Computerspil II Game Aesthetics: Genres (01/03/02)

1. Computerspil II Game Aesthetics: Genres (01/03/02)

2. genre theory “The word genre comes from the French (and originally Latin) word for 'kind' or 'class'. The term is widely used in rhetoric, literary theory, media theory, and more recently linguistics, to refer to a distinctive type of text. Robert Allen notes that 'for most of its 2,000 years, genre study has been primarily nominological and typological in function. That is to say, it has taken as its principal task the division of the world of literature into types and the naming of those types - much as the botanist divides the realm of flora into varieties of plants' (Allen 1989, 44). The analogy with biological classification into genus and species misleadingly suggests a 'scientific' process.”(Chandler)

3. genre theory II “Conventional definitions of genres tend to be based on the notion that they constitute particular conventions of content (such as themes or settings) and/or form (including structure and style) which are shared by the texts which are regarded as belonging to them. (...) For instance, in the case of films, some seem to be aligned with one genre in content and another genre in form.”(Chandler)

4. against genres • captive audience • against innovation + originality (romanticism) • triviality of the interpreting activity, “low-art”, genre works=popular=bad • marketing oriented

5. in favour of genres • a work has meaning in relationship to other works (Barthes) • it brings in cultural context & historical perspective • It helps us distinguish between works to avoid banal generalizations, i.e. “all games are violent” • Genres are not simply features of texts, but are mediating frameworks between texts, makers and interpreters. Fowler argues that 'genre makes possible the communication of content‘. Genre constrains the possible ways in which a text is interpreted, guiding readers of a text towards a preferred reading. • Pleasures of identifying genre features (uses & gratification model)

6. genre explosion • According to: • narrative (plots) • characterization • themes • setting • iconography • filmic techniques

7. what about games? genres according to...

8. classifying games • List of games (everyone must know them) • Classify in groups • Categorize groups • Compare findings with fellow-students • What are these categories useful for? • What can they tell us about the way you structure concepts? Emphasis on “you”: the players, reception

9. “official” categories • Action (arcade, shooters) • Adventure (text, graphics) • Puzzle (card games, chess) • Role Playing (character advancement) • Simulation (driving, sports) • Strategy (battles, sim-games) how “pure”?

10. criteria (chick) • Exclusiveness • Exhaustiveness • Usefulness How does our clasification fare?

11. more tipologies • Glassford (games or rule bound vs play or non-rule bound) strategies, goals • Caillois (agon or competition, alea or chance, mimicry or pretense, ilinx or vertigo) • Robert, Arth, Bush (physical skill, strategy, chance) some problems: nonexclusivity, useful?, don’t distinguish between degrees/kinds of games how useful for computer games?

12. who needs genres anyway? • useful way of categorizing (established) • designers: know history, avoid failures / exploit sucesses, know players expectations • players: know what to buy, how to behave, what to expect genres/gameplay VS marketing

13. seminar: • affordance theory • game ego • metaphors we live by • analysis of the game descriptions wilhelmsson