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Lost in La Mancha (2002). Les réalisateurs Terry Gilliam (1, 2, 3), Keith Fulton et Louis Pepe (4) 

Lost in La Mancha (2002). Les réalisateurs Terry Gilliam (1, 2, 3), Keith Fulton et Louis Pepe (4) 

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Citations

... La estrategia del abismo ya ha sido reconocida como habitual en el videojuego por varios autores y desde diversos niveles dentro del gameplay. Allain (2013) reconoce que el abismo no solo se percibe en el enunciado sino también en la enunciación y lo reconoce en las múltiples estrategias de significado dentro de los serious games. Seiwald (2019) identifica el abismo en los juegos que encierran minijuegos y reflejan con sus mecánicas la mecánica principal, así como doblan la figura del jugador que juega con un personaje que juega a su vez en otro juego. ...
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Firewatch (Campo Santo, 2016) es un videojuego con apariencia de aventura y misterio que pertenece al género denominado walking simulator. En estos videojuegos, el jugador explora un amplio espacio caminando, manipulando objetos y, en ocasiones, resolviendo acertijos simples. El entorno espacial, la estética y la música construyen una experiencia lúdica centrada en la experiencia emocional de los personajes dentro del desarrollo de una historia. Firewatch sigue las convenciones de este género y utiliza varias tramas cuyo objetivo no es componer un mosaico narrativo de personajes e historias, sino explicar, reforzar y clarificar la historia principal, la relación de Henry, el protagonista, con su esposa. El objetivo de este trabajo es explorar el funcionamiento de los niveles narrativo y lúdico de Firewatch aplicando una metodología analítica basada en la narrativa especular, ampliamente estudiada en la literatura por Mieke Bal, Genette y especialmente Lucien Dällenbach, la mise en abyme. El diseño del juego persigue más que componer una trama convencional, construir la representación jugable del mapa mental y emocional del personaje.Firewatch (Campo Santo 2016) is a video game with an adventure and mystery appearance that belongs to the walking simulator genre. In these video games, the player explores a wide space by walking, manipulating objects and sometimes solving simple puzzles. The spatial environment, aesthetics and music build a playful experience focused on the emotional experience of the characters within the development of a story. Firewatch follows the conventions of this genre and uses several plots whose objective is not to compose a narrative mosaic of characters and stories, but to explain, reinforce and clarify the main story, the relationship of Henry, the protagonist, with his wife. The objective of this paper is to explore the functioning of the narrative and playful levels of Firewatch by applying an analytical methodology based on specular narrative, widely studied in the literature by Mieke Bal, Genette and especially Lucien Dällenbach, the mise en abyme. The design of the game pursues more than composing a conventional plot, building the playable representation of the mental and emotional map of the character. Keywords.
... Que l'expérience se rapporte à T1 ou T2, la projection d'un corps in situ provoque inévitablement une mise en abyme (Allain, 2013). En l'occurrence, chaque type de mise en abyme induit la manière dont le point de vue se déplace et entremêle les niveaux narratifs jusqu'à créer un trouble (Allain, 2018). Une des mises en abyme dans La Modification concerne le livre qu'a acheté le personnage avant son départ, un livre qu'il n'ouvrira pas, mais sur lequel il spéculera : tantôt il se dit qu'il aurait dû le lire pour se distraire et chasser les pensées qui ont modifié sa décision ; tantôt il se dit que l'histoire qu'il renferme est certainement en « conformité » avec sa propre situation et que sa lecture n'aurait fait que précipiter la conclusion. ...
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Is the embodiment of a character the prerogative of virtual reality or the legacy of pre-electronic experimentation? The answer may come from Michel Butor, theorist and novelist, who has enclosed in 1957 in a novel multiple literary processes that illuminate today issues related to virtual reality. Our research first adopts a phenomenological approach to propose a typology of experiences about spatiality and corporeality. This typology is then confronted with the narrative strategy deployed in the novel La Modification. By combining communication sciences, narratology and literary studies, this research highlights as many processes for designing embodiment experiences with a virtual reality system as much as ways to subvert it.
... Que l'expérience se rapporte à T1 ou T2, la projection d'un corps in situ provoque inévitablement une mise en abyme (Allain, 2013). En l'occurrence, chaque type de mise en abyme induit la manière dont le point de vue se déplace et entremêle les niveaux narratifs jusqu'à créer un trouble (Allain, 2018). Une des mises en abyme dans La Modification concerne le livre qu'a acheté le personnage avant son départ, un livre qu'il n'ouvrira pas, mais sur lequel il spéculera : tantôt il se dit qu'il aurait dû le lire pour se distraire et chasser les pensées qui ont modifié sa décision ; tantôt il se dit que l'histoire qu'il renferme est certainement en « conformité » avec sa propre situation et que sa lecture n'aurait fait que précipiter la conclusion. ...
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La possibilité d'incarner un personnage serait-elle l'apanage de la réalité virtuelle ou l'héritage d'expérimentations pré-électroniques ? La réponse tient peut-être à Michel Butor, théoricien et romancier, qui a enfermé en 1957 en un roman de multiples procédés littéraires qui éclairent des problématiques soulevées aujourd'hui par la réalité virtuelle. Aborder ce questionnement passe tout d'abord par une approche phénoménologique pour proposer une typologie d'expériences, basée sur la spatialité et la corporéité. Cette typologie est ensuite confrontée à la stratégie narrative jadis déployée tout au long du roman La Modification. En alliant sciences de la communication, narratologie et études littéraires, cette recherche met en lumière autant de procédés pour concevoir des expériences « faire-corps » avec un système de réalité virtuelle que de manières de le subvertir. –––English––– Is the embodiment of a character the prerogative of virtual reality or the legacy of pre-electronic experimentation? The answer may come from Michel Butor, theorist and novelist, who has enclosed in 1957 in a novel multiple literary processes that illuminate today issues related to virtual reality. Our research first adopts a phenomenological approach to propose a typology of experiences about spatiality and corporeality. This typology is then confronted with the narrative strategy deployed in the novel La Modification. By combining communication sciences, narratology and literary studies, this research highlights as many processes for designing embodiment experiences with a virtual reality system as much as ways to subvert it.
... They all become spectators. Thanks to such traces, the designer can consider detecting functional anomalies or adapting the sequence to the users' results; researchers can consider correlating the visual anthropology approach with metric data in order to qualify practices (Allain, 2013b); training professionals or teachers can consider the preparation of training presentations based on a predictive assessment carried out via serious games or measuring the knowledge retained following the training session using this means (summative assessment); finally, human resources managers may consider using the traces in order to identify the users' profile and competences required to complete human resources tools or recruitment tools. Lastly, one final spectator should be mentioned, as although the user's interactions can be communicated to a third party, they can also be used as feedback information. ...
... Two strategies can then be adopted. The first considers that the actions carried out by the character-user are the user's total reflection and that they can therefore be inferred in this mannerthis is the principle of enunciative mise en abyme (Allain, 2013a). However, as total reflexion is a fantasy where communication theories are concerned, this strategy requires knowledge of the deformations introduced by the set-up between the user and his partial reflection within the game, which represents a major challenge. ...
... However, as total reflexion is a fantasy where communication theories are concerned, this strategy requires knowledge of the deformations introduced by the set-up between the user and his partial reflection within the game, which represents a major challenge. The second strategy, initiated with MISIVIAS project, considers that it is not only the actions in the game that should be interpreted, but also their doubling with the users via the principle of an acted mise en abyme (Allain, 2013a). Concretely, assessing the managerial skills of a user-filmed will involve not only assessing the actions performed by the manager character with his virtual team, but also the managerial relationship that the user has with this character and the intentions that govern it. ...
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This article refers to the historical and socio-cultural development that has accompanied the modernity of documentary cinema in order to highlight the multiple ways for the serious games to convey the real in a learning experience. After specifying the semio-pragmatic approach that makes it possible to connect the two fields, a conceptual model is proposed that describes the interactions of serious games actants in relation to the chain of actants in the documentary. These transpositions will clarify a current trend where serious games are wanting to give learners a direct and transparent access to the real. Thus, the interest of this research comes from underlining the resurgence of well-known communicational issues, in order to adapt and open up them to new perspectives. In doing so, values and models from the documentary approach would promote a reflexive way to interact rather than a referential one, and a focus on human rather than technology.
... One answer is partly contained in our previous work (Allain & Szilas, 2012;Allain, 2013aAllain, , 2013b. Instead the characters are played by the user, we have experienced a distancing between them. ...
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In a context of ever-changing training, computerization of nursing homes can open the range of training solutions by the use of virtual, playful and interactive role playing. While this method is already used in other industries, the objective of our study is to explore the perception of health and social sector professionals by confronting them to the first serious game designed to enhance health and social care for elderly dependent people. An experiment was developed with 117 players of 8 nursing homes belonging to the same group. Each user has played 3 situations during approx. 1 hour.and were asked to fill in a self-administered questionnaire. First results of our quantitative analysis underline in particular the ease of handling, the link between game and daily practice, the interest and the potential of these different elements for learning. These results are generally very encouraging, especially since the sample covers a large age scale. The scenarii are particularly valued for their realism and if one of them is reported to be disturbing, it is also the one which is said to be the most interesting. This conjunction is in line with theories of cognitive conflict which highlight the acceptance of self-questioning. The quantitative analysis is enriched by qualitative feedbacks through open-ended questions: they allow the explanation of the positive trend as well as the limits’ identification. This ‘in vivo’ experiment close to real-life conditions helps to consider multiple uses for the serious game together with current training arrangements.