Araştırma Makalesi
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Scenario's Effect on the Success of 2D Puzzle Platformers

Yıl 2022, , 236 - 258, 30.12.2022
https://doi.org/10.33464/mediaj.1091304

Öz

The game industry, which started its development with simple children’s toys and continued with box games, became something more by the invention of computer graphics. With computerized graphics being prevalent, there comes the concept of video games. Even though it was not always welcomed, the video game industry became one of the most expansive and high budgeted entertainment tools nowadays. It is even accepted as a sports branch (e-sports), not just a children’s amusement. There are different factors behind every video games’ success. It can change according to the games’ genre as well as other elements. When an assessment was made specific to the 2D puzzle platform games, since all the other components are there to support the narration, it can be seen that one of the most important elements is scenario. In this study, while video game history and the components of visual storytelling are mentioned; the reasons behind people playing video games, puzzle platformers and the importance of the scenario will be appraised. Subsequently, Thomas Was Alone, Limbo and Braid will be evaluated thoroughly by analyzing their connection to different fields like literature, religion and fine arts while their scenarios’ impact on their success’ will be debated. In the end, even though there are lots of different factors that direct a player’s involvement, understanding whether the scenario’s effect is the most important one will be the main purpose. This study has been generated from the writer’s master’s thesis.

Kaynakça

  • Aldred, J. (2012). A Question of Character: Transmediation, Abstraction, and Identification in Early Games Licensed from Movies. M. J. Wolf (Ed.), Before The Crash: Early Video Game History (s. 90-104). Detroit: Wayne State University Press.
  • Antra, A. (2022, Haziran 5). What Does it Mean for a Game to be Successful? SUPERJUMP. https://www.superjumpmagazine.com/what-does-it-mean-for-a-game-to-be-successful/
  • Bates, B. (2004). Game Design. Boston: Premier Press.
  • Bauckhage, C., Kersting, K., Sifa, R., Thurau, C., Drachen, A., & Canossa, A. (2012). How Players Lose Interest in Playing a Game: An Empirical Study Based on Distributions of Total Playing Times. IEEE Conference on Computational Intelligence and Games, 139-146. IEEE Xplore.
  • Boztunalı, Z.S. & Başbuğ, F. (2017). Paul Cezanne’in Sanatında Doğa Çözümlemeleri. Sed5 (2), s. 147-156
  • Brooks, N. (2021, Ocak 28). Immersion Is a KEY Element of Gaming - Here's Why. CBR. https://www.cbr.com/immersion-gaming/
  • Brown, E., & Cairns, P. (2004). A grounded investigation of game immersion. CHI EA '04: Extended Abstracts on Human Factors in Computing Systems, 1297-1300. ACM.
  • Brown, J. (2013). Limbo and the Edge of the Literary. CHERCHEZ LE TEXTE: PROCEEDINGS OF THE ELO 2013 CONFERENCE, 1-20. ELMCIP.
  • Collins, K. (2008). Game sound: An introduction to the history, theory and practice of video game music and sound design. Cambridge: The MIT Press.
  • Dahlen, C. (2008, Ağustos 27). Game Designer Jonathan Blow: What We All Missed About Braid. The A.V. Club. https://www.avclub.com/game-designer-jonathan-blow-what-we-all-missed-about-b-1798214678
  • Ermi, L., & Mäyrä, F. (2005). Fundamental Components of the Gameplay Experience: Analysing Immersion. Worlds in Play: Int. Perspectives on Digital Games Research, (s. 88-115). Vancouver.
  • Fabian, S. (2019). Dante and the Limbo of Unbaptized Infants. St. John Vianney Theological Seminary. https://sjvlaydivision.org/dante-and-limbo/
  • Fernández-Vara, C. (2014). Introduction to Game Analysis. Routledge.
  • Grossman, A. (2014). You. Little, Brown.
  • Heussner, T., Hepler, J. B., Lemay, A., & Finley, T. K. (2015). The Game Narrative Toolbox. Focal Press.
  • Huhtamo, E. (2012). What’s Victoria Got To Do with It?: Toward an Archaeology of Domestic Video Gaming. M. J. Wolf (Ed.), Before The Crush: Early Video Game History (s. 30-52). Detroit: Wayne State University Press.
  • Jagoda, P. (2013). Fabulously Procedural: Braid, Historical Processing, and the Videogame Sensorium. American Literature, 85(4), 745-780. DUKE University Press.
  • Juul, J. (2001, Temmuz). Games Telling stories?: A brief note on games and narratives. Game Studies. http://www.gamestudies.org/0101/juul-gts/
  • Kietzmann, L. (2010, Ekim 18). Thomas was alone: a minimalist game about friendship. Engadget. https://www.engadget.com/2010-10-18-thomas-was-alone-a-minimalist-game-about-friendship.html?guccounter=1&guce_referrer=aHR0cHM6Ly93d3cuZ29vZ2xlLmNvbS8&guce_referrer_sig=AQAAABiHb1qsAw3tD5VNbjnzQ7dL_D_MxUPMIwAvKDT4RrGRsudWedTeW9PQqx7vAit2nXXPioHem6sr1cm4b
  • Lebowitz, J., & Klug, C. (2012). Interactive Storytelling for Video Games: Proven Writing Techniques for Role Playing Games, Online Games, First Person Shooters, and More. CRC Press.
  • Lynch, T., & Martins, N. (2015). Nothing to Fear? An Analysis of College Students' Fear Experiences With Video Games. Journal of Broadcasting & Electronic Media, 298-317.
  • Martin, R. (2022, Mart 16). Creating a community: Thomas Was Alone turns 10. Talenthouse Media Foundry. https://mediafoundry.talenthouse.com/post/thomas-was-10
  • Mayes, D. K., & Cotton, J. E. (2001, Ekim 01). Measuring Engagement in Video Games: A Questionnaire. PROCEEDINGS of theHUMAN FACTORS AND ERGONOMICS SOCIETY 45th ANNUAL MEETING, 692-696. Sage Journals.
  • McGonigal, J. (2011). Reality Is Broken: Why Games Make Us Better and How They Can Change the World. Londra: Penguin.
  • Mekler, E. D. (2015). The Motivational Potential of Digital Games and Gamification – The Relation between Game Elements, Experience and Behavior Change. Fakultät für Psychologie der Universität Basel.
  • Mitchell, B. L. (2012). Game design essentials. Indianapolis: Wiley.
  • Mundy, J. (2018, Temmuz 10). Limbo Review (Switch eShop). Nintendo Life. https://www.nintendolife.com/reviews/switch-eshop/limbo
  • Murray, J. H. (1997). Hamlet on the Holodeck: The Future of Narrative in Cyberspace. The Free Press.
  • Perreault, G. (2014, Şubat 20). Why Do We Love Video Games? Huffpost. https://www.huffpost.com/entry/why-do-we-love-video-game_b_4740425
  • Reay, E. (2020). Secrets, Stealth, and Survival: The Silent Child in the Video Games Little Nightmares and INSIDE. Journal of Children’s Literature Research, 43, 1-22.
  • Reeves, B. (2012, Kasım 20). Why We Play Video Games: How Our Desire For Games Shapes Our World. Game Informer. https://www.gameinformer.com/b/features/archive/2012/11/20/why-we-play- how-our-desire-for-games-shapes-our-world.aspx
  • Sawczyn, D. (t.y.). Game Review: 'Thomas Was Alone'. Impacting Culture Blog. https://impactingculture.com/game-review-thomas-was-alone/
  • Sloan, R. J.S. (2016). Nostalgia Videogames as Playable Game Criticism. G|A|M|E The Italian Journal of Game Studies, (05), 35-45. GameJournal.
  • Stamenkovic, D., & Jacevic, M. (2015). Time, Space, and Motion in Braid: A Cognitive Semantic Approach to a Video Game. Games and Culture, 10(2), 178-203.
  • Stephen, B. (2020, Aralık 02). Supergiant just released a 10th anniversary album of music from its games. The Verge. https://www.theverge.com/2020/12/2/22057936/supergiant-games-10th-anniversary-vinyl-hades-bastion-pyre-transistor
  • Taylor-East, F. B. (2015). Time for Braid : a philosophical view of a digital game. Threads, (3), 32-38. The University of Malta.
  • Tolentino, J. (2012, Temmuz 11). Review: Thomas Was Alone – Destructoid. Destructoid. https://www.destructoid.com/reviews/review-thomas-was-alone/
  • Wolf, M. J. (2012). Before the crash: early video game history. Detroit: Wayne State University Press.
  • Wolf, M. J., & Perron, B. (2003). The video game theory reader. New York: Routledge.

Senaryonun İki Boyutlu (2D) Bulmaca Platform Türü Oyunların Başarısına Etkisi

Yıl 2022, , 236 - 258, 30.12.2022
https://doi.org/10.33464/mediaj.1091304

Öz

Önce basit çocuk oyuncakları ile başlayıp, daha sonra kutu oyunları ile tarihsel gelişimini sürdüren oyun sektörü, bilgisayarların hayatımıza girmesi ile çok daha farklı bir boyuta ulaşmıştır. Bilgisayar destekli grafiklerin yaygınlaşması ile ortaya video oyun diye bir kavram çıkmıştır. Her zaman aynı yoğunlukta ilgi ile karşılanmamış olsa bile video oyun sektörü, günümüzde hem bütçe hem de yaygınlık olarak eğlence sektörünün birçok alanını geçmiş bulunmaktadır. Artık bir çocuk oyalama aktivitesi olarak görülmediği gibi bir spor dalı (e-spor) olarak bile kabul edilmektedir. Farklı öğelerden oluşan ve özelliklerine göre farklı şekillerde sınıflandırılabilen video oyunların başarıları arkasında birçok farklı etken bulunmaktadır. Bu etkenler oyun türleri arasında da değişiklik gösterebilmektedir. 2 boyutlu bulmaca platform türü oyunlar özelinde bir değerlendirme yapıldığında, diğer tüm elemanların anlatıyı (narration) destekleyici unsurlar olarak kullanıldıkları göz önünde bulundurulursa, bu etkenlerin en önemlilerinden birinin senaryo olduğu görülebilmektedir. Bu çalışmada öncelikle nitel araştırma yöntemi kullanılarak literatür taraması yapılmış, video oyunların tarihsel gelişimi ve görsel hikâye anlatımının öğelerine değinilmiş; video oyunların oynanma sebepleri, bulmaca platform türü ve senaryonun önemi üzerinde durulmuştur. Ardından Thomas Was Alone, Limbo ve Braid oyunları derinlemesine incelenerek bu oyunların edebiyat, din ve resim gibi alanlarla olan etkileşimleri ortaya konulurken senaryonun bu oyunların başarısına etkisi tartışılmıştır. Çalışmanın sonunda, video oyunlarda oyuncunun ilgisini yönlendiren birçok farklı eleman olsa da, senaryonun asıl güdüleyici unsur olup olmadığının görülmesi amaçlanmıştır. Böylece bir sanat alanı olarak oyunlar ve senaryoları geniş bir literatüre sahip olsa da platform oyunlarının özelinde eksik kalmış senaryo konusuna yoğunlaşılması ve hem alanda çalışma yapan araştırmacılara hem de sektördeki oyun tasarımcılarına destek olması istenmektedir. Bu çalışma yazarın yüksek lisans tezinden türetilmiştir.

Kaynakça

  • Aldred, J. (2012). A Question of Character: Transmediation, Abstraction, and Identification in Early Games Licensed from Movies. M. J. Wolf (Ed.), Before The Crash: Early Video Game History (s. 90-104). Detroit: Wayne State University Press.
  • Antra, A. (2022, Haziran 5). What Does it Mean for a Game to be Successful? SUPERJUMP. https://www.superjumpmagazine.com/what-does-it-mean-for-a-game-to-be-successful/
  • Bates, B. (2004). Game Design. Boston: Premier Press.
  • Bauckhage, C., Kersting, K., Sifa, R., Thurau, C., Drachen, A., & Canossa, A. (2012). How Players Lose Interest in Playing a Game: An Empirical Study Based on Distributions of Total Playing Times. IEEE Conference on Computational Intelligence and Games, 139-146. IEEE Xplore.
  • Boztunalı, Z.S. & Başbuğ, F. (2017). Paul Cezanne’in Sanatında Doğa Çözümlemeleri. Sed5 (2), s. 147-156
  • Brooks, N. (2021, Ocak 28). Immersion Is a KEY Element of Gaming - Here's Why. CBR. https://www.cbr.com/immersion-gaming/
  • Brown, E., & Cairns, P. (2004). A grounded investigation of game immersion. CHI EA '04: Extended Abstracts on Human Factors in Computing Systems, 1297-1300. ACM.
  • Brown, J. (2013). Limbo and the Edge of the Literary. CHERCHEZ LE TEXTE: PROCEEDINGS OF THE ELO 2013 CONFERENCE, 1-20. ELMCIP.
  • Collins, K. (2008). Game sound: An introduction to the history, theory and practice of video game music and sound design. Cambridge: The MIT Press.
  • Dahlen, C. (2008, Ağustos 27). Game Designer Jonathan Blow: What We All Missed About Braid. The A.V. Club. https://www.avclub.com/game-designer-jonathan-blow-what-we-all-missed-about-b-1798214678
  • Ermi, L., & Mäyrä, F. (2005). Fundamental Components of the Gameplay Experience: Analysing Immersion. Worlds in Play: Int. Perspectives on Digital Games Research, (s. 88-115). Vancouver.
  • Fabian, S. (2019). Dante and the Limbo of Unbaptized Infants. St. John Vianney Theological Seminary. https://sjvlaydivision.org/dante-and-limbo/
  • Fernández-Vara, C. (2014). Introduction to Game Analysis. Routledge.
  • Grossman, A. (2014). You. Little, Brown.
  • Heussner, T., Hepler, J. B., Lemay, A., & Finley, T. K. (2015). The Game Narrative Toolbox. Focal Press.
  • Huhtamo, E. (2012). What’s Victoria Got To Do with It?: Toward an Archaeology of Domestic Video Gaming. M. J. Wolf (Ed.), Before The Crush: Early Video Game History (s. 30-52). Detroit: Wayne State University Press.
  • Jagoda, P. (2013). Fabulously Procedural: Braid, Historical Processing, and the Videogame Sensorium. American Literature, 85(4), 745-780. DUKE University Press.
  • Juul, J. (2001, Temmuz). Games Telling stories?: A brief note on games and narratives. Game Studies. http://www.gamestudies.org/0101/juul-gts/
  • Kietzmann, L. (2010, Ekim 18). Thomas was alone: a minimalist game about friendship. Engadget. https://www.engadget.com/2010-10-18-thomas-was-alone-a-minimalist-game-about-friendship.html?guccounter=1&guce_referrer=aHR0cHM6Ly93d3cuZ29vZ2xlLmNvbS8&guce_referrer_sig=AQAAABiHb1qsAw3tD5VNbjnzQ7dL_D_MxUPMIwAvKDT4RrGRsudWedTeW9PQqx7vAit2nXXPioHem6sr1cm4b
  • Lebowitz, J., & Klug, C. (2012). Interactive Storytelling for Video Games: Proven Writing Techniques for Role Playing Games, Online Games, First Person Shooters, and More. CRC Press.
  • Lynch, T., & Martins, N. (2015). Nothing to Fear? An Analysis of College Students' Fear Experiences With Video Games. Journal of Broadcasting & Electronic Media, 298-317.
  • Martin, R. (2022, Mart 16). Creating a community: Thomas Was Alone turns 10. Talenthouse Media Foundry. https://mediafoundry.talenthouse.com/post/thomas-was-10
  • Mayes, D. K., & Cotton, J. E. (2001, Ekim 01). Measuring Engagement in Video Games: A Questionnaire. PROCEEDINGS of theHUMAN FACTORS AND ERGONOMICS SOCIETY 45th ANNUAL MEETING, 692-696. Sage Journals.
  • McGonigal, J. (2011). Reality Is Broken: Why Games Make Us Better and How They Can Change the World. Londra: Penguin.
  • Mekler, E. D. (2015). The Motivational Potential of Digital Games and Gamification – The Relation between Game Elements, Experience and Behavior Change. Fakultät für Psychologie der Universität Basel.
  • Mitchell, B. L. (2012). Game design essentials. Indianapolis: Wiley.
  • Mundy, J. (2018, Temmuz 10). Limbo Review (Switch eShop). Nintendo Life. https://www.nintendolife.com/reviews/switch-eshop/limbo
  • Murray, J. H. (1997). Hamlet on the Holodeck: The Future of Narrative in Cyberspace. The Free Press.
  • Perreault, G. (2014, Şubat 20). Why Do We Love Video Games? Huffpost. https://www.huffpost.com/entry/why-do-we-love-video-game_b_4740425
  • Reay, E. (2020). Secrets, Stealth, and Survival: The Silent Child in the Video Games Little Nightmares and INSIDE. Journal of Children’s Literature Research, 43, 1-22.
  • Reeves, B. (2012, Kasım 20). Why We Play Video Games: How Our Desire For Games Shapes Our World. Game Informer. https://www.gameinformer.com/b/features/archive/2012/11/20/why-we-play- how-our-desire-for-games-shapes-our-world.aspx
  • Sawczyn, D. (t.y.). Game Review: 'Thomas Was Alone'. Impacting Culture Blog. https://impactingculture.com/game-review-thomas-was-alone/
  • Sloan, R. J.S. (2016). Nostalgia Videogames as Playable Game Criticism. G|A|M|E The Italian Journal of Game Studies, (05), 35-45. GameJournal.
  • Stamenkovic, D., & Jacevic, M. (2015). Time, Space, and Motion in Braid: A Cognitive Semantic Approach to a Video Game. Games and Culture, 10(2), 178-203.
  • Stephen, B. (2020, Aralık 02). Supergiant just released a 10th anniversary album of music from its games. The Verge. https://www.theverge.com/2020/12/2/22057936/supergiant-games-10th-anniversary-vinyl-hades-bastion-pyre-transistor
  • Taylor-East, F. B. (2015). Time for Braid : a philosophical view of a digital game. Threads, (3), 32-38. The University of Malta.
  • Tolentino, J. (2012, Temmuz 11). Review: Thomas Was Alone – Destructoid. Destructoid. https://www.destructoid.com/reviews/review-thomas-was-alone/
  • Wolf, M. J. (2012). Before the crash: early video game history. Detroit: Wayne State University Press.
  • Wolf, M. J., & Perron, B. (2003). The video game theory reader. New York: Routledge.
Toplam 39 adet kaynakça vardır.

Ayrıntılar

Birincil Dil Türkçe
Bölüm Makaleler
Yazarlar

Buse Ergül Kargı 0000-0003-4065-0406

Yayımlanma Tarihi 30 Aralık 2022
Yayımlandığı Sayı Yıl 2022

Kaynak Göster

APA Ergül Kargı, B. (2022). Senaryonun İki Boyutlu (2D) Bulmaca Platform Türü Oyunların Başarısına Etkisi. Uluslararası Medya Ve İletişim Araştırmaları Hakemli Dergisi, 5(2), 236-258. https://doi.org/10.33464/mediaj.1091304