http://hdl.handle.net/11089/19421 2026-04-04T10:20:50Z http://hdl.handle.net/11089/19483 El Presidente doświadcza. Mechanizmy kapitalizowania produktywności graczy w seriach „Tropico”, „Torchlight” oraz Diablo” Felczak, Mateusz In popular economic discourse, productivity is the ratio of the value of manufactured goods to the initial input. In games, the input can be placed on the players’ side: players invest their time, financial resources, and cultural capital in order to achieve certain benefits, which are “produced “ in the course of the game. The status of this benefit is dependent on the context, but developers make such players’ productivity a key strategy used in promoting and maintaining a game and its fan base. The paper analyses three games: "Tropico III", "Diablo III" and "Torchlight II", in the context of ideological underpinnings of game mechanics that support the notions of using fan’s free labour, taking advantage of their non-game activities via the auction house and forcing them to internalize neo-colonial stance, respectively. 2015-01-01T00:00:00Z http://hdl.handle.net/11089/19481 What Will Be the Future of the Past? Report from ARCHIVES OF/FOR THE FUTURE The NECS 2015 Conference Chojnacki, Marcin M.; Staszenko, Dominika 2015-01-01T00:00:00Z http://hdl.handle.net/11089/19480 Wyjątkowość doświadczenia śmierci w artystycznych grach wideo Strużyna, Hanna; Strużyna, Andrzej Video games present different meanings of death than those conditioned by social and cultural contexts. Most games treat the motif of death instrumentally. Therefore, death is usually a norm and a rule in typical video games. However, art games present a different sense of death, one that defies its conventional meanings. The article analyses the different presentations of death in three art games: "Passage" (Rohrer, 2007), "The Graveyard" (Tale of Tales, 2008) and "Queers in Love at the End of the World" (Anthropy, 2013). These productions prove that video games are an excellent medium to offer players a deep emotional experience, which can also encourage taking a fundamental and more profound reflection on the meaning of life and death. 2015-01-01T00:00:00Z http://hdl.handle.net/11089/19478 Zasady przeciw immersji. Zaangażowanie w narrację i zaangażowanie w system formalny gry Petrowicz, Marcin Rules and narratives in video games had a complicated relationship for many years. In game studies this conflict became evident in ludology versus narratology debate, in video game culture critics and players talk about ludo-narrative dissonance. Both of those phenomena express the popular belief that rules and story in videogames oppose each other, that strategic or tactical engagement and narrative immersion cannot coexist in one game. The following article confronts the problem of, supposedly, opposing types of engagement. To understand different aspects of engagement several concepts of immersion are recalled, beginning with those rooted in literary studies by Janet H. Murray, Marie-Laure Ryan and Katarzyna Prajzner, through game specific concept of Laura Ermi and Frans Mäyrä to post-immersion concepts of Gordon Calleja. In the next section of the paper two analyses of specific types of engagement are presented: game formal system engagement in Angry Birds [Rovio Entertainment, 2009] and narrative immersion in The Walking Dead series [Telltale Games, 2012]. The article concludes with a list of mechanical features of a video game that facilitates either engagement in formal system of the game or game’s narrative. 2015-01-01T00:00:00Z