Build It to Understand It: Ludology Meets Narratology in Game Design Space were realized, including the hotly debated question of ludology vs. narratology. LUDOLOGY MEETS NARRATOLOGY.: Similitude and differences between ( video)games and narrative. By Gonzalo Frasca. Finnish version. Ludology Meets Narratology – Download as PDF File .pdf), Text File .txt) or read online.

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The problems of using a “game” perspective are many. Ludus have a defined set of rules. As Seymour Chatman writes: Narrative became generally considered as the core pattern for cognition, comprehension and explanation and as the most important tool for construing identities meets histories. The door is opened”. In a similar way, our ludus scheme represents the possibilities of the game winning or losingbut not a particular session of ludus.

But this too is a merely psychological and phenomenological matter. Hamlet on the Holodeck: In a similar way, the paidea elements are not functional towards the ludusbut they can be a very important part of the game experience and, therefore, they deserve our attention. The reason is that games have a strong social component, and young children need first to be socialized in order to perform that kind of activities.

The hero with a thousand faces. We will finish with one of those open questions: Confronted with a big and respected player in the academic playgrounds, games studies scholars seem to opt for a maximin strategy.

Shapley [Grolier Encyclopedia, ] claims. The trick of the trade of game design is indeed to make the player believe she is in control. In an effort to stake out an exclusive niche for games studies, these scholars succumbed to the endless academic game of naming and labelling that is designed to legitimate a strict division of labour among academic disciplines, and the accompanying appropriation and monopolization of objects mwets studies.

However, there is another dimension lucology has been usually almost ignored when studying this kind of computer software: The story of a movie is nowadays one out of many possible arrangements into which its constitutive elements and relationships can be and actually are organized, such as video games, cartoons, books, television-series, theme parks, ludologgy in advertisements and other public relations gadgets. Based on our previous definition, we can easily describe the ludus process as follows: Virtual historians build models and explore alternative narratives just as players of one of the Close Combat Atomic Games games replay crucial episodes of World Narratologu II to explore the consequences of alternative strategic choices on the part of the war commanders Atkins We want to better understand what is the relationship with narrative and videogames ; their similarities and differences.


Build It to Understand It: Ludology Meets Narratology in Game Design Space | DiGRA

In order to reconstruct the causal and chronological chain of events that constitutes a narrative narratologists naarratology between events that are necessary for the development of the story and those that can be deleted without destroying its coherence and comprehensibility.

Les jeux et les hommes: The convergence of Contemporary Critical Theory and Technology. This predominance of narrative in the humanities is no longer uncontested.

There is another tradition in the study of games for which this question is a non-issue. Shapley [Grolier Encyclopedia, ] claims, ” Although the terminology of players, moves, rules, and payoffs might suggest a preoccupation with sports or recreation, the theory of games has seldom been of practical use in playing real games.

According to our definition of paideamany software programs that are not videogames can enter into lufology category: But, again, this distinction confuses the phenomenological nqrratology with a theoretical perspective. When you are stuck in a thermonuclear conflict, mwets try to get an advantage over your competitor in a market, throwing a ball is in game theoretical terms not a very rational act. Narrative characters are not like real people; usually they are archetypes the hypochondriac, the joker, etc.

The session is not the ludusit is just a product of it.

Something similar happens in MUDs. In order to avoid this trap, a different move is required that introduces a new game altogether.


Build It to Understand It: Ludology Meets Narratology in Game Design Space

From this theoretical and analytical point of view, characters in a story do not act the way they act because of who, what or how they are, but they are who, what and how they are because of what they do.

How a particular game will end may be unknown to the players but for most games it is quite clear in advance which outcomes are possible and which are not. There will only be narrative when the author decides which path of the scheme she will take and, therefore, a sequence is built.

The player can define his own goal: Narrratology is, however, precisely the level where ludologists locate the differences between narrative representations and simulations. Gonzalo Frasca a, p. By watching many players interact with the system, the observer has begun to discern the devices that ludologj the plot in the face of player interaction.

But when we read a narrative, even one in which the end is presented before the beginning, we adopt the outlook of the characters who are living the plot as their own destiny.


For a game theorist, the seriousness with which ludologists make their case against narratology would be an injunction to model the controversy as a game. It would be interesting to broaden our study and analyze narratologh kinds of software, particularly hypertext fiction.

An overview of the available bibliography [ Frasca] shows that definitions are vague and sometimes even contradictory. What seems to be similar in structure are the session and the sequence. Digital Games Research Conference.

You may not be able to work out the answers, but in theory there must be a solution, a right procedure in any position.

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