מפגש 5 עקרונות ההנאה המלווים את תהליך חווית השחקן / נית במשחק - היחסים בין משחקיות לנארטיב עליו מבוסס המשחק - הגישות השונות הרווחות לקריאה ביקורתית של משחקים דיגיטליים . - (Ludology Vs. Nnarratology) מכאניקה משחקית - : מהן הגישות האקדמאיות השונות לקריאה ביקורתית ואסתטית של מרחב משחקי ?
“ To understand the gameplay of videogames, it is necessary to begin with a focus on the intrinsic dimension, the specific pleasures of gameplay as gameplay, rather than as a sublimated form of some other dimension of experience.”
A philosophy or method of inquiry based on the premise that reality consists of objects and events as they are perceived or understood in human consciousness and not of anything independent of human consciousness.
(The American Heritage® Dictionary of the English Language, Fourth Edition . Houghton Mifflin Company, 2004. 07 Oct. 2007)
“ To create the potential for a flow experience a balance is required between the challenge posed by the activity – in this case, the game – and the skills possessed by the player. A game, or part of a game, that is too challenging for the player is likely to cause anxiety; one that is too easy is likely to create boredom. In between lies what Csikszentmihalyi terms the ‘flow channel’, in which the skills of the player are just sufficient to meet the challenges of the game.”
- חלק מרכזי בשיח אקדמי זה התייחס לשאלות הנוגעות במבנה הסיפורי של משחקי מחשב . כלומר , באיזו מידה מדיום המשחקים הדיגיטליים הוא מדיום ספרותי , ובהתאם לכך , מהי המסגרת התאורטית הדרושה להבנת היכולות האסטתיות והפוליטיות שמדיום זה מסוגל לייצר .
“ Of course, we need a better understanding of the elements that games do share with stories, such as characters, settings, and events ת , Ludology does not disdain this dimension of video games but claims they are not held together by a narrative structure.”
“ Using other media as starting points, we may learn many things about the construction of fictive worlds, characters…but relying too heavily on existing theories will make us forget what makes games games: Such as rules, goals, player activity, the projection of the player’s actions into the game world, the way the game defines the possible actions of the player. It is the unique parts that we need to study now.”
“ the dimensions of Lara Croft’s body, already analyzed to death by film theorists are irrelevent to me as a player, because a different-looking body would not make me play differently…When I play, I don’t even see her body, but see through it and past it.”
“ Here the user is cast as a character who determines his own fate by acting within the time and space of a fictional world. In this type of system interactivity must be intense, since we live our lives by constantly engaging with the world that surrounds us. The interaction between the user and the fictional world produces a new life and consequently a new life-story, with every run of the system. This destiny is created dramatically, by being enacted, rather than diegetically, by being narrated” (Marie-Laure Ryan)
“ In games, the player is given a well-defined task-winning the match, being first in a race, reaching the last level, or attaining the high score. It is this task that makes the player experiences the game as a narrative. Everything that happens to her in a game, all the characters and objects she encounters, either take her closer to achieving the goal or take her away from it…in a game, from the user’s point of view, all the elements are motivated (i.e., their presence is justified).”
“ story comes into play in NBA live, too. There, the story is what happens in the game. Maybe it ends up in overtime for a last-second three-pointer by a star player who hasn’t been hitting his shots; maybe it is a total blow out from the beginning and at the end the user gets to put in the benchwarmers for their moment of glory. In either case, the player’s actions during play created the story. “
“ A beautifully designed videogame invokes wonder as the fine arts do, only in a uniquely kinetic way. Because the videogame must move, it cannot offer the lapidary balance of composition that we value in painting; on the other hand, because it can move, it is a way to experience architecture, and more than that to create it, in a way which photographs or drawings can never compete. If architecture is frozen music, then a videogame is liquid architecture.” (pool, 2000)
“ Great gameplay comes, I think, from our ability to drop players into compelling situations, provide clear goals for them, give them a variety of tools with which they can impact their environment and then get out of their way… That has to be so much more compelling for players -- thrilling even -- than simply guessing the canned solution to a puzzle or pressing a mouse button faster than a computer opponent can react .” (Deus X designer Warren Spector, 2002)