Bibliographie
Atkins, Barry. “What Are We Really Looking at? The Future-Orientation of Video Game Play.” Games and Culture 1, no. 2, (2006): 127–40.
Barnabe, Fanny. “Le Speedrun: Pratique Compétitive, Ludique ou Créative? Trajectoire d’un Détournement de Jeu Vidéo Institué en Nouveau Game,” Interfaces Numériques 5, no. 3, (2016). http://www.unilim.fr/interfaces-numeriques/3113. <accessed on October 06, 2020>
Bolter, Jay David, and Richard Grusin. Remediation. Understanding New Media. Cambridge [Mass.]: MIT Press Paperback, 2000.
Brooker, Will. “Camera-Eye, CG-Eye: Videogames and the ‘Cinematic’.” Cinema Journal 48, no. 3, (Spring 2009): 122-28.
Clarkson, Sparky. “Mass Effect 3’s Ending Disrespects its Most Invested Players,” Kotaku, (April 2013). https://kotaku.com/5898743/mass-effect-3s-ending-disrespects-its-most-invested-players <accessed on October 06, 2020>
Costikyan, Greg. “Where Stories End and Games Begin,” Costik, (March 2003). http://www.costik.com/gamnstry.html <accessed on October 06, 2020>
Elliott, Kamilla. Rethinking the Novel/Film Debate. Cambridge: Cambridge UP, 2003.
Flanagan, Kevin. “Videogame Adaptation.” In The Oxford Handbook of Adaptation Studies, edited by Thomas Leitch, 441-55. Oxford: Oxford UP, 2017.
Genvo, Sébastien. “Penser Les Enjeux De La Recherche Sur Les Jeux Vidéo,” Revue française des Sciences de l’Information et de la Communication, 20 (2020). http://journals.openedition.org/rfsic/9511. <accessed on October 14, 2020>
Grodal, Torben. “Stories for Eye, Ear, and Muscles: Video Games, Media, and Embodied Experiences.” In The Video Game Theory Reader, edited by Mark J. P. Wolf, and Bernard Perron, 129–55. New York: Routledge, 2003.
Hayward, Jennifer. Consuming Pleasures. Active Audiences and Serial Fictions from Dickens to Soap Opera. Lexington: University Press of Kentucky, 1997.
Hagedorn, Roger. “Technology and Economic Exploitation: The Serial as a Form of Narrative Presentation.” Wide Angle: A Film Quarterly of Theory, Criticism, and Practice 10, no. 4, (1988): 4-12.
Jenkins, Henry. “Game Design as Narrative Architecture.” In First Person: New Media as Story, Performance, and Game, edited by Noah Wardrip-Fruin, and Pat Harrigan, 118–30. Cambridge [Mass.]: MIT Press, 2004.
Juul, Jasper. “Introduction to Game Time.” In First Person. New Media as Story, Performance, and Game, edited by Noah Wardrip-Fruin, and Pat Harrigan, 131-42, Cambridge [Mass.]: MIT Press, 2004.
Kennedy, Alexis. “Spoiler Alert: Game Endings are Harder than You Think. Knowing When to Stop,” Eurogamer, (June 2016). http://www.eurogamer.net/articles/2016-06-18-spoiler-alert-game-endings-are-harder-than-you-think <accessed on October 15, 2020>
King, Geoff, and Tanya Krzywinska. “Film Studies and Digital Games.” In Understanding Digital Games, edited by Jo Bryce, and Jason Rutter, 112-28. London: SAGE Publications Ltd, 2006.
Chandler, Rafael. Game Writing Handbook. Boston: Charles River Media, 2007.
Ryan, Marie-Laure. Narrative as Virtual Reality 2 – Revisiting Immersion and Interactivity in Literature and Electronic Media. Baltimore: Johns Hopkins University Press, 2015.
Stam, Robert. “Introduction: The Theory and Practice of Adaptation.” In Literature and Film. A Guide to the Theory and Practice of Film Adaptation, edited by Robert Stam, and Alessandra Raengo, 1-52. Malden: Blackwell Publishing, 2005.
Triclot, Mathieu. Philosophie des Jeux Vidéo. Paris: Editions La Découverte, 2011.
Walker, John. “What’s Right with Mass Effect 3’s Ending,” Rock, Paper, Shotgun, (March 2012). https://www.rockpapershotgun.com/2012/03/19/whats-right-with-mass-effect-3s-ending/ <accessed on October 15, 2020>
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Note de fin
1 See for instance Torben Grodal, “Stories for Eye, Ear, and Muscles: Video Games, Media, and Embodied Experiences,” in The Video Game Theory Reader, ed. Mark J. P. Wolf and Bernard Perron (New York: Routledge, 2003).
2 AAA games are the blockbusters of the game industry. They are created with colossal budgets by large development teams in international studios, and they rely on a high degree of profitability, targeting the widest possible audience of players. Along with TV series and Hollywood blockbusters, AAA videogames have now become one of the most prominent ways to immerse wide-scale audiences into visual narrative experiences.
3 Sébastien Genvo, “Penser Les Enjeux De La Recherche Sur Les Jeux Vidéo,” Revue française des Sciences de l’Information et de la Communication, 20 (2020): §32. http://journals.openedition.org/rfsic/9511. <accessed October 14, 2020>
4 Like the Assassin’s Creed franchise, AAA games are sometimes developed and published by the same company—in this case, Ubisoft. But other AAA games, like Mass Effect for instance, can be developed by one or several studios and published by another company—in this case Electronic Arts, who bought the franchise from Microsoft Game Studios in 2007. The publishing company is in charge of the product’s marketing and ensures its profitability.
5 Roger Hagedorn, “Technology and Economic Exploitation: The Serial as a Form of Narrative Presentation,” Wide Angle: A Film Quarterly of Theory, Criticism, and Practice 10, no. 4 (1988): 5.
6 Jennifer Hayward, Consuming Pleasures. Active Audiences and Serial Fictions from Dickens to Soap Opera (Lexington: University Press of Kentucky, 1997), 2.
7 Hayward, Consuming Pleasures, 65.
8 Hayward, Consuming Pleasures, 83.
9 Hayward, Consuming Pleasures, 57, 163.
10 Marie-Laure Ryan, Narrative as Virtual Reality 2—Revisiting Immersion and Interactivity in Literature and Electronic Media (Baltimore: Johns Hopkins University Press, 2015), 162-64.
11 Rafael Chandler, Game Writing Handbook (Boston: Charles River Media, 2007), 102.
12 Ryan, Narrative as Virtual Reality 2, 165-66.
13 Hayward, Consuming Pleasures, 83.
14 Before launching into their narrative progression, players of the Mass Effect franchise are asked to choose whether they want to control a male or a female avatar, and to determine some aspects of their personality.
15 John Walker, “What’s Right With Mass Effect 3’s Ending,” Rock, Paper, Shotgun (March 2012). https://www.rockpapershotgun.com/2012/03/19/whats-right-with-mass-effect-3s-ending/ <accessed July 14, 2020>
16 Sparky Clarkson, “Mass Effect 3’s Ending Disrespects its Most Invested Players,” Kotaku (April 2013). https://kotaku.com/5898743/mass-effect-3s-ending-disrespects-its-most-invested-players <accessed February 08, 2020>
17 Hayward, Consuming Pleasures, 83.
18 Clarkson, “Mass Effect 3’s Ending”
19 Jay David Bolter and Richard Grusin, Remediation. Understanding New Media (Cambridge [Mass.]: MIT Press Paperback, 2000), 65.
20 See below.
21 Geoff King and Tanya Krzywinska, “Film Studies and Digital Games,” in Understanding Digital Games, ed. Jo Bryce and Jason Rutter (London: SAGE Publications Ltd, 2006), 115.
22 See for instance the review by Sparky Clarkson, quoted above.
23 Greg Costikyan, “Where Stories End and Games Begin,” Costik (March 2003). http://www.costik.com/gamnstry.html <accessed February 08, 2020>
24 Kevin Flanagan, “Videogame Adaptation,” in The Oxford Handbook of Adaptation Studies, ed. Thomas Leitch (Oxford: Oxford University Press, 2017), 442.
25 Flanagan, “Videogame Adaptation,” 442.
26 For an assertive resolution of this opposition, see for instance Henry Jenkins, “Game Design as Narrative Architecture,” in First Person: New Media as Story, Performance, and Game, ed. by Noah Wardrip-Fruin, and Pat Harrigan (Cambridge [Mass.]: MIT Press, 2004), 118-119: “Not all games tell stories. […] Many games [however] do have narrative aspirations.”
27 Robert Stam, “Introduction: The Theory and Practice of Adaptation,” in Literature and Film. A Guide to the Theory and Practice of Film Adaptation, ed. Robert Stam and Alessandra Raengo (Malden: Blackwell Publishing, 2005), 23.
28 Will Brooker, “Camera-Eye, CG-Eye: Videogames and the ‘Cinematic’,” Cinema Journal 48, no. 3, (Spring 2009): 127.
29 Kamilla Elliott, Rethinking the Novel/Film Debate (Cambridge: Cambridge UP, 2003), 83-84.
30 Bolter and Grusin, Remediation, 96-99.
31 Elliott, Rethinking the Novel/Film Debate, 12.
32 Elliott, Rethinking the Novel/Film Debate, 189
33 Elliott, Rethinking the Novel/Film Debate, 190.
34 Alexis Kennedy, “Spoiler Alert: Game Endings are Harder than You Think. Knowing When to Stop,” Eurogamer (June 2016). http://www.eurogamer.net/articles/2016-06-18-spoiler-alert-game-endings-are-harder-than-you-think <accessed February 08, 2020>
35 King and Krzywinska, “Film Studies and Digital Games,” 122.
36 King and Krzywinska, “Film Studies and Digital Games,” 122.
37 King and Krzywinska, “Film Studies and Digital Games,” 122.
38 Hayward, Consuming Pleasures, 65.
39 Ryan, Narrative as Virtual Reality 2, 189.
40 Grodal, “Stories for Eye, Ear, and Muscles: Video Games, Media, and Embodied Experiences,” 145.
41 Grodal, “Stories for Eye, Ear, and Muscles,” 145.
42 Barry Atkins, “What Are We Really Looking at? The Future-Orientation of Video Game Play,” Games and Culture 1, no. 2, (2006): 137
43 Atkins, “Future-Orientation of Video Game Play,” 130.
44 Mathieu Triclot, Philosophie des Jeux Vidéo (Paris: Editions La Découverte, 2011), 18-19.
45 Grodal, “Stories for Eye, Ear, and Muscles,” 132.
46 Triclot, Philosophie des Jeux Vidéo, 22, my translation.
47 Triclot, Philosophie des Jeux Vidéo, 21, my translation.
48 Jesper Juul, “Introduction to Game Time,” in First Person. New Media as Story, Performance, and Game, ed. Noah Wardrip-Fruin and Pat Harrigan (Cambridge [Mass.]: MIT Press, 2004), 138.
49 Atkins, “Future-Orientation of Video Game Play,” 139.
50 See Hayward, Consuming Pleasures, 3.
51 Grodal, “Stories for Eye, Ear, and Muscles,” 148, original emphasis.
52 Grodal, “Stories for Eye, Ear, and Muscles,” 147.
53 Grodal, “Stories for Eye, Ear, and Muscles,” 148.
54 Grodal, “Stories for Eye, Ear, and Muscles,” 147, original emphasis.
55 Fanny Barnabe, “Le Speedrun: Pratique Compétitive, Ludique ou Créative? Trajectoire d’un Détournement de Jeu Vidéo Institué en Nouveau Game,” Interfaces Numériques 5, no. 3, (2016). http://www.unilim.fr/interfaces-numeriques/3113 <accessed February 08, 2020>
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