Abstract
This paper argues for the idea that combining stories and videogames successfully is a question of creating the appropriate fictional frames where player action can unfold. It examines five vampire videogames to illustrate some of the kinds of framing that might occur, and concludes with reflections about the cultural potential of such fictional universes.
References
GELDER, Ken (1994): Reading the Vampire. London, Routledge.
JENKINS, Henry (2003a): “Game Design as Narrative Architecture”, en Harrigan, P. y Wardrip-Fruin, N. (ed.): First Person. Cambridge, The MIT Press.
JENKINS, Henry (2003b): “Transmedial Storytelling”, en Technology Review.
KLEVJER, Rune (2002): “In Defense of Cutscenes”, en Proceedings from Computer Games and Digital Cultures Conference, Tampere, Junio 2002.
KRZYWINSKA, Tanya (2002): “Hands-On-Horror”, en Krzywinska, T. (ed.): ScreenPlay. Cinema/videogames/interfaces. Londres, Wallflower Press.
KÜCKLICH, Julian (2003): “The Playability of Computer Games versus the Readability of Computer Games: Towards a Holistic Theory of Fictionality”, en Raessens, j. (ed.): Level-Up Conference Proceedings. Utrecht, Utrecht University Press.
NIELSEN, Simon-Egenfeldt, SMITH, Jonas-Heide y TOSCA, Susana (2008): Understanding Videogames. Londres, Routledge.
TOSCA, Susana (2005): “Implanted memories or the illusion of free action”, en Brooker, W. (ed.): The Blade Runner Experience. Londres, Wallflower Press.
WALTON, Kendall (1990): Mimesis as Make-Believe. On the Foundations of the Representational Arts. Cambridge, MA., Harvard University Press.
VIDEOJUEGOS CITADOS
Canal + Multimedia (2001): Dracula: The Last Sanctuary. DreamCatcher Interactive.
Frogwares (2008): Dracula: origin.
Konami (1997): Castlevania: Symphony of the Night. Konami.
Terminal Reality (2002): BloodRayne. Majesco.
Troika Games (2004): Vampire: the masquerade - Bloodlines. Activision.
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.
Copyright (c) 2009 Susana Tosca