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Murray asserts that "game essentialists" (i.e., Radical Ludology) sacrifice an emotional perspective
Frasca hints that narrative cannot be completely ignored when studying games
Narrativist approaches to games fall short because the specific definition of narrative cannot adequately explain the game play experience
Or do you mostly just care about how you're going to configure your dune-buggy hero and maneuver within the rules of the game environment in order to kill that nasty alien?
The Center for Computer Games Research
The Canadian Games Studies Association
Mia Consalvo
Digital Games Research Association (DiGRA)
Henry Jenkins
Games Research
Gonzalo Frasca
Jane McGonigal
Lars Konzack
Jesper Juul
Espen Aarseth
Edward Castronova
Janet Murray
Games+Learning+Society Conference
The Philosophy of Computer Games
DiGRA Conference
eludamos: Journal for
Computer Game Culture
International Journal
of Role Playing
Game Studies
Journal of Virtual
Worlds Research
"Ludologists Love Stories Too: Notes from a Debate that Never Took Place" (2003)
"The Last Word on Narratology v Ludology in Game Studies" (2005)
Founder of Ludology.org (now pretty much defunct) and Powerful Robot Games
Director of Graduate Studies in the School of Literature, Communication, and Culture at The Georgia Institute of Technology
and
Games are considered a subset of film, drama, theater or literature.
Games are predominately a configurative practice, not an interpretative one like film or literature.
Frasca's original intent for the term
A Compromise by Frasca
They are denied an independent field of study. They are always viewed through the lens of an existing discipline
The aesthetic form of a game is derived from its mechanics
What the term means within its field of study: The Humanities
What the term has come to mean within the context of the N v L Debate
A compromise
Do you care why this dune buggy is facing off against a piece of alien technology in a forest with a skyscraper looming over it?