Medium, knowledge, structure: capacities for choice and the contradiction of medium-specificity in games and comics.
dc.contributor.author | Grennan, Simon | * |
dc.contributor.author | Hague, Ian | * |
dc.date.accessioned | 2018-06-08T08:52:47Z | |
dc.date.available | 2018-06-08T08:52:47Z | |
dc.date.issued | 2018-03-21 | |
dc.identifier.citation | Grennan, S. & Hague, I. (2018). Medium, knowledge, structure: capacities for choice and the contradiction of medium-specificity in games and comics. Image & Narrative, 19(1), 74–86. Retrieved from https://www.imageandnarrative.be/index.php/imagenarrative/article/view/1765 | |
dc.identifier.issn | 1780-678X | |
dc.identifier.uri | http://hdl.handle.net/10034/621176 | |
dc.description.abstract | Chris Ware’s Building Stories (2012) is a box containing fourteen items that can be read in any order, and for this reason it appears to offer its readers a great deal of choice over the narrative structure of the work. This paper contrasts Building Stories with the video games Fallout: New Vegas and The Elder Scrolls V: Skyrim to demonstrate that that although Building Stories does offer choices, these choices are not ultimately meaningful because while the reader can decide the order of presentation, they cannot decide the order of events as they can in the games, and in other examples such as Marc Saporta’s novel Composition No.1. The article draws upon the work of Seymour Chatman, Gonzalo Fresca and Espen Aarseth in analysing narratives in games and texts, and concludes by considering the implications of choice in narrative. | |
dc.language.iso | en | en |
dc.publisher | Katholieke Universiteit Leuven | |
dc.relation.url | http://www.imageandnarrative.be/index.php/imagenarrative/article/view/1765 | |
dc.rights.uri | https://creativecommons.org/licenses/by-nc-nd/4.0/ | |
dc.subject | comics | |
dc.subject | games | |
dc.subject | narrative | |
dc.title | Medium, knowledge, structure: capacities for choice and the contradiction of medium-specificity in games and comics. | |
dc.type | Article | |
dc.contributor.department | University of Chester; London College of Communication | en |
dc.identifier.journal | Image [&] Narrative | |
dc.date.accepted | 2018-02-01 | |
or.grant.openaccess | Yes | en |
rioxxterms.funder | unfunded | en |
rioxxterms.identifier.project | unfunded | en |
rioxxterms.version | AM | en |
rioxxterms.licenseref.startdate | 2018-03-21 | |
html.description.abstract | Chris Ware’s Building Stories (2012) is a box containing fourteen items that can be read in any order, and for this reason it appears to offer its readers a great deal of choice over the narrative structure of the work. This paper contrasts Building Stories with the video games Fallout: New Vegas and The Elder Scrolls V: Skyrim to demonstrate that that although Building Stories does offer choices, these choices are not ultimately meaningful because while the reader can decide the order of presentation, they cannot decide the order of events as they can in the games, and in other examples such as Marc Saporta’s novel Composition No.1. The article draws upon the work of Seymour Chatman, Gonzalo Fresca and Espen Aarseth in analysing narratives in games and texts, and concludes by considering the implications of choice in narrative. |