1/11/2024 0 Comments Games like ryzomI have found that even my favorite games of all time could do with some tweaking, which is not the fault of the developer. The theoretical framework is derived from game studies, adaptation studies, intertextuality and narrative theory, and political economy.There isn't a game in existence that will perfectly match every type of player. The research looks at the text and its production, drawing on empirical data from game-playing, interviews with producers and the analysis of design and production documents. This study looks at the ways in which these were translated, continued and modified in Muddle Earth. Adapting into a new medium includes some level of remediation, but also entails the use of new devices and conventions, which offer different kinds of pleasures. Game adaptations are also required to meet the expectations of game players. The research investigates both, and makes use of narrative concepts and models to assess brand consistency at the more complex level of content. Furthermore, it can be found at different levels, from surface form (visual elements, game assets), to deeper content (tone, style and effect). Brand consistency, however, is a fluid concept with floating meanings, often only defined in operation when producers provide feedback in processes of revision leading to the approval of new content. In order to provide seamless cross-media experiences, game adaptations are required to live up to the expectations set up by their source materials – brand consistency becomes an essential target for production. At a time when cross-media strategies have become an established part of the children’s media landscape, staying ‘on brand’ across different media is an essential factor to maximise audience benefits. It is a study of game production in the context of cross-media strategies, and follows the adaptation journey of the Muddle Earth IP from a book, into a TV series, and finally into a game. This thesis is based on an empirical study of the BBC’s Muddle Earth multiplayer online game. Based on these results, we propose that to reverse this relationship and claim that game environments foster collaboration or aggression in general first assumes strong theoretical claims about the nature of cognition and learning, and second, risks confusing the debate with hyperbole. As expected, the results point to “aggression” as well as “collaboration” as major components in the gaming experience, but our analysis also suggests that the practices associated with these notions are locally tied to the game. On the basis of our empirical analysis we then address the contentious links between concrete instances of play and generic effects. By focusing on proficient gamers involved in the core game activity of boss encounters in a massively multiplayer online game, we examine the fundamentals that must be learnt and mastered for succeeding in an ordinary collaborative gaming practice where aggression is portrayed. With an approach informed by ethnomethodology, in this paper we probe the underlying logic connected to studies that argue for such general effects of games. While the agendas differ, the basic arguments still depart from a shared logic: that engagement in game-related activities fosters the development of behaviors that are transferred to situations beyond the game itself. As one side picks up on negative elements found in games the other side focuses on positive aspects. In the discussion on what players learn from digital games, there are two major camps in clear opposition to each other.
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