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1
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Kulturotwórcza funkcja gier. Cywilizacja zabawy czy zabawy cywilizacji? Rola gier we współczesności, „Homo Communicativus” 3 (5) 2008

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Kic-Drgas J.
Homo Ludens
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2009
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issue 1
327-329
2
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Jak badać gry komputerowe?

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Bomba R.
Homo Ludens
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2009
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issue 1
305-308
3
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Kobyła ma mały bok. Czyli o polskich palindromach

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Białek M., Hofman A.
Homo Ludens
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2009
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issue 1
309-312
4
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Gamedec. UKW in IGDA Curriculum Framework

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Mochocki M.
Replay. The Polish Journal of Game Studies
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2016
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vol. 3
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issue 1
121-139
EN
Launched in October 2013, GAMEDEC: game studies & Design is a specialisation track within the 2nd Gen Humanities (aka Humanities 2.0) 3-year BA programme at Kazimierz Wielki University (UKW) in Bydgoszcz, Poland. The curriculum was created by UKW academic staff with game design experience, guided by the IGDA 2008 Framework and consulted with game dev professionals. It underwent slight modifications in 2014 and a significant transformation in 2015. This paper aims at a thorough analysis of the structure of the curriculum as seen through the lens of the IGDA Framework (2008), including the coverage of both Core Topics and Institutional Considerations. The analysis is conducted in the context of foreign (mostly U.S.- based) game degrees and supported with comments on its design, implementation and modifications.
5
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Formy tekstowości w grach wideo

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Wójcik T.
Creatio Fantastica
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2016
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issue 3-4(54-55)
59-62
EN
Reviewed book: Piotr Kubiński, Gry wideo: Zarys poetyki, Kraków: Universitas 2016, ISBN: 97883-242-2788-4
6
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Wyzwania cyfrowego rodzicielstwa. O Grach wideo w środowisku rodzinnym Damiana Gałuszki

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Paprzycka A.
Creatio Fantastica
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2018
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issue 2(59)
187-196
EN
Reviewed book: Damian Gałuszka, Gry wideo w środowisku rodzinnym. Diagnoza i rekomendacje, Kraków: Wydawnictwo Libron 2017, ISBN: 978-83-65705-37-2, pp. 253.
7
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Reality is Broken: Why Games Make Us Better and How They Can Change the World Jane McGonigal. 2011. New York: Penguin Press, ss. 388

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Mochocki M.
Homo Ludens
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2011
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issue 1(3)
239-246
8
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Kulturotwórcza funkcja gier. Gra jako medium, tekst i rytuał. Tom I i II

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Hofman A., Motyka M.
Homo Ludens
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2009
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issue 1
313-322
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Kulturotwórcza funkcja gier. Gra w kontekście edukacyjnym, społecznym i medialnym

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Andrzejewska-Kwiatkowska J.
Homo Ludens
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2009
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issue 1
323-326
10
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Body Movin’: Ecocritical and Postcolonial Readings of the Travelling Body in the Tomb Raider Series

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Gnat T.
Postscriptum Polonistyczne
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2021
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vol. 27
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issue 1
231-246
PL
Kiedy Lara Croft podróżuje, podróżuje lekko – bez walizki, ale w większości przypadków z wystarczającą siłą ognia, by stawić czoła przeciwnikom, od dinozaurów począwszy a na krwiożerczych autochtonach skończywszy. Jednak jej pokaźna broń wydaje się często niepotrzebnym dodatkiem, ponieważ doskonale radzi sobie bez niej dzięki swoim wyśmienitym umiejętnościom akrobatycznym i walki wręcz. Potrafi przeskoczyć każdą przeszkodę, przepłynąć rwącą rzekę i zjechać po linie z najbardziej stromych wąwozów. Podróże Lary Croft są często tak fizyczne, jak tylko pozwala na to wirtualny świat. Ta fizyczność zwraca naszą uwagę na często zapominany aspekt podróżowania, a mianowicie na ciało podróżnika, nie tylko zdefiniowane przez jego położenie w przestrzeni, ale także przez zwykłe i niezwykłe okoliczności jego biologicznej interakcji z otaczającym środowiskiem. Autor niniejszego szkicu stawia sobie za cel zbadanie wzajemnego oddziaływania pomiędzy ciałem podróżnika a kontekstami, w których się ono znajduje. Konteksty te obejmują narracyjne i gameplayowe aspekty serii Tomb Raider, ale wykraczają również poza granice gry i dają się poznać w transformatywnym i refleksyjnym środowisku kulturowym gry. W szczególności autor koncentruje się na reprezentacjach Lary Croft jako archetypowej bohaterki akcji i archeologa-poszukiwacza przygód oraz na tym, jak te reprezentacje są przedstawiane w odniesieniu do zmieniających się (dojrzewających?) środowisk gier wideo. W ramach teorii postkolonialnych i ekokrytycznych zamierza zbadać dualizmy ciało – rzekoma egzotyka, ciało – środowisko naturalne, a także fizyczne – mentalne aspekty podróżowania.
EN
When Lara Croft travels, she travels light – sans suitcase, but in most cases with enough firepower to take opposing forces ranging from dinosaurs to bloodthirsty locals. However, her big guns seems often unnecessary titillation, for she can manage very well without them thanks to her exquisite acrobatic and hand-to-hand combat skills. She will vault over any obstacle, swim across rapid flowing rivers and abseil the steepest ravines. Lara Croft’s travels are often as physical as the virtual world would allow. That physicality returns our attention to the oft forgotten aspect of travelling namely the body of the traveller, not only defined by its position in space, but also by the ordinary and extraordinary circumstances of its biological interaction with the surrounding environment.In this paper I would like to explore the interplay between the body of the traveller and contexts it is located in. These contexts range from the narrative and gameplay aspects of the Tomb Raider series, but also go beyond the border of the game and are realised in the transformative and reflective cultural milieu of the game. In particular I want to focus on the representations of Lara Croft as an archetypal “action girl” and “adventurer archaeologist” and how these representations are realised in reference to the changing (maturing?) video game environments. In the framework of postcolonial and ecocritical theories I want to explore the dyads of body/the purported exotic, body/natural environment, as well as physical/mental aspects of travelling.
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Pisząc dyscyplinę. O historii badań gier cyfrowych i zawiłościach jej pisania na, przykładzie "(bardzo) krótkiej historii game studies" Fransa Mäyry

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Kliś-Brodowska A.
Homo Ludens
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2016
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issue 1(9)
13-30
PL
Spisywanie i popularyzacja historii obszaru nauki mają niebagatelne znaczenie jako praktyki akademickie. Są aktami samostanowienia, kodowania określonej tożsamości, a także świadczą o postępującej instytucjonalizacji dziedziny nauki. W ostatnich latach można zaobserwować próby sformułowania globalnej historii studiów nad grami cyfrowymi. Niniejsza praca koncentruje się na jednej próbie tego rodzaju, podjętej przez fińskiego badacza Fransa Mäyrę. Starając się zachować krytyczny dystans wobec proponowanej przez niego historii game studies jako dyscypliny, artykuł analizuje jej podłoże i motywacje, a ponadto stara się wskazać na trudności i problemy, jakie pociąga za sobą próba ustanowienia takiej historii. Podkreśla też konieczność dalszej krytycznej analizy powstających historii badań gier.
EN
Writing and promoting the history of a field of study is a significant academic practice. In recent years, there have been attempts at formulating a global history of digital games research. This article focuses on one such attempt, by the Finnish scholar Frans Mäyrä. Distancing ourselves from the proposed representation of the history of game studies as a discipline, we analyse the basis of and motivations behind this history, and point to the problems that it turns out to pose. Finally, we also stress the need for ongoing critical scrutiny of emerging histories of digital games research.
12
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“I am thou… Thou art I…” How Persona 4’s Young Adult Fiction Communicates Japanese Values

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Dwulecki S.
Creatio Fantastica
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2017
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issue 1(56)
97-113
EN
Life is Strange, INSIDE, Oxenfree—all these video games represent a seemingly entirely new genre. Young Adult videogames diverge from the male, gloomy grown-up stereotypes and replace them with adolescent protagonists in their coming of age stories. Their commercial success seem to validate their endeavors. However, YA narratives are hidden in plain sights for many years within JRPGs. Shin Megami Tensei – Persona 4 (short Persona 4 or P4) is a cultural ambassador. This paper examines how the game’s procedural rhetoric in combination with its Young Adult story advocate in favor of specific Japanese values. The time structure of P4 reinforces a longterm orientation and requires strategic planning as well as tactical flexibility. So-called “Social Links” represents Japan unique take on collectivism. Each link encapsulates a small YA narrative and offers different benefits to social-active protagonist. Finally, grinding mechanics reflect the notion of repetition-based learning. Japanese schools teach through engaging with developing several solutions to a singular problem. The same holds true for the grinding process. All these elements combined create a game rhetoric promoting these aspects of Japanese culture
13
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Playing with/as Systems: Short Paper, Discussion and Demonstration

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Straeubig M.
Avant
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2017
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issue 8
EN
Complex phenomena such as play, creativity or innovation are familiar, yet difficult to describe in a systematic manner. In this short article I propose six necessary conditions for any comprehensive description of play. Against this background I discuss my systems-theoretic, constructivist and practice-informed approach to play.
14
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Playing with/as Systems: Short Paper, Discussion and Demonstration

88%
Straeubig M.
Avant
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2017
|
vol. 8
EN
Complex phenomena such as play, creativity or innovation are familiar, yet difficult to describe in a systematic manner. In this short article I propose six necessary conditions for any comprehensive description of play. Against this background I discuss my systems-theoretic, constructivist and practice-informed approach to play.
15
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Punctuated Play: Revealing the Roots of Gamification

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Foxman M.
Acta Ludologica
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2020
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vol. 3
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issue 2
54-71
EN
Even at the apex of its hype cycle in the 2010s, game studies scholars and designers derided gamification. This article first explores why gamification inspired such vitriol. It finds the incursion of non-game corporations and entities into the field was a threat to those who fought so ardently to legitimize the profession and promote a more playful or ludic 21st century. The article then delves deeper into the literature of play to redefine what occurs when a player engages with a gamified app, such as the social media application Foursquare. It rescripts their activity as ‘punctuated play’, or when the competition, conflict, glory, and other aspects of traditional play pierce a moment but do not necessarily define it.
16
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Gry pamięci. Valiant Hearts: The Great War i My Memory of Us w perspektywie kultury historycznej

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Pigulak M.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2021
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vol. 29
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issue 38
144-160
EN
The paper aims to outline how video games Valiant Hearts: The Great War (Ubisoft Montpellier, 2014) and My Memory of Us (Juggler Games, 2018) use narrative and ludic structures to create commemorative stories about the First World War and the Second World War. The author refer to the concept of historical culture (among others, in Jörn Rüsen’s interpretation) and examine the connections between the two video games focusing on the issue of designers’ intentions (digital games as examples of the commemoration of the past), the genre similarity (2D platform games), the intermedial convergence and the press reception. He discusses the strategy of the cultural agreement between designers and users, analyzes historical narratives as a part of the gameplay, examines relations between the individual and collective’s perspective and characterizes immersion’s mechanisms which reinforce players’ identification with the victims of both wars.
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Story beats in videogames as value-driven choice-based unit operations

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Mochocki M., Koskimaa R.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2021
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vol. 29
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issue 38
5-31
EN
We present a framework of story beats, defined as microunits of dramatic action, as a tool for the ludonarrative analysis of videogames. First, we explain the Goal - Action - Reaction - Outcome model of the story beat. Then, we present six types of story beats, Action, Interaction, Inaction, Mental, Emotion, and Sensory, providing videogame examples for each category. In the second half of the paper, we contextualise this framework in the classic game studies theory of videogame narrative and player action: unit operations, gamic action, anatomy of choice, and game design patterns, wrapping it up in the most recent trends in cognitive narratology. Ultimately, we present the story beat as a ludonarrative unit, working simultaneously as a ‘unit operation’ in the study of games as systems, and as a microunit of character action in narrative analysis. The conclusion outlines prospective directions for using story beats in formal, experiential, and cultural game research.
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Grając w chorobę. Metafory i dosłowności choroby w grach wideo na przykładzie „The Elder Scrolls III: Morrowind"

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Gnat T.
ER(R)GO: Teoria – Literatura – Kultura
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2023
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issue 46
81-96
EN
Susan Sontag opens her analysis of disease metaphors with the metaphor of health and disease as dual citizenship in bordering states. Games offer us a pass to reproductions and paraphrases of reality, so we also see here the borderline experience of good health/illness. However, it is worth asking whether in interactive entertainment one can find examples of representations of diseases that do not function as metaphors. Consequently, the aim of this essay is to analyze the metaphors put into practice – virtual life, but perhaps that is why they allow more than the observation of a dangerous pathogen. The main thesis of this essay is the position that games through the basic aspect of the medium – interactivity, often go beyond the “sentimental content” of the representation of the disease. Or at least the process of “sentimentalization” is more complex and is a product of many of the processes that make up the interactive entertainment experience.
PL
Susan Sontag otwiera analizę metaforyki chorób od metafory stanów zdrowia i choroby jako podwójnego obywatelstwa w granicznych państwach. Gry oferują nam przepustkę do reprodukcji i parafraz rzeczywistości, tak więc również w nich widzimy graniczne doświadczenie zdrowia/choroby. Warto jednak w tym momencie postawić pytanie, czy w rozrywce interaktywnej można odnaleźć przykłady przedstawień chorób, która nie funkcjonują jak metafora. Co za tym idzie, celem niniejszego eseju jest analiza metafor wprowadzonych w życie – życie wirtualne, ale być może właśnie dlatego pozwalające na więcej niż obserwację niebezpiecznego patogenu. Główną tezą tego eseju jest stanowisko, że gry przez podstawowy aspekt medium - interaktywność, często wychodzą poza “treść sentymentalną” reprezentacji choroby. Lub przynajmniej proces “sentymentalizacji” jest bardziej złożony i stanowi wypadkową wielu procesów, które składają się na doświadczenie rozrywki interaktywnej.
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Playing distressed art: Adorno’s aesthetic theory in game design

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Hanussek B.
Replay. The Polish Journal of Game Studies
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2021
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vol. 8
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issue 1
73-87
EN
The discussion on games as (not) art has been raging for decades without reaching a consensus. It is argued here that the ontological status of games is irrelevant for the perception and development of aesthetic experiences in videogames. Instead, game design should be regarded as ripe to convey the experience of art according  to established aesthetic theories. The essay presents Adorno’s aesthetic theory and highlights its reflections in the games Papers, Please and Observer. It then describes how they were synthesized into a  critical gameplay experience in the author’s game Distressed. The latter may be regarded as an example of a method in game studies in which the aesthetic potential of games is explored by creation rather than analysis. Arguably, this reveals the importance of epistemological approaches  towards games and art instead of the predominant ontological ones.
20
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Games and Utopia

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Kłosiński M.
|
2018
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vol. 1
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issue 1
4-14
EN
The main theme of my article is the relationship between virtual worlds of video games and the concept of utopia. I aim to present a wide variety of different definitions and theories of utopia, which seem indispensable in order to further the relationship between video game and virtual reality research and the multitude of utopian studies discourses. The thesis starts with a short recollection of Alexander Galloway’s thesis on video games and utopias from his article on World of Warcraft which I am trying to supplement with some of the most interesting contemporary utopian studies research. The core of the article focuses on sketching an alternative proposal which includes a variety of definitions of utopia and utopianism. My aim is to introduce precise and useful notions which could be further utilized in game analysis and game research.
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