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Wyświetlanie 1-4 z 4
Tytuł:
Recenzja książki Joanny Pigulak „Gra w film. Z zagadnień relacji między filmem i grami wideo”, Universitas, Kraków 2022
Autorzy:
Prajzner, Katarzyna
Powiązania:
https://bibliotekanauki.pl/articles/26072294.pdf
Data publikacji:
2022
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
computer games
cinema
interface
immersion
interactivity
Opis:
What is the relationship between computer games and cinema? Why computer games tend to employ camera movement, shot-selection and framing similar to that used in the cinema? To what extent, though, is it useful to look at games more closely in the light of cinema? These are the central organising questions of Joanna Pigulak’s 2022 monograph Gra w film. Z zagadnień relacji między filmem i grami wideo. The book focuses very much on film-like quality of graphics and genres of computer games and explores the extent to which the tools of film analysis can be applied to them. The book argues persuasively that likeness between cinema and games is the reason for calling games virtual reality, what makes the main framework somewhat debatable. Pigulak’s great strength is in analysing fragments of computer games and demonstrating how differences between cinema and games are allowing for defining new qualities of interactive texts even when fundamentally similar building blocks are involved.
Źródło:
Replay. The Polish Journal of Game Studies; 2022, 9, 1; 59-64
2391-8551
2449-8394
Pojawia się w:
Replay. The Polish Journal of Game Studies
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Zdigitalizowana (betonowa) dżungla. Miasto w grach wideo. Naśladownictwo
Digitalized (concrete) jungle. A city in video games. Mimicry
Autorzy:
Świątek, Paweł
Powiązania:
https://bibliotekanauki.pl/articles/445560.pdf
Data publikacji:
2014
Wydawca:
Uniwersytet Pedagogiczny im. Komisji Edukacji Narodowej w Krakowie
Tematy:
interactivity
mimetic
imitation
video games
sandbox
immersion
Opis:
The article describes the types of mimic relations that appear in video games (universalistic and fragmentary) and the ways in which these types affect the mechanism of constructing the reality of the game world. It discusses three levels of mimic relations which are used in the analysis of examples. It depicts the behavior of the inhabitants of virtual cities in Fallout, The Elder Scrolls and Grand Theft Auto game series. It also analyses the look of the particular locations in GTA: San Adreas, Max Payne 3, Deus Ex: Human Revolution and TES: Skyrim games. In the conclusion, the author points to the potential usefulness of the possible worlds’ theory which, to some extent, bonds the highlighted levels of virtual reality, the creation of the depicted world and the categories of interactivity and mimicry.
Źródło:
Annales Universitatis Paedagogicae Cracoviensis. Studia Poetica; 2014, 2; 147-157
2353-4583
2449-7401
Pojawia się w:
Annales Universitatis Paedagogicae Cracoviensis. Studia Poetica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Gra czy film interaktywny? Czyli o wizualności współczesnych produkcji cRPG na przykładzie gry "Wiedźmin 2"
A game or an interactive movie? On the visuality of modern cRPG productions on the example of "The Witcher 2"
Autorzy:
Świątek, Paweł
Powiązania:
https://bibliotekanauki.pl/articles/521290.pdf
Data publikacji:
2013
Wydawca:
Uniwersytet Pedagogiczny im. Komisji Edukacji Narodowej w Krakowie
Tematy:
visuality
fictional woods
dynamic narration
introduction
interactivity
immersion
Opis:
In the article, it is pointed out that in modern computer games extended narratives aregradually abandoned while more emphasis is put on visuality and film-like character of the image, and on mimetism, understood not entirely as copying the reality, but as film realism, or following the popular cinematic schemas. One of the means to achieve this goal is using dynamic shooting and interludes that comply with the principles of film making; it is applied, among others, to increase the attractiveness of the message. The examples discussed here are the introductions from two games: The Witcher 1 and The Witcher 2. The conclusion is in fact a question: is a contemporary gameplayer an actual player, or rather a viewer?
Źródło:
Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura; 2013, 5, 1; 162-168
2083-7275
Pojawia się w:
Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Narrative in Virtual Reality? Anatomy of a Dream Reborn
Autorzy:
Ryan, Marie-Laure
Powiązania:
https://bibliotekanauki.pl/articles/1964577.pdf
Data publikacji:
2018
Wydawca:
Ośrodek Badawczy Facta Ficta
Tematy:
Virtual reality
narrative
interactivity
immersion
panoramic
representation
experience of embodiment
Opis:
When the big leap forward of computer technology took place for the general public in the 80s and 90s, virtual reality technology (VR) was touted as the “next big thing” that digital media would bring into our lives. Janet Murray’s influential book Hamlet on the Holodeck (1997) explored the possibility of turning narrative into the “immersive, interactive experience generated by a computer” that defines VR. But VR did not live up to its expectations, and after the year 2000, it faded from the radar of popular interest. It regained attention around 2011 when Mark Zuckerberg, the founder/CEO of Facebook, bought Oculus Rift, the maker of a relatively cheap and lightweight head-mounted display. Currently available VR narratives are distinguished from other digital narratives through three-dimensional images, interactive panoramic representations, and the ability to manipulate our experience of our own body. In this article I discuss three projects that use some of these resources in order to assess the storytelling potential of the medium: Clouds Over Sidra, a documentary about a camp for Syrian refugees in Jordan; Hard World for Small Things, a fictionalized version of the shooting of an unarmed black man by white policemen; and VRwandlung, a project that puts the user in the situation of the hero of Franz Kafka’s The Metamorphosis, who wakes up one day to discover that he has been transformed into a giant insect. Basing my judgment of this limited corpus, I assess the potential of VR narrative with respect to four kinds of immersion: ludic, spatial, temporal and emotional.
Źródło:
Facta Ficta. Journal of Theory, Narrative & Media; 2018, 2, 2; 91-111
2719-8278
Pojawia się w:
Facta Ficta. Journal of Theory, Narrative & Media
Dostawca treści:
Biblioteka Nauki
Artykuł
    Wyświetlanie 1-4 z 4

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