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Ile emersji w grach? Recenzja książki: Piotr Kubiński, Gry wideo. Zarys poetyki, Universitas, Kraków 2016

100%
Krawczyk S.
Replay. The Polish Journal of Game Studies
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2016
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vol. 3
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issue 1
155-161
EN
Piotr Kubiński’s monograph is an outline of certain specific aspects of video games, examined from the perspective of poetics. Apart from a semiotic analysis of the user interface and a look at how games influence various texts and practices, what the readers will find here is an investigation into the strained relationship between immersion and emersion in video games. Contrary to the popular belief that immersion is unquestionably desirable, Kubiński shows that emersion – a group of phenomena that disrupt the players’ impression of unmediated presence in the game world – can also be a source of ludic and artistic effects that merit a scholarly study. The book offers a well-organized and carefully documented analysis of an understudied dimension of digital games; the tensions between immersion and emersion are present in many, if not all, video games; and the author’s efforts in other publications are making the term “emersion” more visible. For these three reasons, the monograph has the potential to become a significant work in Polish game studies, encouraging other scholars to apply Kubiński’s term in their own research. This would be instrumental in the development of an academic field that has suffered from insufficient accumulation of knowledge.
PL
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2
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Can a Developed Structure be Transparent? The Analysis of Witcher 3: Wild Hunt Interface with Regard to its Influence on the Player’s Immersion

72%
Gozdowska K.
Homo Ludens
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2019
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issue 1(12)
13-35
EN
In this article I analyze the interface of The Witcher 3: Wild Hunt with regard to its transparency as well as its influence on the player’s immersion. Furthermore, I scrutinize all measures used by the interface to decrease the effect of emersion, which might appear as game information is being read by the player. I also consider the literary context in my research – I reflect on how the interface refers to Andrzej Sapkowski’s Witcher cycle and how these references have been implemented in the interface structure.
PL
W swoim artykule badam interfejs gry Wiedźmin 3: Dziki Gon pod względem jego transparentności, a także wpływu na immersję gracza. Analizuję też zabiegi ukierunkowane na niwelowanie emersji, która może wystąpić, gdy gracz odczytuje informacje prezentowane przez interfejs. W badaniach biorę pod uwagę również kontekst literacki – zastanawiam się, w jaki sposób interfejs nawiązuje do wiedźmińskiego cyklu Andrzeja Sapkowskiego oraz jak owe nawiązania zostały zaimplementowane do struktury interfejsu.
3
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Bergman vs. Batman. Chwyt technicznej deziluzji w grach wideo na tle praktyk literackich i filmoznawczych

72%
Kubiński P.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2015
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vol. 16
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issue 25
113-123
EN
Bergman vs. Batman. Technical Disillusion as an Artistic Device in Video Games in the Context of Literary and Film Techniques   The aim of the article is to present the idea of technical disillusion as an artistic device used in particular videogames. This phenomenon is analyzed using the example of Batman: Arkham Asylum (Rocksteady; 2009). Because of the far-reaching analogies with techniques present in other artistic discourses, the device of technical disillusion is also examined in the context of literature and film – especially in regards to Ingmar Bergman’s Persona. From this perspective, using technical disillusion as a device exposes its artistic potential and enables us to consider games as space for creative exploration.
4
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O immersyjności escape roomów. Przykład pokoi Tick Tack w Gliwicach

58%
Julke-Bogacka K.
Replay. The Polish Journal of Game Studies
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2017
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vol. 4
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issue 1
39-50
EN
Escape room (ER) is a live cooperative game in which players need to find a way out of a closed room, or to reach an additional goal by solving a series of riddles and puzzles, in a set amount of time. So far there have been few publications on ERs, particularly in Polish game studies. This paper is an attempt at filling this gap. The history of ERs is described briefly, and the claim is made that the reason for the success and popularity of selected ERs is their immersivity. The rooms of the company Tick Tack, which is located in Gliwice, are used as examples to discuss the topic of ER immersivity and the conditions that a room should meet to engage players fully. The analysis is based on relevant literature and on the author’s own experiences with ERs.
PL
Escape room (ER) to rodzaj kooperacyjnej gry rozgrywanej na żywo. Polega na znalezieniu w określonym czasie wyjścia z zamkniętego pomieszczenia lub wykonaniu innego, dodatkowego celu misji poprzez rozwiązanie serii zagadek i łamigłówek. Dotychczas niewiele prac zostało poświęconych ER, szczególnie w środowisku polskich badaczy gier. Niniejszy artykuł jest próbą wypełnienia tej luki. W tekście przedstawiono krótką historię powstania ER oraz postawiono tezę, że przyczyną sukcesu i popularności wybranych ER jest immersyjność. Zagadnienie immersyjności ER oraz warunki, jakie powinien spełnić dany pokój, aby w pełni zaangażować graczy, omówiono na przykładzie pokoi firmy Tick Tack z Gliwic. Analizę przeprowadzono na podstawie literatury źródłowej oraz własnych doświadczeń z gry.  
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