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RECORDS

  • Writer's pictureBhuvanesh Tekavade

Documentary & Serious Games

In this blog we will be looking at the following two articles:

  1. Can Games get Real? A Closer Look at “Documentary” Digital Game, by Ian Bogost; Cindy Poremba

  2. Abstracting Evidence: Documentary Process in the Service of Fictional Gameworlds, by Aaron Oldenburg


Can Games get Real? A Closer Look at “Documentary” Digital Game

This text turned out to be very interesting and descriptive. When talking about documentary games, I didn't think there was so much controversy and a lot to deal with. Like most documentaries, documentary games rely on the quality of the product and the liveliness of the content documented in it, with no intention of evoking any particular emotions to the viewer / user / player. This idea was the most important lesson for me from this text, as it has important implications for documentary game design.


The same principles can be applied to designers, just as the game does not have the right to explore the player's emotions. As a human being, designers have their own feelings and beliefs, which can lead to uncreatability or loss of credibility. Documentary game. However, in the defense of the designer, there is a difference between what is actually and what is perceived, unless one transcends the other (perception forces the reality / fact of the documentary event introduced). The artwork can be considered a documentary.



Abstracting Evidence: Documentary Process in the Service of Fictional Gameworlds

This text is a little more complicated and digs a little deeper into some philosophical questions. From there, we "extracted" the two that we felt were most relevant to the scope of the game (design) as an interactive media, as opposed to the original media format. The documentary has been transferred. The author found one of the most interesting sentences.


For successful fictitious documentary content, it is not always necessary to envision all deviations from the evidence collected by the designer." There are mistakes and not everything is predictable), supporting both designers (as the brain behind development) and players (as agents with free thinking and well-developed cognitive abilities). Characteristics and methods of recognizing data. Complementing these ideas, the phrase "creating questions in the minds of those involved in documentary materials helps to engage in important and important skills" is about the timeliness / factuality of perception. I support what I wrote for the above review. As a game, documentary games always have some player influence. That is, they cannot write or guess (100% accurately) their actions or thoughts.



Game - Every day the same dream

(Every day the same dream, Paolo Pedercini, 2009)


The game turned out to be a major critique of the daily life and depression that many workers are suffering from. The monotonous controls, looks, palettes, sounds, animations and designs all work well, starting the next day as if nothing has changed, regardless of the ending, to the experience people feel when they're lacking in motivation. Created the required balance. happy.


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