Digitale medier: formidling og design

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Digitale medier formidling og design

• 12. april
• Spil

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Oversigt

• Spilteori og analyse
• Kage v. underviserne
• Fremlæggelse af spilanalyse v. Axel, Emma-Catrine
  og Eva Marie

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Hvad er computerspil for en størrelse?

• De må pr. definition være medier af tredje grad
• Her er et eksempel
• Er de en form for kommunikation (altså udveksling
  af meddelelser)?

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Transmissionsmodellen
Shannon, C. E., Weaver, W. (1963). The
Mathematical Theory of Communication. Urbana
University of Illinois Press. Original
Publication 1949, ISBN 0252725484. P. 7.
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Eller?

• A ritual view of communication is directed not
  towards the extension of messages in space but
  toward the maintenance of society in time not
  the act of imparting information but the
  representation of shared beliefs (Carey p. 18)

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Er de en form for kommunikation som ritual?

• One must examine communication as the primary
  phenomena of experience and not as something
  softer and derivative from a realer existent
  nature (Carey p. 26).
• Hvordan opleves World of Warcraft af spillerne?
  Som en primær virkelighed eller som en udvandet
  udgave af en udenforliggende virkelighed?

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Er WoW en repræsentation for eller repræsentation
af virkeligheden?

• A blueprint of a house in one mode is a
  representation for reality under its guidance
  and control a reality, a house, is produced that
  expresses the relations contained in reduced and
  simplified form in the blueprint.
• There is a second use of a blueprint, however. If
  someone asks for a description of a particular
  house, one can simply point to a blueprint and
  say, Thats the house. (P. 29)

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Eller er de noget tredje?

• Simulation of face-to-face communication serves
  several interrelated purposes in mediated
  communication (Hjarvard p. 230)
• Er computerspil simulationer?

Reeves, B., Nass, C. (1996). The media equation
how people treat computers, television, and new
media like real people and places. Stanford,
Calif. Cambridge CSLI Publications/Cambridge
University Press.
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Purposes of simulation of f2f communication

• Comprehensibility (we understand whats going on)
• Ontological security (we feel secure)
• Transparent immediacy (we forget there is a
  medium)
• Enhances sense of embodied presence (we are there
  in the instance with Leroy)
• Invites social and natural responses (Goddammit,
  Leroy!)
• Integrates in the habitual practices of everyday
  life (playing in a serious guild takes a lot of
  time from other activities, though)
• Adds an element of sociability (Leroy, you
  moron!)
• (Hjarvard p. 230-31)

Thompson, J. B. (1997). The media and modernity
a social theory of the media (Reprint.).
Cambridge Polity Press.
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The potential of games or ludologists vs.
narratologists

• the potential of games is not to tell a story but
  to simulate to create an environment for
  experimentation
• Narrauthors have executive power they deal with
  particular issues. On the other hand, simauthors
  behavore more like legislators they are the ones
  who craft laws. They do take more authorial risks
  than narrauthors because they give away part of
  their control over their work (Frasca)

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Er spil fortælling?

• Tænk på eksemplet med Leroy Jenkins
• Er der en fortælling med begyndelse, midte og
  slutning?
• Er der tabere og vindere?

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The complete theory of video games

• Games have goals.
• Goals provide challenge to players.
• It is the mental challenge of a game that
  provides the fun.
• If the challenge is right, the player is in a
  state of flow. (If the challenge is too easy, the
  player is bored, if the challenge is too hard,
  the player is frustrated.) (Juul)

Csikszentmihalyi, M. (1990). Flow The psychology
of optimal experience (1st). New York Harper
Row. ISBN 0-06-016253-8
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Caillois opdeling af spil
Caillois, R. (2001). Man, play and games (M.
Barash, Trans.). Urbana and Chicago University
of Illinois Press. Original Publication 1961
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New options in video games

• Games without enforced goals will not replace the
  classic goal-oriented game, but they open for a
  wide range of new player experiences as seen in
  the two quite similar games of Sims 2 and Grand
  Theft Auto San Andreas. This is the new style in
  video games, and an illustration of how
  contemporary video games are severing the ties to
  their historical roots in the arcade game,
  becoming something new and unique, open and
  expressive (Juul)