Enunciative strategies of the videogame: four figures
DOI:
https://doi.org/10.18861/ic.2019.14.1.2889Keywords:
videogame, enunciation, sociosemiotics, art, aesthetic attentionAbstract
Throughout almost five decades of existence, the videogame developed forms of textual interpellation that stabilized and gave rise to the regularization of enunciative figures. In this work four figures will be analyzed: the user, the player, the spectator and, most recently, the contemplator. Each one is the result of different operations and makes possible a communicational scene that can vary between the configuration of the game that is about to begin (user); the putting into work of skills aimed at overcoming a set of goals (player); the interruption of playful interaction by a non-participatory audiovisual flow (spectator); and, finally, the unfolding of an environment that can be inhabited without ludic restrictions (contemplator). Each figure has a specific textual site and supposes a singular contact proposal. The production of the videogame presents communicational modulations that for some reason were neglected by the field of games studies: from a sociosemiotic perspective, it is necessary to face the study of these enunciative strategies.Downloads
References
Aarseth, E. (1997). Cybertext: Perspectives on ergodic literature. Baltimore: John Hopkins University Press.
Bordwell, D. (1996). La narración clásica: el ejemplo de Hollywood. En La narración en el cine de ficción (pp. 156-204). Barcelona: Paidós.
Burch, N. (2011). El tragaluz del infinito. Contribución a la genealogía del lenguaje cinematográfico. Madrid: Cátedra.
Entertainment Software Association (ESA) (2018). Essential Facts About The Computer and Video Game Industry 2018. Recuperado de: http://www.theesa.com/article/essential-facts-computer-video-game-industry-2018/
Fernández Vara, C. (2009). The tribulation of adventure games: Integrating story into simulation through performance. Thesis doctoral, Doctorate of Philosophy in Digital Media, Georgia Institute of Technology, Atlanta, Georgia.
Genette, G. (1997) La obra de arte II. La relación estética. Barcelona: Lumen. (2001) Umbrales. México: Siglo XXI.
Goodman, N. (2013 [1978]). ¿Cuándo hay arte? Maneras de hacer mundos. Madrid: La balsa de la medusa.
Heinich, N. & Shapiro, R. (April, 2012). When is artification? Contemporary Aesthetics, 4. Recuperado de: https://contempaesthetics.org/newvolume/pages/article.php?articleID=639
Jenkins, H. (2003). Game design as narrative architecture. En Wardrip-Fruin, N. & Harrigan, P. (comps.), First person: New media as story, performance, and game (pp. 118-131). Cambridge: MIT Press.
Juul, J. (2005). Half-Real: Video games between real rules and fictional worlds. Cambridge: MIT Press.
Kirkpatrick, G. (2011). Aesthetic theory and the video game. Manchester: Manchester University Press.
Klevjer, R. (June, 2002). In Defense of Cutscenes. Computer Games and Digital Cultures Conference, Tampere, Finlandia. Recuperado de: http://www.digra.org/dl/db/05164.50328.pdf
Klevjer, R. (2012). Enter the Avatar. The phenomenology of prosthetic telepresence in computer games. En Fossheim H., Mandt Larsen, T. & Sageng, J. R. (Eds.), The Philosophy of Computer Games (pp. 17-38). Londres: Springer.
Klevjer, R. (2014). Cut-scenes. En Wolf, M. & Perron, B. (Eds.), The Routledge Companion to Video Game Studies (pp. 301-309). New York: Routledge.
Manovich, L. (2005). El lenguaje de los nuevos medios de comunicación: La imagen en la era digital. Buenos Aires: Paidós.
Maté, D. (2017). De la animación a lo lúdico: Tiny Toon y tres estrategias de pasaje al videojuego. Me manda Walt, 2. Recuperado de: http://memandawalt.com.ar/index.html
Maté, D. (2018). Leer, interpretar, gestionar: mediatización, género de estrategia y reconfiguraciones del jugador. Lúdicamente, 7(13). Recuperado de: http://ppct.caicyt.gov.ar/index.php/ludicamente/article/view/10313/pdf
Metz, C. (1990). L’énonciation impersonnelle, ou le site du film. París: Méridien-Klincksieck.
Metz, C. (2001 [1977]). Identificación, espejo. En El significante imaginario. Psicoanálisis y cine. Barcelona: Paidós.
de Mul, J. (2005). The game of life: Narrative and ludic identity formation in computer games. En Raessens, J & Goldstein, J. H. (eds.), Handbook of computer game studies (pp. 251-266). Cambridge: MIT Press.
Pérez Latorre, O. (2012). El lenguaje videolúdico: Análisis de la significación del videojuego. Barcelona: Laertes.
Prell, S. (February 23, 2018). Forget graphics - to get a real sense of how games have evolved, look at their menus. Games Radar. Recuperado de: https://www.gamesradar.com/forget-graphics-to-get-a-real-sense-of-how-games-haveevolved-look-at-their-menus/
Reuters (June 13, 2018). Investing in the Soaring Popularity of Gaming. Recuperado de: https://www.reuters.com/article/idUSWAOA94RPPW851865
Schaeffer, J.M. (2018 [2004]). La experiencia estética. Buenos Aires: La Marca.
Steimberg, O. (2013). Semióticas. Las semióticas de los géneros, los estilos, de la transposición. Buenos Aires: Eterna Cadencia.
Swink, S. (2008). Game feel: A game designer’s guide to virtual sensation. Florida: CRC Press.
Taylor, L. (December, 2003). When seams fall apart. Video game space and the player. Game Studies, 3(2). Recuperado de: http://www.gamestudies.org/0302/taylor/
Traversa, O. (2014). Aproximaciones a la noción de dispositivo. Dispositivo-enunciación: en torno a sus modos de articularse. Inflexiones del discurso. Cambios y rupturas en las trayectorias del sentido. Buenos Aires: Santiago Arcos.
Vella, D. (August, 2016). Who Am ‘I’ in the Game? A Typology of the Modes of Ludic Subjectivity. DiGRA/FDG ‘16 - First International Joint Conference of DiGRA (Digital Games Research Association) and FDG (Society for the Advancement of the Science of Digital Games), Dundee, Escocia. Recuperado de: http://www.digra.org/digital-library/publications/who-am-i-in-the-game-a-typology-ofthe-modes-of-ludic-subjectivity/
Verón, E. (1987). La semiosis social: Fragmentos de una teoría de la discursividad. Buenos Aires: Gedisa.
