narrativeDiscourse


 * Narrative**: a story, humans often tell narratives as a means of sense making, or to better understand events, peoples, places, etc.
 * Discourse**: the vocabulary, expressions and style used to communicate

Don't be confused, though this page is called narrativeDiscourse its not about [|Narrative Discourse] **(Gérard Genette**), its about narrative and/or discourse theories

James Gee is best known for [|Discourse Analysis] - the ways that language/talk/discourse reflect cultural/political/societal models, he has more recently [|become involved in Digital Games Based Learning] (DGBL). The University of Wisconsin Madison hosts a number of other DGBL researchers including [|David Williamson Shaffer], [|Constance Steinkuehler] and [|Kurt Squire].

[|Art Graesser] Dr. Graesser's primary research interests are in cognitive science and discourse processing. More specific interests include knowledge representation, question asking and answering, tutoring, text comprehension, inference generation, conversation, reading, education, memory, expert systems, artificial intelligence, and human-computer interaction. He is currently editor of the journal [|Discourse Processes].

[|First Person: New Media as Story, Performance and Game] Noah Waldrip-Fruin (editor), Pat Harrigan (editor) "You have entered the rotunda of a gleaming, new conference center. Above you hangs a banner: 'Welcome to First Person.' In front of you, you see doors leading into separate conference rooms, each of which is marked with a sign in large, Futura Bold letters: 'Cyberdrama,' 'Ludology,' 'Simulation,' 'Hypertext and Interactives,' and so on. You soon discover that every room in this virtual conference called First Person is filled with informed discussion and lively controversy from major figures in the emerging field of Game Studies. Some are arguing that digital games (as the heirs of the novel and of film) constitute the next great arena for storytelling; others respond that games are not narratives at all and require a different theoretical framework and a new discipline. Still others are describing their own exciting contributions to interactive fiction, poetry, or visual/verbal art. By the time you return from this virtual tour of the world of Game Studies, you realize that all of these rooms (and all these topics) are connected in an intricate and compelling architecture of ideas. You begin to understand the rich possibilities that computer games offer. . . as drama, narrative, and simulation. You come to appreciate the great theoretical task that lies before us in exploring both the formal properties and the cultural significance of computer games." --**Jay David Bolter**, Wesley Professor of New Media, Georgia Institute of Technology (amazon review)

see the thread, [|Digital Games Based Drama], including discussions,
 * Drama and computer games**

Tony gives 4 ways in which games could be studied as drama: 1)Playing existing games. For example World of Warcraft. Note that the experience would be different in a role playing server. Second Life, for example what [|Intellagirl] is doing at Ball State University in creative writing Then there’s the Sims and many more games which give the player the opportunity to create their own narrative 2)[|Machinima] creating movies with games 3)Modding: modifying games. Many games come with level editors, you can re-skin games too, [|Gee says a little] on this. 4)Creating your own games, possibly the most versatile because you have complete control over the process but also the slowest.

He says games could be studied under the following media studies headings: //(thanks to Mr Michael Dezuanni, Film and Media Studies, Queensland University of Technology)// Languages: Representations: Technologies: Audiences: Institutions:

Kim Flintoff replies that her research is more narrow, titled “Drama Teacher as Games Master: developing digital games-based [|Process Drama] as performance.” and influenced by the ideas of [|Richard Florida] on the “Creative Economy”