We’re at the halfway point for this Digital Artefact so here are a few updates since my pitch.
The biggest pieces of feedback from my pitch would have to have been the lack of research elaborated on within the post, as well as a failure to incorporate enough relevant material from the BCM215 lectures themselves. I hope to rectify that with this post.
Technological Context
“the independent video game is a form of free expression – not limited by the constraints of a major game publisher, or by what market research dictates. Thus, according to this narrative, the developer invests in the product his or her own ‘original’ creative input. In this view, his or her unique vision of game design is brought into the video game, making it a direct expression of personal, individual feelings and thoughts.”
(Ruffino 2012, p. 115)
From the quote above as well as my pitch, you can probably guess that I want to take a humanistic approach in the research of this artefact. The connection that is made between a creator and their game and simultaneously the game and player, is something of high interest to me, especially in regards to indie narrative games as they provide a unique opportunity for developers to incorporate something ‘personal’ into the game that can potentially be explored in a larger way within this context.
Structuralism Vs Post-Structuralism
My DA is interesting in the way that it doesn’t neatly fit into either the Structuralist or Post-Structuralist way of analysing these games.
On the surface my pitch and beta portray a structuralist framework for analysis, as my focus it to analyse these three games based on elements of their structure: their characters, story, and music.
However, beneath this analysis lies another layer of post-structuralism in which I am examining the affect these elements have on the player as well as their reception and connection to the developer.
I want to further investigate the psychological aspects of why these narratives and features have such an important role within the structure of the games themselves.
Follow for Updates
Twitter: @lu_suey
Insta: @lu.suey
Tumblr: @lusuey
References
GAME FOOTAGE
YouTube. (2019). Gone Home – Launch Trailer. [online] Available at: https://www.youtube.com/watch?v=x5KJzLsyfBI.
YouTube. (2019). Journey Launch Trailer I Coming July 21 I PS4 Exclusive. [online] Available at: https://www.youtube.com/watch?v=mU3nNT4rcFg.
YouTube. (2019). Life is Strange – Launch Trailer. [online] Available at: https://www.youtube.com/watch?v=mpRhaXfvG_0.
STOCK FOOTAGE
YouTube. (2019). Sky Clouds Wind Heaven Weather Atmosphere High – Stock free footage. [online] Available at: https://www.youtube.com/watch?v=wB_pv5WUlZU&list=PLx-qGAzjv13c00FYZMLAJm65WjsT3ZmDR&index=7.
RESEARCH
Consalvo, Mia 2003. Zelda 64 and Video Game
Fans A Walkthrough of Games, Intertextuality, and Narrative.
Television & New Media. 4(3) 321–334.
Rose, M. (2013). How indies made an impact on a generation of game consoles. [Blog] Indie Games Plus. Available at: https://indiegamesplus.com/2013/11/how_indies_made_an_impact_on_a.
Ruffino, P. (2012). Narratives of independent production in video game culture. Indie, Eh?, 7(11), p.111
IMAGES
Flaticon. (2019). Twitter free vector icons designed by Freepik. [online] Available at: https://www.flaticon.com/free-icon/twitter_124021.
WordPress Swag Store. (2019). WordPress 3″Round Sticker. [online] Available at: https://mercantile.wordpress.org/product/wordpress-3round-sticker/.
Lusuey 