Breaking the game: the traversal of the emergent narrative in video games

Detalhes bibliográficos
Autor(a) principal: Cardoso, Pedro
Data de Publicação: 2013
Outros Autores: Carvalhais, Miguel
Tipo de documento: Artigo
Idioma: eng
Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
Texto Completo: https://doi.org/10.7559/citarj.v5i1.87
Resumo: In video games the player’s actions shape the narrative of their personal experience, molding what otherwise would be a linear course. This emergent narrative is in a state of constant transformation, dependent on how the player influences it. This paper explores how the players traverse ergodic media such as video games and how narrative emerges from the interactions between them and the system. In a previous text we have proposed three types of traversal in video games (Cardoso & Carvalhais, 2013): 1) that in which the player has the ability to choose between mutually exclusive paths; 2) that in which the player has the ability to expand the narrative; and 3) that in which the traversal is determined by the disposition of the other actors in the game world towards the player and each other. This paper intends to further contribute by adding another one: 4) a type of traversal that is rooted in the exploitation of any flaws and glitches in the system, allowing the player to traverse the game through an overlooked side of the algorithm, journeying through a world of unpredictable behaviours and events, that may ultimately break the game altogether.
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spelling Breaking the game: the traversal of the emergent narrative in video gamesIn video games the player’s actions shape the narrative of their personal experience, molding what otherwise would be a linear course. This emergent narrative is in a state of constant transformation, dependent on how the player influences it. This paper explores how the players traverse ergodic media such as video games and how narrative emerges from the interactions between them and the system. In a previous text we have proposed three types of traversal in video games (Cardoso & Carvalhais, 2013): 1) that in which the player has the ability to choose between mutually exclusive paths; 2) that in which the player has the ability to expand the narrative; and 3) that in which the traversal is determined by the disposition of the other actors in the game world towards the player and each other. This paper intends to further contribute by adding another one: 4) a type of traversal that is rooted in the exploitation of any flaws and glitches in the system, allowing the player to traverse the game through an overlooked side of the algorithm, journeying through a world of unpredictable behaviours and events, that may ultimately break the game altogether.Universidade Católica Portuguesa2013-01-01T00:00:00Zjournal articleinfo:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://doi.org/10.7559/citarj.v5i1.87oai:ojs.revistas.ucp.pt:article/7198Journal of Science and Technology of the Arts; Vol 5 No 1 (2013); 25-31Journal of Science and Technology of the Arts; v. 5 n. 1 (2013); 25-312183-00881646-979810.34632/citarj.2013.5.1reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãoinstacron:RCAAPenghttps://revistas.ucp.pt/index.php/jsta/article/view/7198https://doi.org/10.7559/citarj.v5i1.87https://revistas.ucp.pt/index.php/jsta/article/view/7198/6985Copyright (c) 2013 Pedro Cardoso, Miguel Carvalhaishttp://creativecommons.org/licenses/by/4.0info:eu-repo/semantics/openAccessCardoso, PedroCarvalhais, Miguel2022-09-22T16:19:17Zoai:ojs.revistas.ucp.pt:article/7198Portal AgregadorONGhttps://www.rcaap.pt/oai/openaireopendoar:71602024-03-19T15:58:59.420445Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãofalse
dc.title.none.fl_str_mv Breaking the game: the traversal of the emergent narrative in video games
title Breaking the game: the traversal of the emergent narrative in video games
spellingShingle Breaking the game: the traversal of the emergent narrative in video games
Cardoso, Pedro
title_short Breaking the game: the traversal of the emergent narrative in video games
title_full Breaking the game: the traversal of the emergent narrative in video games
title_fullStr Breaking the game: the traversal of the emergent narrative in video games
title_full_unstemmed Breaking the game: the traversal of the emergent narrative in video games
title_sort Breaking the game: the traversal of the emergent narrative in video games
author Cardoso, Pedro
author_facet Cardoso, Pedro
Carvalhais, Miguel
author_role author
author2 Carvalhais, Miguel
author2_role author
dc.contributor.author.fl_str_mv Cardoso, Pedro
Carvalhais, Miguel
description In video games the player’s actions shape the narrative of their personal experience, molding what otherwise would be a linear course. This emergent narrative is in a state of constant transformation, dependent on how the player influences it. This paper explores how the players traverse ergodic media such as video games and how narrative emerges from the interactions between them and the system. In a previous text we have proposed three types of traversal in video games (Cardoso & Carvalhais, 2013): 1) that in which the player has the ability to choose between mutually exclusive paths; 2) that in which the player has the ability to expand the narrative; and 3) that in which the traversal is determined by the disposition of the other actors in the game world towards the player and each other. This paper intends to further contribute by adding another one: 4) a type of traversal that is rooted in the exploitation of any flaws and glitches in the system, allowing the player to traverse the game through an overlooked side of the algorithm, journeying through a world of unpredictable behaviours and events, that may ultimately break the game altogether.
publishDate 2013
dc.date.none.fl_str_mv 2013-01-01T00:00:00Z
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dc.identifier.uri.fl_str_mv https://doi.org/10.7559/citarj.v5i1.87
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url https://doi.org/10.7559/citarj.v5i1.87
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dc.language.iso.fl_str_mv eng
language eng
dc.relation.none.fl_str_mv https://revistas.ucp.pt/index.php/jsta/article/view/7198
https://doi.org/10.7559/citarj.v5i1.87
https://revistas.ucp.pt/index.php/jsta/article/view/7198/6985
dc.rights.driver.fl_str_mv Copyright (c) 2013 Pedro Cardoso, Miguel Carvalhais
http://creativecommons.org/licenses/by/4.0
info:eu-repo/semantics/openAccess
rights_invalid_str_mv Copyright (c) 2013 Pedro Cardoso, Miguel Carvalhais
http://creativecommons.org/licenses/by/4.0
eu_rights_str_mv openAccess
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dc.publisher.none.fl_str_mv Universidade Católica Portuguesa
publisher.none.fl_str_mv Universidade Católica Portuguesa
dc.source.none.fl_str_mv Journal of Science and Technology of the Arts; Vol 5 No 1 (2013); 25-31
Journal of Science and Technology of the Arts; v. 5 n. 1 (2013); 25-31
2183-0088
1646-9798
10.34632/citarj.2013.5.1
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