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Motyw „yūrei” w japońskich survival horrorach — analiza wybranych przykładów

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Staszenko D., Uniwersytet Łódzki W. F., mgr Dominika Staszenko – doktorantka w Katedrze Mediów i Kultury Audiowizualnej Uniwersytetu Łódzkiego; interesuje się głównie związkami gier wideo z innymi mediami oraz cechami charakterystycznymi dla gatunku survival horror; współtworzy projekt Grakademia i jest redaktorką portalu ŚwiatGry.pl
Replay. The Polish Journal of Game Studies
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2014
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vol. 01
EN
This paper examines the phenomenon of survival horror games. It focuses on “yūrei”, a Japanese mythological supernatural being. “Yūrei” returns to the world of the living to take revenge on the people who harmed them in the past. The paper also concentrates on the remediation of “yūrei” iconography from literature and Japanese ghost movies into games. It analyses the characteristics of the survival horror genre, dividing them into the ludic and semantic systems. It also describes the relationships between traditional Japanese legends and modern texts, and presents an important issue of the main character (usually schematic and doomed to failure). Observations are based mainly on two games: “Calling” for Nintendo Wii and “Kuon” for PlayStation 2.
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Lollipop Chainsaw Goichiego Sudy i problem autorstwa w medium gier wideo

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Staszenko D.
Homo Ludens
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2015
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issue 2(8)
153-162
PL
Kategoria autora jako indywidualnego twórcy wydaje się archaiczna, niepotrzebna i niefunkcjonalna w kontekście medium gier komputerowych. Jednakże takie myślenie nie jest do końca zasadne, ponieważ wciąż można wskazać twórców, którzy manifestują swoje oryginalne pomysły nawet w grach wysokobudżetowych, mających z założenia odnieść komercyjny sukces. Jedną z takich osób jest właśnie Goichi Suda znany jako Suda 51. W swoim artykule analizuję grę Lollipop Chainsaw z wyszczególnieniem charakterystycznych cech jego twórczości, takich jak specyficzne poczucie humoru, unikalna estetyka oraz kontrowersyjne rozwiązania kreacyjne.
EN
This paper examines the phenomenon of the game designed by Goichi Suda, also known as Suda 51. It focuses on the analysis of Lollipop Chainsaw, detailing the characteristics of his work, such as a sense of humor, unique aesthetics and controversial solutions. This Japanese designer is sometimes considered as an artist who manifests his original ideas even in high-budget games. This paper also describes the problem of authorship in the video games medium using Suda’s creation as an example.
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CZY TO JESZCZE SZTUKA CZY JUŻ GRA? Przenikanie estetyki oraz mechaniki gier wideo do sztuki interaktywnej

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Staszenko D., Chojnacki M. M.
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
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2016
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vol. 22
70-81
EN
Dominika Staszenko, Marcin M. Chojnacki Is it Still Art or Already Game? The Penetration of Aesthetics and Mechanics of Video Games to Interactive Art In our article, we look at the work inspired by the medium, and the culture of video games. We analyze the specifics of contact with the electronic entertainment in a completely new context as considered by the producers of games. We make a brief characterization of the selected projects in the area of interactive art, aesthetics, mechanics or iconography drawn from the popular digital games. We also analyze interesting analog representations and solutions connected with certain ludic or thematic video games in the context of practices affecting the perception of the medium, as well as assessing its ‘maturity’ and the impact on today’s pop culture. We concentrate on the issue of tangible and intangible disposits which we consider significant in the context of art inspired by new media.
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What Will Be the Future of the Past? Report from ARCHIVES OF/FOR THE FUTURE The NECS 2015 Conference

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Chojnacki M. M., Staszenko D., University of Lodz
Replay. The Polish Journal of Game Studies
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2015
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vol. 02
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