Ludocriticism -  Steps Towards a Critical Framework for Games

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Presentationslides for paper Ludocriticism - Steps Towards a Critical Framework for Games by Hartmut Koenitz and Mirjam P Eladhari Presented at DiGRA 2019 Conference, Ritsumeikan University, Kyoto, Japan, 9 August 2019 2019 08-09-digra19-ludocriticsm 3

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LUDOCRITICISM - 
STEPS TOWARDS A CRITICAL
FRAMEWORK FOR GAMES-
DIGRA KYOTO, 9.8.2019
HARTMUT KOENITZ
@HKOENITZ
MIRJAM PALOSAARI ELADHARI
@MIRJAMPE
SÖDERTÖRNS HÖGSKOLA |
STOCKHOLM

LUDOCRITICISM
THE FUNCTION OF CRITIQUE
IMPROVING WORKS OF ART
COMMUNICATING ABOUT ART IN PUBLIC DISCOURSE
TWO ISSUES
RELIANCE ON LEGACY FRAMEWORKS
EXISTING FRAMEWORKS ARE FUNCTIONAL, NOT AESTHETIC
ELEMENTS OF A CRITICAL FRAMEWORK
DIVERSE ELEMENTS EXIST, BUT ARE TOO SPECIFIC
WAYS FORWARD
COMBINE PERSPECTIVES IN A META-FRAMEWORK
TRANSLATION PROCESS TO ENTER THE GENERAL PUBLIC DISCOURSE

IN TRADITIONAL
MEDIA, CRITICISM
IS LONG
ESTABLISHED TO
A) IMPROVE THE
WORKS AND
B) TRANSLATE
WORKS TO THE
GENERAL AUDIENCE

RELIANCE ON LEGACY 
FRAMEWORKS
A SCARCITY OF CRITICAL
SEMANTIC/PRAGMATIC/
AESTHETIC FRAMEWORKS FOR
VIDEO GAMES

UNCRITICAL USE OF LEGACY
FRAMEWORKS
"CLOSE PLAYING”
“FRAMING”
"MIS EN SCENE”
TEXTUAL ANALYSIS
PATTERNS

READING IS
NOT PLAYING A GAME
BUILDING A HOUSE IS
NOT GAME DESIGN

DO THEORETICAL CONCEPTS SUCH AS “STORY”, “FICTION”,
“CHARACTER,” “NARRATION” OR “RHETORIC” REMAIN
MEANINGFUL WHEN TRANSPOSED TO A NEW FIELD, [OR ARE
THEY] BLINDING US TO THE EMPIRICAL DIFFERENCES AND
EFFECTIVELY PUNCTURING OUR CHANCES OF PRODUCING
THEORETICAL INNOVATION?
Espen Aarseth, 2012

THIS QUESTION APPLIES
IN GENERAL AND IT NEEDS
TO BE DISCUSSED

A SCARCITY OF CRITICAL
SEMANTIC/PRAGMATIC/
AESTHETIC FRAMEWORKS
FOR VIDEO GAMES

EXISTING FRAMEWORKS
FOR GAMES ARE
MOSTLY FUNCTIONAL

FUNCTIONAL
FRAMEWORKS
USEFUL IN
DEVELOPMENT
AND ANALYSIS,
BUT…

FOR NARRATOLOGY, THERE ARE NO GREAT,
OR BEAUTIFUL, OR PROFOUND
NARRATIVES (THERE ARE ONLY WELL-
FORMED ONES)
Gerald Prince, 1982

SEMANTIC/PRAGMATIC/
AESTHETIC FRAMEWORKS
CONCERN THEMSELVES WITH
MEANING, CONTEXT AND
ARTISTIC VALUE.

THE COMPLICATION IN
DEVELOPING SUCH
FRAMEWORKS IS
THE LACK OF A GENERAL
THEORY OF MEANING

GENDER (CASSELL AND JENKINS 2000; CONSALVO 2012; RUBERG AND SHAW 2017)
ETHICS (SICART 2011)
RELIGIOUS (BOSMAN 2016)
ETHNOGRAPHIC DEVELOPMENT PROCESS (O’DONNELL 2014; HAGEN 2010;
ZACKARIASSON 2007), ABOUT PLAYERS (TAYLOR 2003; TAYLOR AND WITKOWSKI 2010).
RE-TELLINGS FOR CRITIQUE, SUCH AS FAN-FICTION (ELADHARI 2018).
BIOGRAPHICAL PERSPECTIVES (ROSENTHAL 2004; NEUSTAEDTER AND SENGERS 2012;
KHALED ET AL. 2018)
SPECIFIC AESTHETIC QUALITIES OF THE MEDIUM (MURRAY 1997, JUUL 2013)

STRATEGIES TO
CREATE A CRITICAL
FRAMEWORK

BUILD ON EXISTING
WORK AND RE-CAST IT
AS ELEMENTS OF A
CRITICAL META-
FRAMEWORK

TRANSLATION PROCESS
TO BE MORE ACCESSIBLE
TO GAME CREATORS AND
THE GENERAL PUBLIC

GAMES LACK THE EQUIVALENT
OF HIGH-QUALITY CRITICISM
THAT EXISTS FOR LITERATURE
AND THE CINEMA

LEGACY FRAMEWORKS
ARE UNCRITICALLY
RE-APPLIED

ELEMENTS TO A
GENERAL CRITICAL
EXIST BUT ARE
DISPERSED

BRINGING IT
TOGETHER AND
FRAMING IT IN AN
ACCESSIBLE WAY

THANK YOUHARTMUT.KOENITZ@HKU.NL
@HKOENIT
HTTP://HARTMUTKOENITZ.COM
MIRJAM.PALOSAARI.ELADHARI@SH.SE
@MIRJAMPE
HTTP://MIMMI.NET

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Ludocriticism -  Steps Towards a Critical Framework for Games

1. LUDOCRITICISM -  STEPS TOWARDS A CRITICAL FRAMEWORK FOR GAMES- DIGRA KYOTO, 9.8.2019 HARTMUT KOENITZ @HKOENITZ MIRJAM PALOSAARI ELADHARI @MIRJAMPE SÖDERTÖRNS HÖGSKOLA | STOCKHOLM

2. LUDOCRITICISM THE FUNCTION OF CRITIQUE IMPROVING WORKS OF ART COMMUNICATING ABOUT ART IN PUBLIC DISCOURSE TWO ISSUES RELIANCE ON LEGACY FRAMEWORKS EXISTING FRAMEWORKS ARE FUNCTIONAL, NOT AESTHETIC ELEMENTS OF A CRITICAL FRAMEWORK DIVERSE ELEMENTS EXIST, BUT ARE TOO SPECIFIC WAYS FORWARD COMBINE PERSPECTIVES IN A META-FRAMEWORK TRANSLATION PROCESS TO ENTER THE GENERAL PUBLIC DISCOURSE

3. THE FUNCTION OF CRITIQUE

4. IN TRADITIONAL MEDIA, CRITICISM IS LONG ESTABLISHED TO A) IMPROVE THE WORKS AND B) TRANSLATE WORKS TO THE GENERAL AUDIENCE

5. ROGER EBERT

6. NO EQUIVALENT FOR GAMES CRITICISM

7. TWO ISSUES

8. RELIANCE ON LEGACY  FRAMEWORKS A SCARCITY OF CRITICAL SEMANTIC/PRAGMATIC/ AESTHETIC FRAMEWORKS FOR VIDEO GAMES

9. RELIANCE ON LEGACY FRAMEWORKS

10. UNCRITICAL USE OF LEGACY FRAMEWORKS "CLOSE PLAYING” “FRAMING” "MIS EN SCENE” TEXTUAL ANALYSIS PATTERNS

11. TEXTUAL ANALYSIS APPLIED TO GAMES

12. PATTERNS

13. READING IS NOT PLAYING A GAME BUILDING A HOUSE IS NOT GAME DESIGN

14. AN IMPORTANT QUESTION

15. DO THEORETICAL CONCEPTS SUCH AS “STORY”, “FICTION”, “CHARACTER,” “NARRATION” OR “RHETORIC” REMAIN MEANINGFUL WHEN TRANSPOSED TO A NEW FIELD, [OR ARE THEY] BLINDING US TO THE EMPIRICAL DIFFERENCES AND EFFECTIVELY PUNCTURING OUR CHANCES OF PRODUCING THEORETICAL INNOVATION? Espen Aarseth, 2012

16. THIS QUESTION APPLIES IN GENERAL AND IT NEEDS TO BE DISCUSSED

17. LUDOLOGICAL PROJECT REMAINS UNFINISHED

18. A SCARCITY OF CRITICAL SEMANTIC/PRAGMATIC/ AESTHETIC FRAMEWORKS FOR VIDEO GAMES

19. EXISTING FRAMEWORKS FOR GAMES ARE MOSTLY FUNCTIONAL

20. FUNCTIONAL FRAMEWORKS USEFUL IN DEVELOPMENT AND ANALYSIS, BUT…

21. FOR NARRATOLOGY, THERE ARE NO GREAT, OR BEAUTIFUL, OR PROFOUND NARRATIVES (THERE ARE ONLY WELL- FORMED ONES) Gerald Prince, 1982

22. SEMANTIC/PRAGMATIC/ AESTHETIC FRAMEWORKS CONCERN THEMSELVES WITH MEANING, CONTEXT AND ARTISTIC VALUE.

23. THE COMPLICATION IN DEVELOPING SUCH FRAMEWORKS IS THE LACK OF A GENERAL THEORY OF MEANING

24. THE COMPLICATION IN DEVELOPING SUCH FRAMEWORKS IS THE LACK OF A GENERAL THEORY OF MEANING

25. TOWARDS A CRITICAL FRAMEWORK

26. GENDER (CASSELL AND JENKINS 2000; CONSALVO 2012; RUBERG AND SHAW 2017) ETHICS (SICART 2011) RELIGIOUS (BOSMAN 2016) ETHNOGRAPHIC DEVELOPMENT PROCESS (O’DONNELL 2014; HAGEN 2010; ZACKARIASSON 2007), ABOUT PLAYERS (TAYLOR 2003; TAYLOR AND WITKOWSKI 2010). RE-TELLINGS FOR CRITIQUE, SUCH AS FAN-FICTION (ELADHARI 2018). BIOGRAPHICAL PERSPECTIVES (ROSENTHAL 2004; NEUSTAEDTER AND SENGERS 2012; KHALED ET AL. 2018) SPECIFIC AESTHETIC QUALITIES OF THE MEDIUM (MURRAY 1997, JUUL 2013)

27. STRATEGIES TO CREATE A CRITICAL FRAMEWORK

28. BUILD ON EXISTING WORK AND RE-CAST IT AS ELEMENTS OF A CRITICAL META- FRAMEWORK

29. TRANSLATION PROCESS TO BE MORE ACCESSIBLE TO GAME CREATORS AND THE GENERAL PUBLIC

30. WRAP UP

31. GAMES LACK THE EQUIVALENT OF HIGH-QUALITY CRITICISM THAT EXISTS FOR LITERATURE AND THE CINEMA

32. LEGACY FRAMEWORKS ARE UNCRITICALLY RE-APPLIED

33. ELEMENTS TO A GENERAL CRITICAL EXIST BUT ARE DISPERSED

34. BRINGING IT TOGETHER AND FRAMING IT IN AN ACCESSIBLE WAY

35. LET’S WORK ON THAT TOGETHER

36. MUCH MORE WORK TO BE DONE

37. THANK YOUHARTMUT.KOENITZ@HKU.NL @HKOENIT HTTP://HARTMUTKOENITZ.COM MIRJAM.PALOSAARI.ELADHARI@SH.SE @MIRJAMPE HTTP://MIMMI.NET