By Edited by Ralf Stockmann Edited by Andreas Jahn-Sudmann
During their expanding sociocultural significance, the educational curiosity in computing device video games has been turning out to be significantly within the final years. This profound anthology comprehensibly introduces most recent methods within the crucial fields of online game experiences and offers an intensive survey of the modern video game tradition. the world over well known media and literature students, social scientists, online game designers, and artists discover the cultural strength of computing device video games and current new thoughts of gaining knowledge of sociocultural, commercial, and aesthetic facets of electronic leisure.
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Additional info for Computer Games as a Sociocultural Phenomenon: Games Without Frontiers, Wars Without Tears
Defining documentary games From the perspective of traditional views of the documentary, the most fundamental question to ask of documentary games is this: can games even be understood as documentary, in the tradition of photography and film? In the documentary pioneer John Grierson’s early work (1966, p. 13), documentary is defined as the ‘creative treatment of actuality’. Grierson’s definition of this then-emerging film genre was quite fluid, and he was inclined to address these works in terms of documentary quality rather than assigning an either/or label.
As the theorist Bill Nichols (2001, p. 40) notes, ‘documentary stimulates epistephilia (a desire to know) in its audience […] [it] proposes to the audience that the gratification of these Can Games Get Real? 15 desires to know will be their common business’. The completed work is not primarily crafted to produce the effect of drama, comedy, horror or any other of the traditional genres of film (although these elements may also appear in documentary). Instead, documentary strives first to satisfy the desire to know through the authentic representation of lived experience.
The most effective way to do this is to couple narrative elements to the actual game-play. Potential for development in games can further be identified in regard to the knowing eye, because postmodernistic attempts are still very rare but could allow for completely new game concepts. For example, one could imagine a game that works like a Kafka novel, where the rules have to be constantly reinterpreted and the goals fade further away the closer one comes to achieving them. The motivation to keep playing would be the wish to finally grasp the logic of the game world and to beat the game.
Computer Games as a Sociocultural Phenomenon: Games Without Frontiers, Wars Without Tears by Edited by Ralf Stockmann Edited by Andreas Jahn-Sudmann