The game is not over: relations between ludic appropriation and production of meaning in video games
This article discusses the relationship between ludic appropriation and production of meaning in videogames. By ludic appropriation, we refer to the act of performing in-game actions that were not designed or expected by the creators of a particular game, thus expanding the possibilities of producin...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2020 |
| País: | Brasil |
| Institución: | Pontifícia Universidade Católica do Rio Grande do Sul (PUCRS) |
| Repositorio: | Revista FAMECOS: Mídia cultura e tecnologia |
| Idioma: | portugués |
| OAI Identifier: | oai:ojs.revistaseletronicas.pucrs.br:article/33957 |
| Acceso en línea: | https://revistaseletronicas.pucrs.br/revistafamecos/article/view/33957 |
| Access Level: | acceso abierto |
| Palabra clave: | Ludic appropriation Games Video Games Apropiación lúdica Juegos Videojuegos Apropriação lúdica Jogos Videogames |
| Sumario: | This article discusses the relationship between ludic appropriation and production of meaning in videogames. By ludic appropriation, we refer to the act of performing in-game actions that were not designed or expected by the creators of a particular game, thus expanding the possibilities of producing meaningful interactions in this medium. This work is divided into three large blocks. First, we return to the discussion on particular aspects of games, from theorists like Johan Huizinga, Roger Caillois and Jacques Henriot. Next, we present the concepts of ludic freedom and ludic appropriation as developed by Maude Bonenfant. Finally, we analyze an episode of ludic appropriation by the community of players of Halo: Combat Evolved, seeking to exemplify, from a real case, the concepts worked throughout the text. |
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