Play as narration: ‘Composition No1’ and ‘Elder Scrolls V: Skyrim’ .

Hdl Handle:
http://hdl.handle.net/10034/604010
Title:
Play as narration: ‘Composition No1’ and ‘Elder Scrolls V: Skyrim’ .
Authors:
Grennan, Simon; Hague, Ian
Abstract:
In reviews of Chris Ware’s Building Stories, critics regularly draw attention to the board-game like design of the comic’s box and elements of the text within. Yet while many have noted the similarities between Building Stories and the visual/physical design of board games such as Monopoly, and Ware himself has cited ‘French "Jeux Reunis" game sets from the late 19th and the early 20th century’ as one of the inspirations for the work’s design concept, few go as far as to suggest that Building Stories actually is a game. In this paper, Simon Grennan and Ian Hague will consider the ways in which Building Stories’ narrative structure mirrors those conventionally found in games. Drawing upon works published by Bethesda Softworks, such as Fallout 3, Fallout: New Vegas and the Elder Scrolls series, as well as comics including Jason Shiga’s Meanwhile and Actus Tragicus’ Actus Box: 5 Graphic Novellas, and literary works such as Marc Saporta’s Composition No.1 and B.S. Johnson’s The Unfortunates, Grennan and Hague will interrogate some of the formal and discursive relationships that open possibilities for revised interpretations of the differences between play and narrative, such as the productive structuring of choice, sources of narrative voice, the presence of untold plots, the impact of types of accumulated and excluded actions upon plot, and the narratological implications of subverting the social habits by which games, comics and literature are defined. Utilising Seymour Chatman’s 1978 theorisation of narrative as a ‘double time’ structure, being the time of the plot plus the time of the text, they will suggest that both games and comics promote specific discourse activities over others as conditions of comprehension, whilst sharing formal structures that are utilised in each register to underwrite the disctinctions between them. Hence, it is as possible to choose to read the cells of comic in any order as it is to choose one course of actions over another in a game. Grennan and Hague will analyse the degrees of similarity and difference between these options in their particular contexts, relative to an experience of a plot, in order to problematise the relationship between discourse and plot at the heart of Chatman’s theory.
Affiliation:
University of Chester, London College of Printing
Citation:
Grennan, S., & Hague, I. (2014). Play as narration: ‘Composition No1’ and ‘Elder Scrolls V: Skyrim. Paper presented at the 9th ComFor Conference, Berlin, Germany
Publisher:
9th ComFor Conference, Berlin.
Publication Date:
1-Apr-2014
URI:
http://hdl.handle.net/10034/604010
Type:
Presentation
Language:
en
Appears in Collections:
Art and Design

Full metadata record

DC FieldValue Language
dc.contributor.authorGrennan, Simonen
dc.contributor.authorHague, Ianen
dc.date.accessioned2016-03-30T13:34:23Zen
dc.date.available2016-03-30T13:34:23Zen
dc.date.issued2014-04-01en
dc.identifier.citationGrennan, S., & Hague, I. (2014). Play as narration: ‘Composition No1’ and ‘Elder Scrolls V: Skyrim. Paper presented at the 9th ComFor Conference, Berlin, Germanyen
dc.identifier.urihttp://hdl.handle.net/10034/604010en
dc.description.abstractIn reviews of Chris Ware’s Building Stories, critics regularly draw attention to the board-game like design of the comic’s box and elements of the text within. Yet while many have noted the similarities between Building Stories and the visual/physical design of board games such as Monopoly, and Ware himself has cited ‘French "Jeux Reunis" game sets from the late 19th and the early 20th century’ as one of the inspirations for the work’s design concept, few go as far as to suggest that Building Stories actually is a game. In this paper, Simon Grennan and Ian Hague will consider the ways in which Building Stories’ narrative structure mirrors those conventionally found in games. Drawing upon works published by Bethesda Softworks, such as Fallout 3, Fallout: New Vegas and the Elder Scrolls series, as well as comics including Jason Shiga’s Meanwhile and Actus Tragicus’ Actus Box: 5 Graphic Novellas, and literary works such as Marc Saporta’s Composition No.1 and B.S. Johnson’s The Unfortunates, Grennan and Hague will interrogate some of the formal and discursive relationships that open possibilities for revised interpretations of the differences between play and narrative, such as the productive structuring of choice, sources of narrative voice, the presence of untold plots, the impact of types of accumulated and excluded actions upon plot, and the narratological implications of subverting the social habits by which games, comics and literature are defined. Utilising Seymour Chatman’s 1978 theorisation of narrative as a ‘double time’ structure, being the time of the plot plus the time of the text, they will suggest that both games and comics promote specific discourse activities over others as conditions of comprehension, whilst sharing formal structures that are utilised in each register to underwrite the disctinctions between them. Hence, it is as possible to choose to read the cells of comic in any order as it is to choose one course of actions over another in a game. Grennan and Hague will analyse the degrees of similarity and difference between these options in their particular contexts, relative to an experience of a plot, in order to problematise the relationship between discourse and plot at the heart of Chatman’s theory.en
dc.language.isoenen
dc.publisher9th ComFor Conference, Berlin.en
dc.rights.urihttp://creativecommons.org/licenses/by-nc-nd/4.0/*
dc.subjectplayen
dc.subjectnarrativeen
dc.subjectgamesen
dc.subjectcomicsen
dc.titlePlay as narration: ‘Composition No1’ and ‘Elder Scrolls V: Skyrim’ .en
dc.typePresentationen
dc.contributor.departmentUniversity of Chester, London College of Printingen
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