Bosman, Frank
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Bosman, Frank
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Bosman, Frank
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Bosman, Frank G.
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GND
3 results
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Item type:Publication, Death Narratives : A Typology of Narratological Embeddings of Player's Death in Digital Games(2018)Ludologically, the death of the game s protagonist (also known as player s death of avatar death ) is one of the most prominent feedback systems of almost all digital games. It communicates to the player his or her (in)ability to achieve the positive goals that the game has set. While some games penalize failure by removing points, lowering character levels, and/or stripping gear away from the avatar, in-game death is usually no more than a temporal sign of failure, punished by a minor setback. Intrinsically, death seems to have little or no meaning. Some games, like Bioshock (2007), Prince of Persia (2008) Bioshock Infinite (2013) and The Talos Principle (2014), and game series like the Assassin s Creed (2007-2017) and Borderlands (2009-2014), try to provide a narratologically credible embedding for the death of the avatar within the logic of their fictional world and lore ( death narrative ), but the majority of games simply refrain from any such embedding. In this article, I will propose a typology of narratological embeddings of player s death in digital games. The first type takes the concept of in-game death seriously: the player s avatar dies, but the continuity of play is narratologically guaranteed by work-arounds like cloning or copying of the avatar, or otherwise finding a suitable stand-in for the original avatar. The second type, however, circumvents the actual death of the avatar/player by introducing other work-arounds like simulation or external help. The third type does not feature any explicit narratological embedding at all, independent of the player s progress being saved or not (permadeath). Nonetheless, the death of the avatar is not without implicit narratological meaning within the context of this type of game.journal articleBand:91068 536 - Some of the metrics are blocked by yourconsent settings
Item type:Publication, To Dream a Game. Dreams as Interactive-Narrative Devices in Digital Games(2020-07-31)Dream a Game. Dreams as Interactive-Narrative Devices in Digital Games Abstract: In this article, the author investigates the position, characteristics and functions of dreams and dreamlike phenomena in digital games. The author situates his own research within the broader field of academic disciplines that have studied dreams, their meaning and their interpretations in general (psychodynamic, activation-input-modulation, neurocognitive, and esoteric), and especially within the domain of literary studies, which study dreams in texts as literary devices. He provides four characteristics (experience, entrance, exit, and mode of inducement) and two functions (ludological training and narratological revelation) of dreamish phenomena in digital narratives/games. At the end, the author focusses on the necessary lucid characteristic of digital dreams, due to the – also necessary – interactive nature of the digital medium itselfjournal articleBand:12689 625 - Some of the metrics are blocked by yourconsent settings
Item type:Publication, ´The poor carpenter´: Reinterpretating Christian Mythology in the Assassin's Creed Game Series(2016)In the Assassinâ s Creed game series, developer Ubisoft reinterprets traditional Christian mythology in a rationalistic-reductionist manner. Core narratives of the Old and New Testament, especially the miracle stories, are reimagined as produced by hyper-advanced scientific objects once possessed by an ancient but eradicated civilization. Gnostic, Docetic and Islamic theological traces can be identified in this process of reinventing traditional Christian mythology. Starting point of this article is the so-called â Shroud of Edenâ in the video game Assassinâ s Creed. Syndicate (2015), which is based on the real-life Shroud of Turin (Italy), believed by many Christians to be the burial shroud of Jesus of Nazareth himself.journal articleBand:4823 287