Videosguardi videoludici: la sua storia e le cinque notti = Eyes on video game screens: her story and five nights

IF 0.2 Q4 COMMUNICATION
Matteo Genovesi
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Abstract

Eyes on video game screens: her story and five nights. The ability to simultaneously manage large amounts of information on a screen has remained the core of the videogame medium and is associated with "multitasking", a term borrowed from computer science and used today in the most disparate areas. In every video game, this feature tends to alternate with "telescoping", a term borrowed from cognitive psychology, in which the user must focus on managing the current resources available while considering their possible future uses. There are some exceptions, however. This essay will examine "Her Story" (Barlow 2015) and "Five Nights at Freddy's" (Cawthon 2014), two video games based on the same core concept: the subjective look on screens, which is the primary activity for the main character and the constant ludic premise followed by a specific polarization of knowledge for the gamer. This essay will consider these two cases to argue that multitasking and telescoping should not necessarily be linked in an alternate process in the videogame medium, but that each of them can represent an autonomous process on which a different experience can be built, articulated on specific semantic characteristics.
videoguardi videoludici: la sua story e le cinque notti =眼睛盯着电子游戏屏幕:她的故事和五个晚上
眼睛盯着电子游戏屏幕:她的故事和五个夜晚。同时管理屏幕上大量信息的能力一直是电子游戏媒介的核心,并与“多任务处理”相关联,这是一个从计算机科学中借用的术语,如今用于大多数不同的领域。在所有电子游戏中,这一功能往往与“伸缩”交替出现,这是一个来自认知心理学的术语,即用户必须专注于管理当前可用的资源,同时考虑它们未来的可能用途。然而,也有一些例外。本文将研究“Her Story”(Barlow 2015)和“Five Nights at Freddy’s”(Cawthon 2014)这两款基于相同核心概念的电子游戏:屏幕上的主观外观,这是主角的主要活动,以及持续的搞笑前提,随后是玩家的特定知识极化。本文将考虑这两种情况,以证明多任务处理和伸缩不应该在电子游戏媒介的替代过程中联系在一起,但它们中的每一个都可以代表一个独立的过程,在这个过程中可以构建不同的体验,并根据特定的语义特征进行表达。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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