Keywords
game space
environmental storytelling
methodology
How to Cite
Abstract
This article describes the theoretical foundations for researching game space and analytical methods focused on player reception of level design. It focuses primarily on games with open worlds and looks at environmental narratives within them. The methods discussed include game telemetry, mental mapping, and eye-tracking. Game worlds can be perceived as complex wholes that are important not only as the stage for game interactions, but also as sign structures carrying semantic meaning. These structures consist of spatial elements that form the narrative potential of the game space. This potential is actualized and interpreted by the player during gameplay.
References
Anthony, Miki Nørgaard, Byung-Chull Bae, and Yun-Gyung Cheong. „Comparison of Narrative Comprehension between Players and Spectators in a Story-Driven Game.“ In Interactive Storytelling, edited by Alex Mitchell, Clara Fernández-Vara, and David Thue, 208–11. Cham: Springer, 2014. https://doi.org/10.1007/978-3-319-12337-0_22
Attademo, Greta. „The Representation of Space As a Narrative Language in Videogames.“ Img Journal, no. 6 (2022): 32–49. https://doi.org/10.6092/issn.2724-2463/14354
Bethesda Game Studios. The Elder Scrolls V: Skyrim Special Edition. Bethesda Softworks, 2016. PlayStation 4.
Bevensee, Sebastian Hurup, Kasper Alexander Dahlsgaard Boisen, Mikael Peter Olsen, Henrik Schoenau-Fog, and Luis Emilio Bruni. „Aporia – Exploring Continuation Desire in a Game Focused on Environmental Storytelling.” In Interactive Storytelling, edited by David Oyarzun, Federico Peinado, R. Michael Young, Ane Elizalde, and Gonzalo Méndez, 42–47. Berlin: Springer, 2012. https://doi.org/10.1007/978-3-642-34851-8_4
Bevensee, Sebastian Hurup, Kasper Alexander Dahlsgaard Boisen, Mikael Peter Olsen, Henrik Schoenau-Fog, and Luis Emilio Bruni. „Project Aporia – An Exploration of Narrative Understanding of Environmental Storytelling in an Open World Scenario.“ In Interactive Storytelling, edited by David Oyarzun, Federico Peinado, R. Michael Young, Ane Elizalde, and Gonzalo Méndez, 96–101. Berlin: Springer, 2012. https://doi.org/10.1007/978-3-642-34851-8_9
Bohemia Interactive. DayZ. Bohemia Interactive, 2013. PC.
Bohemia Interactive. Vigor. Bohemia Interactive, 2018. Xbox One.
Bonner, Marc. „On Striated Wilderness and Prospect Pacing: Rural Open World Games as Liminal Spaces of the Man-Nature Dichotomy.“ In Proceedings of DiGRA 2018 Conference: The Game is the Message. Cambridge, MA: Digital Games Research Association, 2018.
Bowman, B., N. Elmqvist, and T. J. Jankun-Kelly. „Toward Visualization for Games: Theory, Design Space, and Patterns.“ IEEE Transactions on Visualization and Computer Graphics 18, no. 11 (2012): 1956–68. https://doi.org/10.1109/TVCG.2012.77
Crowther, William. Colossal Cave Adventure. 1976. Sálový počítač PDP-10.
Doležel, Lubomír. Heterocósmica: fikce a možné světy. Praha: Karolinum, 2003. Domsch, Sebastian. „Space and Narrative in Computer Games.“ In Ludotopia, edited by Espen Aarseth and Stephan Günzel, 103–24. Bielefeld: Transcript, 2019. https://doi.org/10.1515/9783839447307-006
DMA Design (nyní Rockstar North). Grand Theft Auto III. Rockstar Games, 2001. PlayStation 2.
Drachen, Anders, and Alessandro Canossa. „Evaluating Motion: Spatial User Behaviour in Virtual Environments.“ International Journal of Arts and Technology 4, no. 3 (2011): 294–314. https://doi.org/10.1504/IJART.2011.041483
Eco, Umberto. Otevřené dílo: forma a neurčenost v současných poetikách. Přeložila Zora Obstová. Praha: Argo, 2015.
„The Elder Scrolls V: Skyrim Special Edition“ ve službě Steam. Navštíveno 27. listopadu 2024. https://store.steampowered.com/app/489830/The_Elder_Scrolls_V_Skyrim_Special_Edition/.
Fernández-Vara, Clara. „Game Spaces Speak Volumes: Indexical Storytelling.“ In Proceedings of the 2011 DiGRA International Conference: Think Design Play. Cambridge, MA: Digital Games Research Association, 2011.
Gagné, André R., Magy Seif El-Nasr, and Chris D. Shaw. „ Analysis of Telemetry Data from a Real-Time Strategy Game: A Case Study.“ Computers in Entertainment 10, no. 1 (2012): 1–25. https://doi.org/10.1145/2381876.2381878
Chang, Alenda Y. „Games as Environmental Texts.“ Qui Parle 19, no. 2 (2011): 57–84. https://doi.org/10.5250/quiparle.19.2.0057
Jacob, Robert J. K., and Keith S. Karn. „Eye Tracking in Human-Computer Interaction and Usability Research.“ In The Mind’s Eye, edited by Jukka Hyönä, Ralph Radach, and Heiner Deubel, 573–605. Amsterdam: Elsevier, 2003. https://doi.org/10.1016/B978-044451020-4/50031-1
Jenkins, Henry. „Game Design as Narrative Architecture.“ In First Person: New Media as Story, Performance, and Game, edited by Noah Wardrip-Fruin and Pat Harrigan, 118–31. Cambridge, MA: MIT Press, 2004.
Jie, Li, and James J. Clark. „Video Game Design Using an Eye-Movement-Dependent Model of Visual Attention.“ ACM Transactions on Multimedia Computing, Communications, and Applications 4, no. 3 (2008): 1–16. https://doi.org/10.1145/1386109.1386115
Kieslich, Pascal J., Felix Henninger, Dirk U. Wulff, Jonas M. B. Haslbeck, and Michael Schulte-Mecklenbeck. „Mouse-Tracking: A Practical Guide to Implementation and Analysis.“ Preprint, PsyArXiv, submitted July 31, 2018. https://doi.org/10.31234/osf.io/zuvqa
Lankoski, Petri, and Staffan Bjork, eds. Game Research Methods: An Overview. Pittsburgh, PA: ETC Press, 2015.
Lynch, Kevin. The Image of the City. Cambridge, MA: MIT Press, 1964.
Masso, Isamar Carrillo. „This Is for the Record: A Case for Video Recording as Part of a Unified Method of Data Collection for the Academic Study of PC Games.“ PhD diss., Bangor University, 2019.
Murray, Janet Horowitz. Hamlet on the Holodeck: The Future of Narrative in Cyberspace. New York: The Free Press, 1997.
Nintendo. The Legend of Zelda: Breath of the Wild. Nintendo, 2017. Nintendo Switch.
Nitsche, Michael. Video Game Spaces: Image, Play, and Structure in 3D Game Worlds. Cambridge, MA: MIT Press, 2008.
Renshaw, Tony, Richard Stevens, and Paul D. Denton. „Towards Understanding Engagement in Games: An Eye‐tracking Study.“ On the Horizon 17, no. 4 (2009): 408–20. https://doi.org/10.1108/10748120910998425
Ryan, Marie-Laure. „Beyond Myth and Metaphor: Narrative in Digital Media.“ Poetics Today 23, no. 4 (2002): 581–609. https://doi.org/10.1215/03335372-23-4-581
Shaheen, Anjuman, and Panagiotis Fotaris. „Enhancing Digital Game-Based Learning Through Reflective Game Design (RGD).“ In Proceedings of the 18th European Conference on Games Based Learning, edited by Rajiv Vaid Basaiawmoit and Kristine Kilså, 1163–72. Reading: Academic Conferences International Ltd, 2024. https://doi.org/10.34190/ecgbl.18.1.3107
Škrdla, Jakub. „Simulátory chození a umělecké videohry na hranici médií.“ Bakalářská práce, Masarykova univerzita, 2021.
Ter Minassian, Hovig. „Drawing Video Game Mental Maps: From Emotional Games to Emotions of Play.“ Cartographic Perspectives, no. 91 (2018): 47–62. https://doi.org/10.14714/CP91.1435
Ugwitz, Pavel, Ondřej Kvarda, Zuzana Juříková, Čeněk Šašinka, and Sascha Tamm. „Eye-Tracking in Interactive Virtual Environments: Implementation and Evaluation.“ Applied Sciences 12, no. 3 (2022): 1027. https://doi.org/10.3390/app12031027
Vredenberg, Bjorn. „Signposting, Mise-en-Scene, and Environmental Storytelling: Understanding Signposting as Part of the Embedded Narrative in Environmental Storytelling.“ Master thesis, Utrecht University, 2017.
Zimmermann, Felix, and Christian Huberts. „From Walking Simulator to Ambience Action Game: A Philosophical Approach to a Misunderstood Genre.“ Press Start 5, no. 2 (2019): 29–50.
This work is licensed under a Creative Commons Attribution 4.0 International License.
Copyright (c) 2024 Jakub Škrdla