Gerald Farca

Gerald Farca
Macromedia University · Games (Faculty of Business

Professor for Game Design (Game Studies / Narrative Design); Dr. Phil in English Literature / Game Studies
Macromedia University, Munich

About

54
Publications
16,906
Reads
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67
Citations
Citations since 2017
41 Research Items
65 Citations
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Introduction
I am a professor for Game Design at the Macromedia University in Munich (with a focus on game studies and narrative design) Before starting this position, I obtained a PhD (Dr. Phil) in English Literature and Game Studies at Augsburg University (Germany) in 2018, and spend some time abroad as a visiting researcher and lecturer at the Center for Computer Games Research of the IT University in Copenhagen in 2016 and the CESAG in Palma in 2018.
Additional affiliations
October 2018 - present
Vitruvius Hochschule, Leipzig
Position
  • Lecturer
Description
  • Lecturer for Game Studies and Narrative http://www.vitruvius-hochschule.de/
August 2018 - September 2018
Centre d'Ensenyament Superior Alberta Giménez
Position
  • Lecturer
January 2018 - present
Universität Augsburg
Position
  • Research Member
Description
  • https://www.philhist.uni-augsburg.de/en/lehrstuehle/anglistik/amerikanistik/forschung1/culturalecology/
Education
October 2012 - March 2017
Universität Augsburg
Field of study
  • Ph. D. candidate in game studies / literary theory
October 2004 - December 2011
Universität Augsburg
Field of study
  • English / Spanish Language Arts Teacher Education; English / Spanish Literature and Philosophy

Publications

Publications (54)
Conference Paper
Full-text available
Elevating video games to the same aesthetic level as other forms of representational art, this paper explores humankind's inherent drive towards aesthetic beauty and the creation of meaning. To analyse this specific type of player, slumbering in all of us, I propose the emancipated player. The emancipated player represents an open-minded and critic...
Conference Paper
Full-text available
As an instance of the critical dystopia, The Last of Us lets the player enact a post-apocalyptic story in which human society has been severely decimated by the Cordyceps infection and where nature has made an astonishing return. This paper examines the ecological rhetoric of The Last of Us by laying emphasis on the empirical player's emancipated i...
Conference Paper
Full-text available
As a nature parable, THE LEGEND OF ZELDA: BREATH OF THE WILD involves players in a dreamlike gameworld in which their unconscious desires for an ecological sustainable Utopia and a romantic imagery of nature are evoked, exposed to distress, and eventually saturated. By sending players on the journey of a hero to restore order in a polluted but maje...
Book
Full-text available
Video games permeate our everyday existence. They immerse players in fascinating gameworlds and exciting experiences, often inviting them in various ways to reflect on the enacted events. Gerald Farca explores the genre of dystopian video games and the player's aesthetic response to their nightmarish gameworlds. Players, he argues, will gradually c...
Book
Full-text available
Imagine a world full of wonders, where Earth has ceased to exist and where humankind now fully lives in cyberspace, trapped in rectangular-shaped boxed called the cubicles. In these containers all their pleasures are fulfilled, as they promise a life of ecstasy and lust, tranquillity and peace, or anything you could ever hope for. But the extent o...
Chapter
Full-text available
Dystopian games are a dominant sub-genre in video game fiction. They take place in nightmarish futures and dark gameworlds, which can be considered as worse than their developers’ empirical surroundings, and stretch across science fiction genres such as classical utopias and dystopias, cyberpunk, steampunk, the posthuman, alternate histories, and t...
Chapter
Full-text available
The Fallout games have always thematized humankind’s inability to evolve past vital shortcomings in their nature and the never-ending strife for power and dominance. As science fiction dystopias, they involve players in desolate wastelands in which nuclear fallout has given way to unfamiliar and hostile ecosystems, where ideologies aim to realize t...
Chapter
Full-text available
What are games? What do they consist of? What are they in relation to similar phenomena?" 1 Video game studies have often focused on describing what it means to be a game and what aspects make games different from non-ergodic forms of representational art. This perspective is beneficial, as it sheds light on the ontological dimension of the medium,...
Chapter
Full-text available
Media narratives inform our ideas of the future - and Games are currently making a significant contribution to this medial reservoir. On the one hand, Games demonstrate a particular propensity for fantastic and futuristic scenarios. On the other hand, they often serve as an experimental field for the latest media technologies. However, while dystop...
Presentation
Full-text available
This article aims to underline video games’ aesthetic potential as art: as for-ward-looking, subversive commentaries on our contemporary world that meticulously unveil societal wrongs through play and introduce players to different cultures and ways of living. Specifically, I will focus on how digital games negotiate the concept of Utopia and invol...
Presentation
Full-text available
Hypotheses Regenerative play includes any form of interaction with the game, its world and characters that confronts players (explicitly or implicitly) with ecological thematics in a more or less critical manner. These experiences trigger both affective and aesthetic responses in them, which have them view the natural-cultural relations from a di...
Presentation
Full-text available
Mass Effect: Andromeda as critical utopia / on the panel "Regenerative Play in Utopia"
Presentation
Full-text available
The talk focuses on describing how the utopian impulse manifests itself in both the game industry and design as well as video games--specifically the genres of the video game utopia and dystopia (and their sub-genres). It will illuminate the diversity of these genres in the negotiation of hope and scrutinise how utopian and dystopian games involv...
Chapter
Video games permeate our everyday existence. They immerse players in fascinating gameworlds and exciting experiences, often inviting them in various ways to reflect on the enacted events. Gerald Farca explores the genre of dystopian video games and the player's aesthetic response to their nightmarish gameworlds. Players, he argues, will gradually c...
Chapter
Video games permeate our everyday existence. They immerse players in fascinating gameworlds and exciting experiences, often inviting them in various ways to reflect on the enacted events. Gerald Farca explores the genre of dystopian video games and the player's aesthetic response to their nightmarish gameworlds. Players, he argues, will gradually c...
Chapter
Video games permeate our everyday existence. They immerse players in fascinating gameworlds and exciting experiences, often inviting them in various ways to reflect on the enacted events. Gerald Farca explores the genre of dystopian video games and the player's aesthetic response to their nightmarish gameworlds. Players, he argues, will gradually c...
Chapter
Video games permeate our everyday existence. They immerse players in fascinating gameworlds and exciting experiences, often inviting them in various ways to reflect on the enacted events. Gerald Farca explores the genre of dystopian video games and the player's aesthetic response to their nightmarish gameworlds. Players, he argues, will gradually c...
Chapter
Video games permeate our everyday existence. They immerse players in fascinating gameworlds and exciting experiences, often inviting them in various ways to reflect on the enacted events. Gerald Farca explores the genre of dystopian video games and the player's aesthetic response to their nightmarish gameworlds. Players, he argues, will gradually c...
Chapter
Video games permeate our everyday existence. They immerse players in fascinating gameworlds and exciting experiences, often inviting them in various ways to reflect on the enacted events. Gerald Farca explores the genre of dystopian video games and the player's aesthetic response to their nightmarish gameworlds. Players, he argues, will gradually c...
Chapter
Video games permeate our everyday existence. They immerse players in fascinating gameworlds and exciting experiences, often inviting them in various ways to reflect on the enacted events. Gerald Farca explores the genre of dystopian video games and the player's aesthetic response to their nightmarish gameworlds. Players, he argues, will gradually c...
Chapter
Video games permeate our everyday existence. They immerse players in fascinating gameworlds and exciting experiences, often inviting them in various ways to reflect on the enacted events. Gerald Farca explores the genre of dystopian video games and the player's aesthetic response to their nightmarish gameworlds. Players, he argues, will gradually c...
Chapter
Video games permeate our everyday existence. They immerse players in fascinating gameworlds and exciting experiences, often inviting them in various ways to reflect on the enacted events. Gerald Farca explores the genre of dystopian video games and the player's aesthetic response to their nightmarish gameworlds. Players, he argues, will gradually c...
Chapter
Video games permeate our everyday existence. They immerse players in fascinating gameworlds and exciting experiences, often inviting them in various ways to reflect on the enacted events. Gerald Farca explores the genre of dystopian video games and the player's aesthetic response to their nightmarish gameworlds. Players, he argues, will gradually c...
Chapter
Video games permeate our everyday existence. They immerse players in fascinating gameworlds and exciting experiences, often inviting them in various ways to reflect on the enacted events. Gerald Farca explores the genre of dystopian video games and the player's aesthetic response to their nightmarish gameworlds. Players, he argues, will gradually c...
Chapter
Video games permeate our everyday existence. They immerse players in fascinating gameworlds and exciting experiences, often inviting them in various ways to reflect on the enacted events. Gerald Farca explores the genre of dystopian video games and the player's aesthetic response to their nightmarish gameworlds. Players, he argues, will gradually c...
Chapter
Video games permeate our everyday existence. They immerse players in fascinating gameworlds and exciting experiences, often inviting them in various ways to reflect on the enacted events. Gerald Farca explores the genre of dystopian video games and the player's aesthetic response to their nightmarish gameworlds. Players, he argues, will gradually c...
Chapter
Video games permeate our everyday existence. They immerse players in fascinating gameworlds and exciting experiences, often inviting them in various ways to reflect on the enacted events. Gerald Farca explores the genre of dystopian video games and the player's aesthetic response to their nightmarish gameworlds. Players, he argues, will gradually c...
Presentation
Full-text available
Video game dystopias function as wish-fulfilments and hallucinatory visions in desperate times. They are triggered by trends hidden within the game designers’ empirical present and are fuelled by the fear of losing something of value—that is to say, the future itself. They therefore may be described as vicious nightmares, as anxiety dreams in the F...
Presentation
Full-text available
As a nature parable, THE LEGEND OF ZELDA: BREATH OF THE WILD involves players in a dreamlike gameworld in which their unconscious desires for an ecological sustainable Utopia and a romantic imagery of nature are evoked, exposed to distress, and eventually saturated. By sending players on the journey of a hero to restore order in a polluted but maje...
Presentation
Full-text available
Presentation
Full-text available
Video game dystopias function as wish-fulfilments and hallucinatory visions in desperate times. They are triggered by trends hidden within the game designers’ empirical present and are fuelled by the fear of losing something of value—that is to say, the future itself. They therefore may be described as vicious nightmares, as anxiety dreams in the F...
Presentation
Full-text available
As a nature parable, THE LEGEND OF ZELDA: BREATH OF THE WILD involves players in a dreamlike gameworld in which their unconscious desires for an ecological sustainable Utopia and a romantic imagery of nature are evoked, exposed to distress, and eventually saturated. By sending players on the journey of a hero to restore order in a polluted but maje...
Presentation
Full-text available
Presentation
Full-text available
Presenting a typology of the video game dystopia and its sub-genres
Presentation
Full-text available
Elevating video games to the same aesthetic level as other forms of representational art, this paper explores humankind’s inherent drive towards aesthetic beauty and the creation of meaning. To analyse this specific type of player, slumbering in all of us, I propose the emancipated player. The emancipated player represents an open-minded and critic...
Presentation
Full-text available
As an instance of the critical dystopia, The Last of Us lets the player enact a post-apocalyptic story in which human society has been severely decimated by the Cordyceps infection and where nature has made an astonishing return. This paper examines the ecological rhetoric of The Last of Us by laying emphasis on the empirical player’s emancipated i...
Presentation
Full-text available
Presentation
Full-text available
Presentation
Full-text available
In the recent past, the literary genre of dystopia has flourished in video games. Games like Bioshock Infinite, The Stanley Parable, or Watch_Dogs try to warn their players of a possible nightmarish future. After a short introduction to the concept of utopia and dystopia, the talk will focus on dystopia’s main theme – its warning – and how this can...
Article
Full-text available
In an attempt to evolve the video game medium on an aesthetic level, Telltale’s post-apocalyptic vision in The Walking Dead steps away from competitive combat and lays strong emphasis on meaningful narrative choices.
Thesis
Full-text available
In the following, my focus will be to analyse narratives in video games and how the medium is able to spin a yarn. As a new medium, video games, depending on a game’s genre and by including narrative delivery into their design, are certainly able to convey stories to the players. They do so by means of own specific methods, some similar to traditio...

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Projects

Projects (2)
Project
The “EAG: Regenerative Play” research program sets out to scrutinize a form of play that is regenerative in various ways and aims to resensitise the player of video game narratives to the beauty of the natural world, the benefits of a balance between ecosystems, and forms of sustainability. This occurs through aesthetic experiences in the gameworld, where the player may find or actualize participatory spaces (utopian enclaves) with the potential of establishing a counter-discourse to negative tendencies of the empirical world through play. This includes the players’ experience of the (natural-cultural) environment, the interaction with characters or animals, or player actions such as the creative use of items, moral/ethical choices concerning the human and non-human, as well as the establishments of a society as a whole, etc.). To explain this regenerative effect of play, the program builds on the results of Farca’s 2017 dissertation—“Playing Dystopia: Nightmarish Worlds in Video Games and the Player’s Aesthetic Response”—and Lehner’s research into self-reflexive video games intertwined with ecological issues. It aims to further illuminate the player’s experience of meaning in the gameworld by laying emphasis on the tripartite dialectic between (eco)game, player, and culture (world). The act of play is as such regarded from a phenomenological point of view, where the player composes creative connections between the gameworld and her/his empirical surroundings. The research endeavor follows a theoretical approach and situates itself in a transdisciplinary environment by relating the research fields of cultural ecology/ecocriticism, utopian/dystopian studies, theories of fiction/narratology/aesthetic response to game studies and game culture in general. Of particular concern will thus be the structural organizing of the above-mentioned participatory spaces (their perspectival structures, interrelations, and arising blanks) and how a counter-discourse to negative tendencies of the contemporary present is initiated through play—and in the interplay of the fictive, the imaginary, and the real.