May 2022
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8 Reads
Narrative
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May 2022
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8 Reads
Narrative
May 2022
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19 Reads
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1 Citation
Narrative
May 2022
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15 Reads
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2 Citations
Narrative
April 2021
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117 Reads
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12 Citations
Transactions of the Digital Games Research Association
The present article looks at the Mobile Suit Gundam franchise and the role of digital games from the conceptual framework of transmedia storytelling and its relation to the ludo mix. We offer a historical account of the role of digital games in the development of “the Mobile Suit Gundam” series from a portfolio perspective, and show how a combination of various types of game genres, or otherwise ‘ludo mix’, played a role in enhancing the franchise’s convergent and divergent strategies, which contributed to the success of the series. Our case can show some insight into the importance of adopting a macro-level portfolio approach when considering specific game design choices in the overall ludo mix within the franchise.
March 2021
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149 Reads
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17 Citations
This chapter examines a corpus of fan fiction inspired by the transmedial world of Hakuoki, in its origin a popular Otome game that has spun many other products such as anime, manga and merchandise. The analysis shows how the fan fiction texts rework the mythos, topos and ethos of Hakuoki, contributing to a sense of worldness (Klastrup and Tosca 2004). The setting of the game is the end of the Edo period, which becomes a romanticized stage that the Western fans can use as a background, drawing on a set of Japanese cultural tropes that get brandished as props for authenticity. Finally, the topic of transcultural exploration is discussed against the backdrop of other Japanese popular culture Shinsengumi appropriations.
October 2020
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32 Reads
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4 Citations
Qualitative Inquiry
On the basis of the author’s participation in the “Massive and Microscopic Sensemaking” autoethnographic experiment, this article suggests that researchers can use videogame rhetoric as a heuristic to think through the timelessness of the pandemic lockdown. The author used her autoethnographic field notes as background material to write a series of short fictional videogame narratives, in the methodological tradition of layered ethnographic accounts.
October 2020
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26 Reads
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1 Citation
September 2019
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41 Reads
September 2019
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323 Reads
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17 Citations
September 2019
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9 Reads
... This pixel art tool is specifically designed to create animations and sprites, allowing for the portrayal of historical themes with artistic clarity (see Figure 5). Pixel art not only invokes the nostalgia of classic games but also serves as a visually simplistic yet effective medium to convey complex historical narratives, ensuring that the educational content is accessible and engaging to learners (Messaris and Humphreys, 2007;Squire, Gee and Jenkins, 2011;Egenfeldt-Nielsen, Smith and Tosca, 2016). ...
March 2009
... Steinberg's studies indicate that a particular convergence model in Japan plays a pivotal role in transmedia storytelling, although he often approaches the subject from a commercial marketing and commodity semiotics perspective. Nakamura's analysis [7,8] reveals that the convergence strategy (transmedia storytelling) and divergence strategy (media mix) employed in series such as Gundam can complement each other. They might not represent opposing media strategies but could be interdependent designs. ...
April 2021
Transactions of the Digital Games Research Association
... Following further development of computer technology, Bergeron later updated this definition in 2006 to describe the SG as an "interactive computer application, with or without significant hardware component, that has a challenging goal, is fun to play and engaging, incorporates some scoring mechanism, and supplies the user with skills, knowledge, or attitudes useful in reality." SG-based learning experiences are beginning to gain relevance thanks to the growth of the video game industry in recent years (Egenfeldt-Nielsen et al., 2019). ...
December 2015
... As a result, groups travel all over the country to learn about the history and culture of the places where their favorite stories occur (Sugawa-Shimada 2015) (Lopez 2019). With its success in the market, Hakuouki was adapted into an anime ( Figure 6) and exported to various countries, receiving translations, and showcasing Japan's culture and history to the world (Sugawa-Shimada 2015) ( In summary, Hakuouki is part of a later generation of Japanese pop cultural products that no longer use the Mukokuseki strategy, especially for Western consumers, attracting legions of fans outside Japan to these transcultural flows, promoting consumption and appropriations of these Japanese historical and cultural narratives (Tosca 2021). Therefore, it can be concluded that Hakuouki and other more recent and English-language marketed Japanese Otome Games have a Japanese cultural odor (Iwabuchi 2002), with Japaneseness being a strong element of interest for foreign fans (Ganzon 2022). ...
March 2021
... Education provided "through problem-based and experiential learning via the game's procedures" is known as procedural rhetoric [34]. And if the serious game's procedures are defined through a work of interactive fiction, then that interactive fiction serious game can "provide a context for embodied action and choices" [35] and allow the player to "approach a subject in an active way and construct their own representations" [36] to enable and expedite their learning. Although many definitions of interactive fiction exist, a good one is a "textbased branching narrative that takes input from a user, either through a parsing prompt where users type actions for their character to perform or through hypertext links users click to select an action or choice" [14]. ...
April 2013
... My knowing is rooted in the sociopolitical context of coronavirus, the unprecedented situation of a global pandemic, the relatively relaxed conditions of Sweden, and the privileged position of permanent employment as a professor at Malmö University. Like several other authors in this special issue, my reflections touch upon academic motherhood (Bolander & Smith, 2020;Lee, 2020Sarkar, 2020Torres, 2020;Tosca, 2020) at the crossroads of normativity governing academic work and being a mother to three children (Tsouroufli, 2020). As with many other parents, the constant online presence enforced by coronavirus responses made it difficult to compartmentalize work and home (CohenMiller, 2020). ...
October 2020
Qualitative Inquiry
... Aktiviteter og forløb I laboratoriet skulle deltagerne fremstille multimodale tekster -noget de kender fra deres eksisterende danskundervisning -men som noget nyt skulle teksterne indeholde lyd og lys via Chibitronics og micro:bits. Tekstproduktionen havde fokus på aestetik som erkendelsesform, frem for aestetik som skønhed, i en kombination af aestetiske, analytiske, håndvaerksmaessige og kommunikative virksomhedsformer Ejsing-Duun & Tosca, 2017). ...
January 2017
... 3 We also have the concept of superwork, developed in library and information science to describe these types of entities , Lee et al. 2018, Zevio, Mihara, & Sugimoto, 2018. And there are, of course, a range of further concepts and frameworks, which all try to somehow capture this supra-work level to which individual works are related in one way or another, such as, for example, the concept of transmedial worlds by Tosca and Klastrup (2019). In the following we will be using the term franchise to refer to this supra-work level, not as a way to disregard the complexity of the entity being tackled here, but rather as a shorthand for these and further potential interpretations without taking a more explicit position on this question for our present discussion. ...
September 2019
... Teachers need to be convinced about the usefulness of using video games in class, and they need to understand how they can evaluate the knowledge acquired [7]. While some remain skeptical, most agree that serious games have great potential for learning [8,9]. ...
September 2019
... Tosca y Klastrup centraron su atención en la relación entre distintos medios que comparten el mismo universo a partir de tres categorías que conforman la experiencia transmedia de cualquier franquicia: la mundanidad (mythos: antecedentes narrativos o contextos previos; topos: escenografía y elenco; y ethos: idiosincrasia del mundo narrativo), la plataforma y los usuarios (Klastrup y Tosca, 2013;Tosca y Klastrup, 2019). Por tanto, si se atiende a estas tres categorías, se encontraría, en primer término, la mundanidad o el mundo, nombrado así por Fernández Ruiz y García Reyes (2021), que se vincula con la presentación de antecedentes narrativos en los diferentes números de Blacksad y en sus medios transmediales, es decir, tanto el juego de rol como en el videojuego, espacios y personajes, y el carácter ideológico-moral de la sociedad del universo ficcional. ...
October 2018