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Les genres vidéoludiques ne sont pas construits sur les mêmes critères de distinction: – Contenu thématique (Horreur) – Représentation visuelle (1ère personne,

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Présentation au sujet: "Les genres vidéoludiques ne sont pas construits sur les mêmes critères de distinction: – Contenu thématique (Horreur) – Représentation visuelle (1ère personne,"— Transcription de la présentation:

1 Les genres vidéoludiques ne sont pas construits sur les mêmes critères de distinction: – Contenu thématique (Horreur) – Représentation visuelle (1ère personne, 3ème personne, Side-scroller) – Régime temporel (Temps réel, tour à tour) – Mécaniques principales (Shooter, platformer) – Contexte de production (AAA, Indie) – Etc. Problématique du genre dans le jeu vidéo

2 Ermi and Mayra (2005, pp ) parse immersion into distinct types. They include the two immersions described above. One they call “challenge-based immersion“, which corresponds to Csikszentmihalyi’s “flow”. The second they term “imaginative immersion“, which corresponds to Coleridge’s “suspension of disbelief”. - (Bizzocchi) Games and Narrative: An Analytical Framework Modèles d’immersion dans le jeu vidéo

3 We do not suspend disbelief so much as we actively create belief. the act of reading is far from passive: we construct alternate narratives as we go along, … we adjust the emphasis of the story to suit our interests, and we assemble the story into the cognitive schemata that make up our own systems of knowledge and belief. Similarly when we watch a movie, we take the separate spaces of the various sets and merge them into a continuous space that exists only in our minds. We take fragmentary scences and mentally supply the missing actions; … - (Murray) Hamlet on the holodeck : the future of narrative in cyberspace “Imaginative immersion” Immersion par l’effet de fiction Cf : littérature, cinéma

4 “[…]adventure games are story-driven puzzle games, where the story and the puzzles use the same signifying systems.” - (Fernandez-Vara) Shaping Player Experience in Adventure Games: History of the Adventure Game Interface Jeu d’aventure

5 Challenges in adventure games appear in the form of puzzles, i.e. challenges where there is no active agent against which the player is competing (Crawford, 2003). They usually have at most a few correct solutions that must be figured out (Rollings and Adams, 2003). Puzzles slow down the pace of gameplay, since hand-eye coordination and quick reflexes are usually not required. - (Fernandez-Vara) Shaping Player Experience in Adventure Games: History of the Adventure Game Interface Puzzles

6 The pleasure does not come from reading alone, but also from figuring out the puzzles and riddles. (Fernandez-Vara) The resulting dynamics involve logical reasoning, recalling an earlier clue, or frequently trial and error. Think about the aesthetics that follow. The player is proud of themselves for coming up with the right solution. There is a sense of discovery as they find new objects or learn new information. (Pinkus) Puzzles in general are also paradoxical in nature: they both hide the solution and lure the player into finding it, and both the constructor and solver should derive pleasure from it (Hovanec, 10). As Bob Bates puts it, the designer is as much the player’s partner as her adversary Plaisirs du jeu d’aventure: Puzzles, résolution de problèmes

7 Son activité [le joueur] consiste à repérer les informations visuelles et textuelles pertinentes au sein du monde-jeu, interpréter ces données, postuler des hypothèses, les tester, et éventuellement reconstituer mentalement la « vraie histoire » du jeu. (Lessard) “The gameplay’s main purpose in an adventure game is to control the progress of discovery of a causal chain of events.” (Perron) Plaisirs du jeu d’aventure: Structure érotétique, satisfaction de la curiosité, exploration narrative

8 It is in the larger range of actions (verbs) that adventure games have tried to differentiate themselves from other genres (Fernandez-Vara) Le jeu peut offrir une très grande diversité d’action intra- diégétiques car l’interface n’est pas limitée par le nombre d’actions immédiatement accessibles (le verbe « use » dans la plupart des jeux d’aventures peut en définitive signifier n’importe quoi) et que chaque interaction contextuelle est conçue individuellement et n’a pas à être une réponse procédurale. (Lessard) Plaisirs du jeu d’aventure: Variété des actions

9 […] jeux d’aventures sont fondées sur la faculté du joueur à comprendre la logique du récit et à agir en concordance (même si la plupart du temps, il s’agit d’un simple casse-tête logique, ou d’une astuce graphique). Dès lors, le joueur cherche quels sont les possibles narratifs et opère ses choix en fonction de ceux-ci. (Letourneux) […] a conversation with the author of the imaginary world, who is challenging the interactor to solve the puzzle, to figure out what the author has in mind[.] (Murray) “… some pleasures of playing are linked to the simulation of an experiential flow, although other pleasures consists in getting insight into the intentions of the creators.” (Grodal) Plaisirs du jeu d’aventure Joute entre le designer et le joueur

10 The connection I have with Sir Graham, King’s Quest’s knight errant, isn’t because of his great depth of character: it’s because of the melding of our characters and quests, trying out a different perspective and seeing the world through another’s eyes. […] The narratives of these characters may not offer the same depth as Shakespeare, but the experience of play allows for actually testing the possibilities and limitations the characters represent. (Salter) I like to do the game where you create a character that is a wish fulfillment, is a fantasy, is interesting enough that people want to jump inside their head and run around in it. Because that’s an interesting thing to provide. It’s like a different vehicle, like a car with different arms and legs and you make it so compelling that people want to try it out. They start to ego-invest, they share the motivations of the character. (Schafer) Plaisirs du jeu d’aventure Tester les contours d’un personnage autre

11 Part of the pleasure of the participant in Zork is in testing the limits of what the program will respond to, and the creators prided themselves on anticipating even wildly inappropriate actions.(Murray) …a great deal of the enjoyment of such games is derived by probing their responses in a sort of informal Turing test : “I wonder what it sill say if I do this?” The players (and designers) delight in clever (or unexpected) responses to otherwise useless actions. (Blank) Plaisirs du jeu d’aventure Tester les contours du monde-jeu

12 “its schema, unlike the shoot-out, permits a wealth of local details, sufficiently rich that its users can become immersed in grappling with both its intricacies and what do do with it.” (Douglas) Plaisirs du jeu d’aventure Exploration / expérimentation libre

13 =view&featureid=30&showpage=1 Puzzle design


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