and contrasts between traditional narrative fiction and games, there lie certain partial analogies that provide their own insights. This article begins by examining a direct parallel between narrative fiction and games—the role of fictional reliefs and reality checks in shaping aesthetic engagement—before arguing that from this a partial analogy can be developed stemming from a feature that distinguishes most games from most traditional fictions: the presence of rules. The relation between rules and fiction (...) in games has heretofore been acknowledged but not examined in detail, giving an impression of a tension that is constant. However, the paired concepts of formal reliefs and representation checks, once introduced, allow us to explain how rules and fiction interact to alter the ways in which players engage with games in a dynamic but limited way. (shrink)

The first book-length study devoted to FromSoftware games, On Soulsring Worlds explores how the Dark Souls series and Elden Ring are able to reconcile extreme difficulty in both gameplay and narrative with broad appeal. Arguing that the games are strategically positioned in relation to contemporary audiences and designed to tap into the new forms of interpretation afforded by digital media, the author situates the games vis-à-vis a number of current debates, including the posthuman and the ethics of (...) gameplay. The book delivers an object lesson on the value of narrative (and) complexity in digital play and in the interpretive practices it gives rise to. Cross-fertilizing narrative theory, game studies, and nonhuman-oriented philosophy, this book will appeal to students and scholars of game studies, media studies, narratology and video game ethnography. (shrink)

Unlike the bulk of electronic media the computer game or video game is a distinctly gendered medium. All investigations confirm that we are dealing with a medium which almost exclusively appeals to and is used by, boys and young men. Therefore, the video games and computer games are very suited for investigating the form of entertainment, the pleasure, that appeals to men, i.e. the specific ‘masculine pleasure’.The paper deals with questions such as: What do computer games mean? (...) What does violence in computer games signify? Why do computer games, especially the violent ones, mean something special to a certain group of men? These questions are discussed from the perspective of semiotics, media and control studies.Finally, the paper discusses the connections between women and the male dominated video games, and attempts to explain why, nevertheless, some girls and women do play these games. (shrink)