• Corpus ID: 7259855

How I Learned to Stop Worrying and Love the Gamer: Reframing Subversive Play in Story-Based Games

@inproceedings{Tanenbaum2013HowIL,
  title={How I Learned to Stop Worrying and Love the Gamer: Reframing Subversive Play in Story-Based Games},
  author={Theresa Jean Tanenbaum},
  booktitle={DiGRA Conference},
  year={2013}
}
Much like books have “implied readers” and films have “implied viewers”, games have “implied players”. The ways in which these implied players are constructed have material implications for how games are designed and studied. In this paper I explore a pervasive narrative about the ways in which players seek to subvert the desires of game designers and storytellers. This narrative of the subversive player has informed extensive research and design in both commercial games and scholarly… 

Figures from this paper

Ludic Unreliability and Deceptive Game Design
Drawing from narratology and design studies, this article makes use of the notions of the ‘implied designer’ and ‘ludic unreliability’ to understand deceptive game design as a specific subset of
Meaning without consequence: virtue ethics and inconsequential choices in games
TLDR
It is argued that-when viewed from a virtue ethics perspective---the choices afforded the player are significant, impactful, and more importantly meaningful.
Evaluating the Pleasures of Agency in Shiva's Rangoli, a Tangible Storytelling Installation
TLDR
The design and results of an empirical study of Shiva's Rangoli are presented, finding three interaction styles or strategies undertaken by readers that reframe readers as Story Supporters, Meaning Makers, and Story Controllers to explore the pleasures of bounded agency within interactive storytelling.
Props: 3D-game-like mediator for improvisational storytelling
Investigating Roleplaying and Identity Transformation in a Virtual Reality Narrative Experience
TLDR
The design and evaluation of The Next Fairy Tale VR, a theatrical interactive storytelling system created in virtual reality and informed by performing arts theories, is described and four design patterns that supported roleplaying are identified.
Interactive Storytelling
  • J. Kittler
  • Sociology
    Lecture Notes in Computer Science
  • 2017
TLDR
RLX makes heavily use of design thinking, idea generation, co-creation, early prototypes, and user centered development methods, aiming at setting exemplary methodo‐ logical steps for cross-organizational museum experiences.
DoppioGioco. Playing with the Audience in an Interactive Storytelling Platform
TLDR
The system, “DoppioGioco” (DoublePlay), provides a software platform for training authors to deal with the response of the audience since the story editing phase, which addresses the gap between the editing and delivery of stories in interactive digital storytelling.
Artificial Intelligence for Dramatic Performance
TLDR
A framework that relies on Artificial Intelligence techniques to augment the performer–audience interaction in a storytelling setting and is deployed to create a public performance in February 2019.
Studying and designing emotions in live interactions with the audience
TLDR
The relation between interactive performance and emotional participation of the audience through an experiment in the wild where perftormance is mediated by a computational system, DoPPioGioco, to identify the factors which must be accounted for when affective technologies are employed to mediate between audience and performer in live interaction.
Thinning the Fourth Wall with Intelligent Prompt
TLDR
This paper presents a digitally enhanced model of performer–audience communion in an interactive storytelling setting, based on an intelligent prompt system, that realizes a feedback loop between the performer and audience.
...
...

References

SHOWING 1-10 OF 55 REFERENCES
I Fought the Law: Transgressive Play and The Implied Player
TLDR
This paper will go beyond the traditional split between the social sciences’ real players and the aesthetics/humanities critical author-as-player, and present a theory of the player and player studies that incorporates the complex tensions between the real, historical player and the game’s human components.
Mass Effect 2
Digital games have matured substantially as a narrative medium in the last decade. However, there is still much work to be done to more fully understand the poetics of story-based-games. Game
Games and Narrative: An Analytical Framework
The paper considers the recent academic struggle between "narratologists" and "ludologists", and argues that it was exacerbated by two sources of confusion. The first confusion was differing concepts
Games and Narrative: An Analytical Framework
The paper considers the recent academic struggle between "narratologists" and "ludologists", and argues that it was exacerbated by two sources of confusion. The first confusion was differing concepts
Mediating the tension between plot and interaction
TLDR
This paper focuses on the attempt to find a balance between offering the player a high degree of interaction and providing a story-based experience where the player is a key character.
Agency as commitment to meaning: communicative competence in games
TLDR
It is argued that for narrative games it is valuable to refocus definitions of agency on the notion of meaning, and propose a treatment of agency that emphasises communicative commitments.
Commitment to Meaning: A Reframing of Agency in Games
paper examines the concept of agency within games and proposes a shift from the notion of agency as representing choice or freedom to one of agency as representing commitment to meaning. This
Gaining Advantage: How Videogame Players Define and Negotiate Cheating
This paper addresses players’ uses of supplemental items during gameplay, how they define what is and is not “cheating” in reference to these items, and then, what actions they ultimately take in
Believability, adaptivity, and performativity: three lenses for the analysis of interactive storytelling
In this thesis I present a methodology for performing analyses of Interactive Narrative experiences, and use this technique both to explicate a particular game—The Elder Scrolls IV: Oblivion—and to
Being in the Story: Readerly Pleasure, Acting Theory, and Performing a Role
TLDR
It is argued that reimagining interaction as participation in a story opens up an important new design space for digital narratives: one which emphasizes the readerly pleasure of transforming into a character rather than the authorial pleasure of rewriting the events of the story.
...
...