Research Article
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Worldbuilding Components and Transmedial Extensions of Computer Role-Playing Games

Year 2020, Volume: 23(1) Issue: 45, 273 - 295, 26.03.2020
https://doi.org/10.18691/kulturveiletisim.709869

Abstract

Video games borrow fictional worlds from other media or create their own unique worlds to
spread to a wider audience but how these virtual worlds are created or what kind of
components are used to build them are important questions that can be studied well with a
systematic analysis of their content. It is also important to note here that once a fictional world
is successful for one type of media, it usually expands through different media, which is defined
as media narrative convergence or transmedia storytelling. This study attempts to find out the
patterns and trends of worldbuilding methods in the fictional worlds of computer role-playing
games. Adopting a systematic content analysis approach, 10 most successful computer roleplaying
games are analyzed to identify their worldbuilding components and transmedial
extensions. The analysis of video games includes information about the game world (world
type, world map, distinct elements), points of interest and their corresponding map icons,
species found in the fictional world (player species, flora, fungi, creatures, sentient species),
information about culture (religion, language, government type, social organizations, the use
of magic or technology). In this regard, repeating patterns of worldbuilding in games are
presented and the framework that consists of three components (place, species, culture). The
effects of each fictional world on different media are also given.

References

  • Adams, Ernest (2014). Fundamentals of Game Design. San Francisco, CA: New Riders.
  • Baker, Neal (2016). “Secondary World Infrastructures and Tabletop Fantasy Role- Playing Games.” In Revisiting Imaginary Worlds: A Subcreation Studies Anthology. Mark J. P. Wolf (eds.). New York: Routledge. 113-125.
  • Baur, Wolfgang (2012). “What Is Setting Design.” In The KOBOLD Guide to Worldbuilding. Janna Silverstein. Kirkland: Open Design LLC. 8-12.
  • Brand, Jeffrey E., Scott Knight and Jakub Majewski (2003, November). “The Diverse Worlds of Computer Games: A Content Analysis of Spaces, Populations, Styles and Narratives.” In DiGRA Conference.
  • Bourdaa, Melanie (2014). “This is Not Marketing. This is HBO: Branding HBO with Transmedia Storytelling.” Networking Knowledge: Journal of The MeCCSA Postgraduate Network, 7(1): 18-25.
  • Castronova, Edward (2008). Synthetic Worlds: The Business and Culture of Online Games. London: University of Chicago Press.
  • DeMaria, Rusel and David Perry (2014). David Perry On Game Design: A Brainstorming Toolbox. Boston, MA: Cengage Learning.
  • Dena, Christy (2009). “Transmedia Practice: Theorising the Practice of Expressing a Fictional World Across Distinct Media and Environments.” Doctoral dissertation, University of Sydney.
  • Dietz, Tracy L. (1998). “An Examination of Violence and Gender Role Portrayals in Video Games: Implications for Gender Socialization and Aggressive Behavior.” Sex Roles, 38(5-6): 425-442.
  • Dowd, Tom (2015). Storytelling Across Worlds: Transmedia for Creatives and Producers. New York and London: Focal Press.
  • Ekman, Stefan (2013). Here Be Dragons: Exploring Fantasy Maps and Settings. Middletown, Connecticut: Wesleyan University Press.
  • Elkington, Trevor (2008). “Too Many Cooks: Media Convergence and Self-defeating Adaptations.” In The Video Game Theory Reader 2. New York: Routledge. 235- 258.
  • Fast, Karin and Henrik Örnebring (2017). “Transmedia World-Building: The Shadow (1931–present) and Transformers (1984–present).” International Journal of Cultural Studies, 20(6): 636-652.
  • Fullerton, Tracy (2018). Game Design Workshop: A Playcentric Approach to Creating Innovative Games. New York: Crc Press.
  • Gambarato, Renira Rampazzo (2013). “Transmedia Project Design: Theoretical and Analytical Considerations.” Baltic Screen Media Review, 1(1): 80-100.
  • Goodman, Nelson (1978). Ways of Worldmaking (Vol. 51). Indianapolis, Indiana: Hackett Publishing.
  • Greenwood, Ed (2001). Forgotten Realms: Dungeons & Dragons Campaign Setting. Renton, WA: Wizards of the Coast.
  • Gygax, Gary and Dan Cross (2004). Gary Gygax’s World Builder. Arkansan, USA: Troll Lord Games.
  • Huizinga, Johan (1949) Homo Ludens: A Study of The Play ElementIin Culture. 3rd edn. London: Routledge & Kegan Paul.
  • Jenkins, Henry (2003). “Transmedia Storytelling: Moving Characters from Books to Films to Video Games Can Make Them Stronger and More Compelling.” www.technologyreview.com. Access date: 20.08.2019.
  • Jenkins, Henry (2006). Convergence Culture: Where Old and New Media Collide. New York and London: NYU press.
  • Jenkins, Henry (2014). “The Reign of the ‘Mothership’: Transmedia’s Past, Present, And Possible Futures.” Wired TV: Laboring Over an Interactive Future. Denise Mann (eds.). London: Rutgers University Press. 244-268.
  • Johnson, Derek (2013). “A History of Transmedia Entertainment.” www.spreadablemedia.org. Access date: 02.09.2019.
  • Juul, Jesper (2003). “The Game, The Player, The World: Looking for A Heart of Gameness.” In Level Up: Digital Games Research Conference Proceedings. 4-6 November 2003.
  • Juul, Jesper (2011). Half-real: Video Games Between Real Rules and Fictional Worlds. London: MIT press.
Year 2020, Volume: 23(1) Issue: 45, 273 - 295, 26.03.2020
https://doi.org/10.18691/kulturveiletisim.709869

Abstract

References

  • Adams, Ernest (2014). Fundamentals of Game Design. San Francisco, CA: New Riders.
  • Baker, Neal (2016). “Secondary World Infrastructures and Tabletop Fantasy Role- Playing Games.” In Revisiting Imaginary Worlds: A Subcreation Studies Anthology. Mark J. P. Wolf (eds.). New York: Routledge. 113-125.
  • Baur, Wolfgang (2012). “What Is Setting Design.” In The KOBOLD Guide to Worldbuilding. Janna Silverstein. Kirkland: Open Design LLC. 8-12.
  • Brand, Jeffrey E., Scott Knight and Jakub Majewski (2003, November). “The Diverse Worlds of Computer Games: A Content Analysis of Spaces, Populations, Styles and Narratives.” In DiGRA Conference.
  • Bourdaa, Melanie (2014). “This is Not Marketing. This is HBO: Branding HBO with Transmedia Storytelling.” Networking Knowledge: Journal of The MeCCSA Postgraduate Network, 7(1): 18-25.
  • Castronova, Edward (2008). Synthetic Worlds: The Business and Culture of Online Games. London: University of Chicago Press.
  • DeMaria, Rusel and David Perry (2014). David Perry On Game Design: A Brainstorming Toolbox. Boston, MA: Cengage Learning.
  • Dena, Christy (2009). “Transmedia Practice: Theorising the Practice of Expressing a Fictional World Across Distinct Media and Environments.” Doctoral dissertation, University of Sydney.
  • Dietz, Tracy L. (1998). “An Examination of Violence and Gender Role Portrayals in Video Games: Implications for Gender Socialization and Aggressive Behavior.” Sex Roles, 38(5-6): 425-442.
  • Dowd, Tom (2015). Storytelling Across Worlds: Transmedia for Creatives and Producers. New York and London: Focal Press.
  • Ekman, Stefan (2013). Here Be Dragons: Exploring Fantasy Maps and Settings. Middletown, Connecticut: Wesleyan University Press.
  • Elkington, Trevor (2008). “Too Many Cooks: Media Convergence and Self-defeating Adaptations.” In The Video Game Theory Reader 2. New York: Routledge. 235- 258.
  • Fast, Karin and Henrik Örnebring (2017). “Transmedia World-Building: The Shadow (1931–present) and Transformers (1984–present).” International Journal of Cultural Studies, 20(6): 636-652.
  • Fullerton, Tracy (2018). Game Design Workshop: A Playcentric Approach to Creating Innovative Games. New York: Crc Press.
  • Gambarato, Renira Rampazzo (2013). “Transmedia Project Design: Theoretical and Analytical Considerations.” Baltic Screen Media Review, 1(1): 80-100.
  • Goodman, Nelson (1978). Ways of Worldmaking (Vol. 51). Indianapolis, Indiana: Hackett Publishing.
  • Greenwood, Ed (2001). Forgotten Realms: Dungeons & Dragons Campaign Setting. Renton, WA: Wizards of the Coast.
  • Gygax, Gary and Dan Cross (2004). Gary Gygax’s World Builder. Arkansan, USA: Troll Lord Games.
  • Huizinga, Johan (1949) Homo Ludens: A Study of The Play ElementIin Culture. 3rd edn. London: Routledge & Kegan Paul.
  • Jenkins, Henry (2003). “Transmedia Storytelling: Moving Characters from Books to Films to Video Games Can Make Them Stronger and More Compelling.” www.technologyreview.com. Access date: 20.08.2019.
  • Jenkins, Henry (2006). Convergence Culture: Where Old and New Media Collide. New York and London: NYU press.
  • Jenkins, Henry (2014). “The Reign of the ‘Mothership’: Transmedia’s Past, Present, And Possible Futures.” Wired TV: Laboring Over an Interactive Future. Denise Mann (eds.). London: Rutgers University Press. 244-268.
  • Johnson, Derek (2013). “A History of Transmedia Entertainment.” www.spreadablemedia.org. Access date: 02.09.2019.
  • Juul, Jesper (2003). “The Game, The Player, The World: Looking for A Heart of Gameness.” In Level Up: Digital Games Research Conference Proceedings. 4-6 November 2003.
  • Juul, Jesper (2011). Half-real: Video Games Between Real Rules and Fictional Worlds. London: MIT press.
There are 25 citations in total.

Details

Primary Language English
Subjects Communication and Media Studies, Cultural Studies
Journal Section Research Article
Authors

Barbaros Bostan This is me 0000-0002-5572-8766

Başak Tinli This is me 0000-0001-9320-9169

Güven Çatak This is me 0000-0002-4679-8973

Publication Date March 26, 2020
Published in Issue Year 2020 Volume: 23(1) Issue: 45

Cite

APA Bostan, B., Tinli, B., & Çatak, G. (2020). Worldbuilding Components and Transmedial Extensions of Computer Role-Playing Games. Kültür Ve İletişim, 23(1)(45), 273-295. https://doi.org/10.18691/kulturveiletisim.709869