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Gra The Witcher w uniwersum Wiedźmina

100%
Garda M. B.
Homo Ludens
|
2010
|
issue 1(2)
19-27
EN
In this essay I elaborate on the changes that have occurred in the largest Polish fantasy universe after the release of The Witcher, a computer game developed by the Polish company - CD Projekt RED. The magnitude of conceptual work put into the creation of the game's digital environment, which expands on the reality of the novels the game is based on, has led to a shift in the authorship of the Witcher's entire universe. The Witcher is therefore not merely another adaptation of the novel, but constitutes a part of its universe and is an important extension that guarantees its further development in new media.
2
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NEO-ROGUE AND THE ESSENCE OF ROGUELIKENESS

100%
Garda M. B.
Homo Ludens
|
2013
|
issue 1(5)
59-72
EN
Roguelike is a subgenre of computer role-playing games (cRPGs) characterized by randomly-generated content and permanent death that flourished in the 1980s but in the next decade became an entertainment niche. ‘Neo-rogue’ is a new term introduced to describe the recent wave of indie games which derive from the aesthetics of roguelike; these games have renewed the popular interest in this subgenre. The purpose of the paper is to examine the history and nature of this phenomenon and to determine its place in the evolution of the medium.
3
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Gry komputerowe jako dziedzictwo kulturowe

100%
Garda M. B., Uniwersytet Łódzki W. F., mgr Maria B. Garda – groznawczyni a. w. K. M. i. K. A. n. U. Ł.
Replay. The Polish Journal of Game Studies
|
2014
|
vol. 01
EN
The aim of the article is to discuss the challenges of computer games preservation as a cultural heritage, focusing on the Polish perspective. Computer games are predominantly perceived as ‘new media’, despite the fact that their history dates back to the mid-20th century. It is important to understand that not only the early computer games are already ‘old media’ but all the digital games are. They may be perceived as ‘dying media’ vulnerable to unprecedented obsolescence. The article explores the consequences of digital decay and the notion of original experience in the context of conservation strategies. It suggests that there is still a need for a more conscious inclusion of computer games within the agenda of the Polish heritage institutions.
4
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Indie games: fenomen niezależnych gier komputerowych

63%
Garda M. B., Lewandowski B.
Przegląd Kulturoznawczy
|
2011
|
issue 1(9)
143-153
EN
In this essay we elaborate on the phenomenon of independent computer games by comparing it to the independent stream of American cinema - also known as Indiewood. The parallel between the film and gaming industries, that can be observed in the United States, has its roots in the early years of arcade games when the young companies like Atari were bought by media giants like Warner Communications. Having this influence in mind, we investigate the similarities and differences between those two segments of audiovisual media production. To illustrate the argument, we examine the two most prominent indie game titles of the past few years: World of Goo and Braid. In the last part of our article we also try to introduce a more national perspective by describing the situation of independent computer games in Poland
5
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Od Redakcji

63%
Garda M. B., Grabarczyk P., Uniwersytet Łódzki W. F.
Replay. The Polish Journal of Game Studies
|
2014
|
vol. 01
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