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1
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Mierzalny wynik gry (w kontekście analizy książek-gier)

100%
Mochocka A.
Homo Ludens
|
2010
|
issue 1(2)
107-120
EN
The main concerns of this article are 1. quantifiable outcomes as a game-specific factor; 2. the possible application of the theory of quantifiable outcome to the study of the book/game genre; 3. English-Polish translation of terms. The question is, could so-called books/games (generic books designed to be games) have quantifiable outcomes? It seems that some of the game design patterns describing game goals can be applied to games/books, and although the outcome of an interaction with a book/game fails to meet all the suggested criteria, it is still satisfactory enough to be ranked as typical of a borderline category.
2
Content available remote

Alternate Reality Games - gry rzeczywistości alternatywnej - zjawisko graniczne

100%
Mochocka A.
Homo Ludens
|
2011
|
issue 1(3)
117-138
EN
Alternate Reality Games, typical of the culture of the 21st century, are a fringe phenomenon which fail to conform to the canonical definitions of games created in the 20th century. ARG are characterised by multimediality, information acquisition, massive participation resulting in collective intelligence, an illusion of reality, and an idiosyncratic form of narrativity. The article highlights the distinctive features of ARG as gleaned from the analyses of the prototypical ARG The Beast, as well as from formal definitions suggested by ARG practitioning scholars, and discusses them in the light of contemporary game definitions.
3
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Między interaktywnością a intermedialnością. Książka jako przestrzeń gry

100%
Mochocka A.
Homo Ludens
|
2009
|
issue 1
155-176
EN
Decoding and creating meanings, book readers always participate in a game. A book can be, however, a game space or a play space in the literal sense. It can be an accessory and a board, often combining the written text with two- or three-dimensional graphic representations. The article focuses on the book publications which are games in their own right (in accordance with Salen and Zimmermen's definition). After a brief discussion of the development and background of such publications, as well as the presentation of their crucial features, the intermediality vs interactivity continuum is being established. The continuum acts as the visual representation of actual and assumed features of the analysed examples, with the conclusion that the assumed position is invariably higher than the actual one.
4
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Transmediation od Spatial Characteristics – Mervyn Peake’s Gormenghast Series and Philip Cooke’s Gormenghast: A Board Game set in the World of Mervyn Peake

100%
Mochocka A.
Zagadnienia Rodzajów Literackich
|
2017
|
vol. 60
|
issue 3 (123)
111-126
EN
The text discusses notable spatial characteristics of the storyworld created in Mervyn Peake’s Gormeghast literary series and relates them to the mechanics used in a paratextual board game designed by Philip Cooke. Spatiality is crucial in Peake’s series, thus allowing for a specific relationship between literary pre-text and the board game as a medium that allows participation. The text thus tries to answer the questions how the Gormenghast storyworld utilises spatial categories, how the spatiality of the novels represents certain “transfictional affinity” with board games, and how the board game utilises game mechanics to convey the affect and pathos of the pre-text.
5
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Blurring the Lines: De Profundis: Letters from the Abyss (2001) by Michał Oracz

100%
Mochocka A.
Homo Ludens
|
2016
|
issue 1(9)
147-164
EN
Being an expansion of a presentation given at the DiGRA 2015 conference, this article discusses De Profundis by Michał Oracz, a Polish role-playing game from 2001, as an innovative project rooted in previous experiments of the Polish role-playing games community. Albeit generally recognised as an RPG, the game merges the features of the pervasive larp and alternate reality game with the more traditional forms of role-playing. The game is discussed as blurring the boundaries between fiction and reality, and destabilizing the magic circle of play, as well as merging the presentation of operational rules with what could be recognised as a game session.
PL
Artykuł, stanowiący rozszerzenie referatu zaprezentowanego podczas konferencji DiGRA 2015, skupia się na polskiej narracyjnej grze fabularnej z roku 2001, De Profundis Michała Oracza – innowacyjnym projekcie osadzonym w sferze eksperymentów podejmowanych na polskiej scenie gier fabularnych. Choć produkcja jest rozpoznawana przede wszystkim jako RPG (narracyjna gra fabularna), to łączy cechy pervasive larps, gier rzeczywistości alternatywnej (ARG) oraz starszych, skonwencjonalizowanych typów gier fabularnych. Omówiona została w kontekście zacierania granic między fikcją a rzeczywistością oraz destabilizowania magicznego kręgu gry, jak również łączenia prezentacji zasad operacyjnych z przedstawieniem zapisu sesji gry.
6
Content available remote

Magia i Miecz Magazine: The Evolution of Tabletop RPG in Poland and its Anglo-Saxon Context

63%
Mochocka A., Mochocki M.
Homo Ludens
|
2016
|
issue 1(9)
167-194
EN
The paper analyses the evolution of tabletop RPGs in Poland through the prism of Magia i Miecz (1993–2002) – the first, and for a long time the only commercial Polish RPG magazine. This evolution is discussed by means of the “classic” Gamism-Narrativism-Simulationism model, and with reference to the history of RPGs in the English-speaking world. Even though they reached Poland 20 years after their birth, when simulationism and diceless storytelling were well-known abroad, Magia i Miecz did not import all playing styles at once. Instead, Polish RPGs went through the same developmental stages as in the USA: from gamism, across simulationism and narrativism, to diceless storytelling to dice-friendly storytelling and New Style / indie.
PL
Artykuł omawia ewolucję narracyjnych gier fabularnych w Polsce przez pryzmat „Magii i Miecza” (1993–2002), pierwszego i przez długi czas jedynego komercyjnego czasopisma RPG w kraju. Ewolucję tę analizujemy, opierając się na „klasycznym” modelu: gamizm–narratywizm–symulacjonizm, i w zestawieniu z historią RPG w krajach anglojęzycznych. Mimo że do Polski RPG dotarły 20 lat po swoich narodzinach, gdy symulacjonizm i bezkostkowy storytelling były już dobrze znane za granicą, Magia i Miecz nie od razu przejęła wszystkie style grania. Polskie RPG przeszło przez te same etapy rozwojowe co amerykańskie: od gamizmu, przez symulacjonizm, narratywizm i bezkostkowy storytelling, po kostkowy storytelling i gry Nowej Fali / indie.
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