Expectativas (in)satisfechas. Controles deliberadamente incómodos como relato de lo cotidiano, lo personal y lo íntimo desde el diseño de juegos

  1. Lara Sánchez Coterón 1
  1. 1 Facultad Bellas Artes de la Universidad Complutense MadridExpectativas (in)satisfechas. Controles deliberadamente incómodos como relato de lo cotidiano, lo personal y lo íntimo desde el diseño de juegosLara Sánchez Coterón(*)Fecha de recepción: marzo 2023Fecha de aceptación: abril 2023Versión final: mayo 2023
Journal:
Cuadernos del Centro de Estudios en Diseño y Comunicación. Ensayos

ISSN: 1853-3523,  1668-0227

Year of publication: 2023

Issue Title: Quinto Cuaderno de Game Studies Tiempo de consolidaciones

Issue: 189

Pages: 17-31

Type: Article

DIALNET GOOGLE SCHOLAR lock_openDialnet editor

More publications in: Cuadernos del Centro de Estudios en Diseño y Comunicación. Ensayos

Abstract

This paper explores the critical potentiality of deliberately awkward game controls, beyond the mostly humorous uses, when in conjunction with wacky physics. The research intends to raise questions about the normative uses of game design in relation to the input-output features of the game system, us-ing the concept of game feel, exposed by Steve Swink in 2008, as a frame of refer-ence. Also questioning the value of quality design that arises from this concept.The work presents two projects by experimental women game designers, Beach Date(2018) by Nina Freeman and Consume Me (in development) by Jenny Jiao Hsia, which from personal and everyday stories show the possibilities of generating meaningful expe-riences with emotional weight by using dysfunctional game controls.

Bibliographic References

  • Citas Ahmed, S. (2006). Queer Phenomenology: Orientations, Objects, Others. Duke University
  • Press. Anable, A. (2018). Playing with Feelings: Video Games and Affect. University of Minnesota Press.
  • Barr, P. (2016). Critical Jostling. G|A|M|E Games as Art, Media, Entertainment, 1(5). https://www.gamejournal.it/?p=2898
  • DeJong, S. (Anfitrión), Lajeunesse, M. (Anfitrión), & Zanescu, A. (Anfitrión) (2021). How is Humor Structured? Humour and Games (2020). Technoculture, Art and Games (TAG)
  • Research Center. Concordia University, Montréal. (S1E3) [Episodio de Podcast]. En Humour and Games. Spotify https://open.spotify.com/episode/7Ev1R86odmRya8em0jvDVw?si=a084f32473114d6e
  • Dunne, A. (2005). Hertzian tales: Electronic products, Aesthetic Experience, and Critical Design. MIT Press.
  • Gray, K. (2020). Intersectional Tech: Black Users in Digital Gaming. Louisiana State University Press.
  • Green, B. (2 de junio de 2005). One Button Games. Game Developer. https://www.gamedeveloper.com/design/one-button-games
  • Grönroos, A.-M. (2013). Humour in Video Games. Play, Comedy, and Mischief. University School of Art, Design and Architecture. Aalto University.
  • Haraway, D. J. (1991). Simians, Cyborgs, and Women. The Reinvention of Nature. Routledge.
  • Isbister, K. (2016). How Games Move Us. Emotion by Design. MIT Press.
  • Salen, K., & Zimmerman, E. (2004). Rules of play: Game design fundamentals. Mit Press.
  • Shinkle, E. (2005). Feel It, Don’t Think: The Significance of Affect in the Study of Digital Games. Digital Games Research Association DiGRA. http://www.digra.org/wp-content/uploads/digital-library/06276.00216.pdf
  • Suits, B. H. (2005). The Grasshopper: Games, Life, and Utopia. Broadview Press.
  • Swink, S. (2008). Game Feel: A Game Designer’s Guide to Virtual Sensation. Routledge.
Data source: Dialnet