Kinephanos. Revue d'études des médias et de culture populaire
type: channel
description: Kinephanos est une revue universitaire en ligne bilingue, inter- et multidisciplinaire, dont l’objectif est d’étudier les questions qui touchent de près ou de loin aux cultures et aux médias populaires. Les films et téléséries, les jeux vidéos, les technologies émergentes ainsi que la culture des fans constituent les principaux objets traités et analysés sur ce site. Vous y trouverez des articles qui proposent de comprendre les enjeux ainsi que la place de l’image et du son dans la culture populaire selon des approches variées. Les études cinématographiques et vidéoludiques, les études culturelles et médiatiques, les sciences humaines et la philosophie sont les disciplines favorisées. Veuillez noter que nous effectuons présentement une transition vers une nouvelle plateforme OJS et que certains numéros pourraient être inaccessibles. Pour les numéros publiés depuis 2020, vous pouvez les trouver sur la plateforme d'Érudit : https://www.erudit.org/en/journals/kinephanos/#back-issues.
language: fr-CA
publication name: Kinephanos. Revue d'études des médias et de culture populaire
issn: 1916-985X
items: Amour et haine de la marche
items: The Ambiguity of Casual Game Parodies
items: Wargame, Strategy, Action, and Multiplayer in the Early 1980s
items: The Interplay of Thematic and Ludological Elements in Western-Themed Games
items: Genre Troubles in Game Studies
items: Splendeur(s) et misère(s) des genres vidéoludiques
items: Game Engines and Game History
items: Interview with Warren Spector
items: Preserving Game History at The Strong’s International Center for the History of Electronic Games
items: Unrepresented and Under-represented Video Game History
items: The Casual Revolution of... 1987 Making Adventure Games Accessible to the Masses
items: Looking at the history of video games through the prism of ludicisation processes
items: The Construction of Civilization
items: Exhibiting The Hobbit
items: Conserving Portal
items: A History of Real-Time Strategy Gameplay From Decryption to Prediction
items: Arcade-Style Game Design – Pinball’s Connections to Coin-Op Videogames
items: The Ends of History and the Tyranny of the Algorithm
items: Techno-industrial celebration, misinformation echo chambers, and the distortion cycle
items: Anime’s Media Mix: Franchising Toys and Characters in Japan Minneapolis: University of Minnesota Press 2012
items: The Game Freaks Who Play With Bugs – In Praise of the Video Game Xevious
items: Pachinko
items: Formation et développement des cultures autour de la « Geemu ongaku » (1980-1990)
items: Playing (with) the Trace
items: Fold, Flip, Stick
items: Kawaii Japan: Defining JRPGs through the Cultural Media Mix
items: 8-Bit Manga: Kadokawa’s Madara, or, The Gameic Media Mix
items: Geemu, media mix, et les études du jeu vidéo au Japon
items: Les modalités de captation d’attention dans l’art immersif à l’ère de l’anthropocène
items: Éléments naturels et espaces immersifs dans les œuvres de Doug Aitken à l’ère de l’Anthropocène

Amour et haine de la marche
type: item
description: Le walking simulator fait l’objet d’une profonde controverse au sein des communautés de jeu. Ses détracteurs rejettent sa valeur et même sa place dans le paysage vidéoludique alors que ses défenseurs ne s’entendent pas sur la légitimité de son étiquette dénigrante. Ce texte se tâche d’historiciser l’émergence du walking simulator à l’aide d’une analyse discursive de quatre communautés vidéoludiques : les joueurs, les instances marketing, les concepteurs et la presse spécialisée. L’étude relève l’évolution et la cristallisation d’usages, significations et fonctions prévalentes de la dénomination «walking simulator » dans le paysage vidéoludique.
subject: Articles
  topic: section
subject: walking simulator
  topic: keywords
subject: genre de jeux vidéo
  topic: keywords
subject: analyse discursive
  topic: keywords
subject: Dear Esther
  topic: keywords
subject: DayZ
  topic: keywords
creator: Maxime Deslongchamps-Gagnon
rights: © 2019 https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2019-05-01
publication date: 2019-05-01
starting page: 137
ending page: 164

The Ambiguity of Casual Game Parodies
type: item
description: Cet article analyse trois parodies vidéoludiques (Cow Clicker, A.V.G.M. et Progress War) se moquant des défis simplistes et du système de récompense behavioral des jeux occasionnels à la FarmVille. À la lumière de théories sur la parodie, leurs éléments visuels, leurs mécaniques de jeu et leurs paratextes sont examinés de sorte à évaluer leur potentiel critique. La centaine de commentaires formulés par leurs joueurs sur des blogues et forums démontrent pour leur part qu’un bon nombre d’entre eux ne décèlent pas l’ironie de ces parodies ou ne parviennent pas à identifier leur cible. Dans la section discussion, la théorie de Bogost sur l’efficacité de la rhétorique procédurale est alors nuancée à partir de l’idée qu’une rhétorique visuelle ou textuelle doit l’appuyer pour qu’elle fonctionne. L’article remet par ailleurs en question la force subversive des parodies à l’étude en soulignant le fait qu’elles ne dénigrent pas seulement les mécaniques simplistes et manipulatrices des jeux occasionnels, mais aussi les joueuses à qui ces jeux s’adressent principalement et qui sont encore, à ce jour, marginalisées dans la culture vidéoludique. L’article développe enfin l’idée que les parodies de jeuxoccasionnels à la FarmVille ont perdu leur potentiel subversif depuis qu’elles ont proliféré et évolué vers un genre vidéoludique dénué de toute intention critique appelée « clicker games », « idle games » ou « incremental games ».
subject: Articles
  topic: section
subject: jeu vidéo
  topic: keywords
subject: genre
  topic: keywords
subject: parodie
  topic: keywords
subject: jeu occasionnel
  topic: keywords
subject: joueur occasionnel
  topic: keywords
subject: FarmVille
  topic: keywords
subject: jeu incrémental
  topic: keywords
subject: joueurse
  topic: keywords
subject: jeu à clique
  topic: keywords
creator: Gabrielle Trépanier-Jobin
rights: © 2019 https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2019-05-01
publication date: 2019-05-01
starting page: 103
ending page: 136

Wargame, Strategy, Action, and Multiplayer in the Early 1980s
type: item
description: De nombreux auteurs soulignent l’importance d’avoir un regard critique sur la classification des jeux. Dans les magazines de jeux vidéo de la décennie 1980, la combinaison des expressions « action », « arcade » ou « temps réel » avec le mot « stratégie » est fréquente. Mais les jeux de stratégie en temps réel de la décennie 1990 ne sont pas très similaires aux jeux de stratégie en temps réel des années 1980 : ce n’est pas la même jouabilité qui est décrite. Des micro-histoires de la jouabilité peuvent révéler de nouvelles perspectives sur les jeux de stratégie.
subject: Articles
  topic: section
subject: genres ludiques
  topic: keywords
subject: jeu de stratégie en temps réel
  topic: keywords
subject: jeu de stratégie
  topic: keywords
subject: décennie 1980
  topic: keywords
subject: histoire des jeux vidéo
  topic: keywords
creator: Simon Dor
rights: © Simon Dor (Auteur-e) 2019 https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2019-05-01
publication date: 2019-05-01
starting page: 74
ending page: 102

The Interplay of Thematic and Ludological Elements in Western-Themed Games
type: item
description: Le Far West a été produit et remédiatisé de nombreuses fois au cours des cent dernières années. Les jeux vidéo sont relativement nouveaux dans cette série de remédiations, distillant encore plus loin les éléments essentiels de l'Occident dans des scènes, des personnages et des modes de jeu archétypaux. Dans le prolongement de nos précédents travaux sur les genres, nous étudions une sélection de 31 jeux autour du thème du Far West, dans le but de révéler comment un thème fermement établi et codifié affecte la jouabilité. Un thème bien établi, tel que le Far West, se manifeste à des niveaux distincts selon le type de jeu - au minimum, ce thème agit comme une surface artificielle qui n'affecte en rien la jouabilité. À l'autre extrémité du spectre, le thème du Far West affecte tous les aspects d'un jeu, de sa présentation audiovisuelle au récit et aux actions à la disposition du joueur.
subject: Articles
  topic: section
subject: western (far west)
  topic: keywords
subject: genres vidéoludiques
  topic: keywords
subject: jeux vidéo
  topic: keywords
subject: thématisation
  topic: keywords
creator: Miikka Junnila
creator: Markku Reunanen
creator: Tero Heikkinen
rights: © 2019 https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2019-05-01
publication date: 2019-05-01
starting page: 40
ending page: 73

Genre Troubles in Game Studies
type: item
description: Cet article trace les grandes lignes d’une impasse dans les études du jeu que certains ont appelée « troubles du genre », et qui peut être attribuée aux discours universitaires ayant interrogé le concept de genre vidéoludique tout en reproduisant certains aspects du débat entre ludologie et narratologie. On peut distinguer deux axes d’argumentation et de recherche sur le genre dans le jeu vidéo : un axe ludologique dominant et une orientation agonistique, moins proéminente mais plus productive. Les avantages potentiels de l’approche agonistique pour enrichir et animer les études du genre vidéoludique sont rattachés à la communauté discursive des études du jeu ainsi qu’aux contextes intrinsèquement politiques dans lesquels le domaine se situe. Dans ce contexte, le trouble du genre n’est pas un obstacle à l’analyse générique, mais bien sa méthode.
subject: Articles
  topic: section
subject: genre
  topic: keywords
subject: études du jeu
  topic: keywords
subject: ludology
  topic: keywords
subject: agonisme
  topic: keywords
subject: action sociale
  topic: keywords
creator: Gerald Voorhees
rights: © 2019 https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2019-05-01
publication date: 2019-05-01
starting page: 16
ending page: 39

Splendeur(s) et misère(s) des genres vidéoludiques
type: item
description: À l’heure où le jeu vidéo s’est imposé comme un objet culturel majeur, la structuration de son histoire et la catégorisation générique de ses productions forment un important chantier qui reste encore à défricher par les études vidéoludiques. À ce titre, le dixième art a l’avantage de pouvoir prendre appui sur ses prédécesseurs qui ont constitué de puissants cadres d’analyse à partir desquels il est possible de cartographier le vaste territoire des genres. Dans le champ de la littérature par exemple, on peut citer des références incontournables telles que Introduction à la littérature fantastique (Todorov 1970), Kinds of Literature: An Introduction to the Theory of Genres and Modes (Fowler 1982) Théorie des genres (Genette et al. 1986) ou encore Qu’est-ce qu’un genre littéraire ? (Schaeffer 1989). L’analyse des genres trouve également écho du côté des théories du cinéma, notamment avec Theories of Film (Tudor 1979), Film/Genre (Altman 1999), Genre and Hollywood (Neale 2000) ou Les genres du cinéma (Moine 2002).
subject: Introduction
  topic: section
subject: genre vidéoludique
  topic: keywords
subject: histoire des jeux vidéo
  topic: keywords
creator: Hugo Montembeault
creator: Andréane Morin-Simard
creator: Jean-Charles Ray
creator: Pascale Thériault
creator: Bernard Perron
rights: © 2019 https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2019-05-01
publication date: 2019-05-01
starting page: 1
ending page: 8 (9-15)

Game Engines and Game History
type: item
description: I have a problem: it’s called preaching to the choir. Nobody here lacks faith in the history of games, and I can only hope that my talk will not reduce your enthusiasm. That realization eliminates the need for a homily on the value of historical studies. Instead, I will talk about the possibilities and promises facing the history of games as we plunge forward. What does history offer game studies and what might a history of games give back? These questions guide my thoughts at the end of this conference, which has given so much food for these thoughts.
subject: Articles
  topic: section
subject: historiographie
  topic: keywords
subject: moteur de jeu
  topic: keywords
subject: narration
  topic: keywords
subject: histoire du jeu
  topic: keywords
creator: Henry Lowood
rights: © 2014 https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2014-01-01
publication date: 2014-01-01
starting page: 179
ending page: 198

Interview with Warren Spector
type: item
description: Interview with Warren Spector conducted by Carl Therrien.
subject: Entrevues
  topic: section
subject: warren spector
  topic: keywords
subject: histoire du jeu vidéo
  topic: keywords
subject: archives
  topic: keywords
subject: institution
  topic: keywords
subject: préservation
  topic: keywords
creator: Carl Therrien
creator: Warren Spector
rights: © 2014 https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2014-01-01
publication date: 2014-01-01
starting page: 168
ending page: 178

Preserving Game History at The Strong’s International Center for the History of Electronic Games
type: item
description: How should a museum study and preserve the history of video games? The Strong faced that question in 2006 when it began to build its collection of video games and related materials. In tackling this question, The Strong developed approaches that reflect its own particular nature and its engagement with broader trends in historiography and preservation. This experience offers a model for other institutions looking to collect, interpret, and preserve materials documenting the history of video games.
subject: Articles
  topic: section
subject: histoire
  topic: keywords
subject: musée
  topic: keywords
subject: The Strong Museum of Play
  topic: keywords
subject: historiographie
  topic: keywords
subject: préservation
  topic: keywords
creator: Jon-Paul C. Dyson
rights: © 2014 https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2014-01-01
publication date: 2014-01-01
starting page: 162
ending page: 167

Unrepresented and Under-represented Video Game History
type: item
description: We present history as narrative to examine cause and effect, action and consequence, and the way these shape the subject of that history. Without these, what is the point of history? The desire for narrative structure influences research; one looks for connections between events, influences, motivations, shared origins, diverging alternatives, and closure to round off with. The dangers, of course, are that we see past things differently when we retroactively identify them as precursors, see concurrent events as competing or complementary instead of coincidence, see outcomes as endpoints, and find progressions where none exist. When narrative is given center stage, the result is often more journalistic than scholarly, and less useful even though it may be more memorable.
subject: Articles
  topic: section
subject: histoire
  topic: keywords
subject: narration
  topic: keywords
subject: données
  topic: keywords
creator: Mark J. P. Wolf
rights: © 2014 https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2014-01-01
publication date: 2014-01-01
starting page: 156
ending page: 161

The Casual Revolution of... 1987 Making Adventure Games Accessible to the Masses
type: item
description: At the turn of the 21st century, the video game industry became increasingly interested in catering to so-called "casual gamers”—that is players interested in easily accessible games requiring limited time, effort and expertise. In his book on the phenomenon, Jesper Juul (2010) has termed “Casual Revolution” the process that became particularly observable with the success of the broadly-reaching yet technically underwhelming Nintendo Wii console. If a revolution is the sudden disruption of an established state of affairs, this casual revolution should presuppose the existence of something like a “hardcore regime”. The book’s focus being on the revolution itself as well as casual game design, very little information is given on the status quo ante; only a general perception that video games used to be mostly designed for (and played by) dedicated young male fans.
subject: Articles
  topic: section
subject: jeu d'aventure
  topic: keywords
subject: révolution casual
  topic: keywords
subject: accessibilité
  topic: keywords
subject: histoire du jeu vidéo
  topic: keywords
creator: Jonathan Lessard
rights: © 2014 https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2014-01-01
publication date: 2014-01-01
starting page: 135
ending page: 155

Looking at the history of video games through the prism of ludicisation processes
type: item
description: Serious games, news games and persuasive games show that games today permeate numerous other spheres of activity previously considered as separate from the gaming sphere, thus reciprocally blurring the definition of what a game actually is. It seems clear that the characteristics and dichotomies which are habitually used to defined games now need to be put into some perspective. For example, a game is no longer necessarily part of an activity which is carefully separated from the rest of a player’s existence as argued by Caillois (1958) while omnipresent incitements to play games bombard users of all digital devices. The emergence of these new game forms has led to the break-up of the “canonical model” of games defined by Johan Huizinga (1951) and taken up by Caillois, a model which had however provided a robust structure for a large number of theoretical frameworks used in games studies (Schmoll, 2010) and within which games were defined according to a set of intrinsic criteria (unproductivity, freedom, separation from everyday life etc.). Conversely this emergence of previously unseen ludic phenomena has breathed new life into other approaches to games which had perhaps received less coverage in studies of the subject and particularly the ideas developed by Henriot (1989).
subject: Articles
  topic: section
subject: histoire
  topic: keywords
subject: ludification
  topic: keywords
subject: jeu
  topic: keywords
subject: jacques henriot
  topic: keywords
creator: Sébastien Genvo
rights: © 2026 https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2014-01-01
publication date: 2014-01-01
starting page: 119
ending page: 134

The Construction of Civilization
type: item
description: My approach in this paper is not a comprehensive history of Sid Meier’s Civilization series. I have little interest in reciting a general account of the series’ development or the early history of its developer Microprose, the company founded by Bill Steele and Sid Meier. My purpose is to provide a few methodological incursions into different, fragmentary pieces of the series history and engage with the games on technical, social and design-centric grounds not usually mentioned in general popular histories. I want to highlight the process of historical study and the many paths revealed in looking deeply into a computational object; seeing it situated in a design tradition and in the context its larger influence on a society of players.
subject: Articles
  topic: section
subject: civilization
  topic: keywords
subject: narrations historiques
  topic: keywords
subject: étude historique
  topic: keywords
creator: Eric Kaltman
rights: © 2014 https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2014-01-01
publication date: 2014-01-01
starting page: 105
ending page: 118

Exhibiting The Hobbit
type: item
description: The challenge of collecting and exhibiting videogames is a significant issue for contemporary museums. This paper provides a case study of Beam Software’s successful text adventure of the 1980s, The Hobbit, which offers some insight to the challenge of videogames for museums. The Hobbit is an exemplary text in this regard because it exists in so many variant forms, which raises questions about what/where/ and which one is the game.
subject: Articles
  topic: section
subject: le hobbit
  topic: keywords
subject: aventure textuel
  topic: keywords
subject: plateformes
  topic: keywords
subject: culture des joueurs
  topic: keywords
creator: Helen Stuckey
rights: © 2014 https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2014-01-01
publication date: 2014-01-01
starting page: 90
ending page: 104

Conserving Portal
type: item
description: As the History of Games International Conference has demonstrated, the past decade has seen an exponential rise in video game scholarship and preservation as video games edge their way into cultural institutions, most notably libraries, university archives, and museum collections. Commercially released video games were never intended to be collected for their historical significance, but their cultural impact is undeniable. The saturation of video games in contemporary culture is more evidence of their importance and validates their place in cultural institutions, including art museums. These institutions beginning to collect or acquire complex works, such as video games, are faced with new challenges from acquisition to exhibition to conservation. Conservation is particularly challenging because the choices a conservator or preservationist makes now will determine how, or even if, a video game is accessible to a future audience.
subject: Articles
  topic: section
subject: musée
  topic: keywords
subject: préservation
  topic: keywords
subject: conservation des jeux vidéo
  topic: keywords
subject: objet
  topic: keywords
subject: design
  topic: keywords
creator: Kristin MacDonough
rights: © 2026 https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2014-01-01
publication date: 2014-01-01
starting page: 74
ending page: 89

A History of Real-Time Strategy Gameplay From Decryption to Prediction
type: item
description: It is quite usual in strategy games to claim that strategies have a history of their own, chess being the canonical example (Murray 2002). The common strategies of a certain game change over time—often called the “metagame”— and can be retraced from a historical perspective. StarCraft II’s (Blizzard Entertainment, 2010-) community goes as far as to write histories of specific matchups (Alejandrisha et al. 2012), but every strategy game in some regards opens a space where gameplay can evolve.
subject: Articles
  topic: section
subject: histoire
  topic: keywords
subject: jeu de stratégie en temps réel
  topic: keywords
subject: énoncé actionnel
  topic: keywords
subject: règles
  topic: keywords
subject: mécaniques
  topic: keywords
creator: Simon Dor
rights: © 2014 https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2014-01-01
publication date: 2014-01-01
starting page: 58
ending page: 73

Arcade-Style Game Design – Pinball’s Connections to Coin-Op Videogames
type: item
description: One of the three main traditions applied to the study videogames within the humanities is the history and analysis of board games, card games, or games like Dungeons & Dragons. While by no means representing the totality of the authors' research and methods, books including this angle include Rules of Play (Salen/Zimmerman 2003), Game Design Workshop (Fullerton et al. 2004), and Challenges for Game Designers (Brathwaite/Schreiber 2009). Tabletop game traditions are unlike the other categories that I'll address in that they are oftentimes games primarily of strategic decision making rather than skillful real-time execution. That is, when I as a player choose to move a knight to a certain position, or play a particular poker hand, that decision is easily performed with complete accuracy, without risk of error from overshooting or undershooting the knight's move, or accidentally playing a different hand in cards. Where chance is involved it generally can be calculated beforehand as a fixed probability as when rolling dice, spinning a spinner, or considering what the other and next cards may be in poker.
subject: Articles
  topic: section
subject: histoire
  topic: keywords
subject: arcade
  topic: keywords
subject: pinball
  topic: keywords
subject: jouabilité
  topic: keywords
creator: Christopher Lee DeLeon
rights: © 2014 https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2014-01-01
publication date: 2014-01-01
starting page: 43
ending page: 57

The Ends of History and the Tyranny of the Algorithm
type: item
description: In his sequel to the hitchhikers guide to the galaxy, Douglas Adams (1980) described the ideal place where media historians can go for a night out on the town. It is called Milliway’s, the Restaurant at the End of the Universe. Here guests travel to the edge of the time-space continuum to enjoy rare and exotic dishes while watching the universe destroyed at the end of history. It is easy to see why this is the preferred dining spot of many historians, for it is here that the Janus gods of historians -- Temporality (Chronos) and Necessity (Ananke) – become one. At the end of the universe, all events become inevitable and the problem of an uncertain (and contested) future disappears from the world (like the elves leaving Middle Earth).
subject: Articles
  topic: section
subject: histoire
  topic: keywords
subject: algorithme
  topic: keywords
subject: pensée critique
  topic: keywords
subject: jeu
  topic: keywords
creator: Stephen Kline
rights: © 2014 https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2014-01-01
publication date: 2014-01-01
starting page: 12
ending page: 42

Techno-industrial celebration, misinformation echo chambers, and the distortion cycle
type: item
description: What is the object of video game history? If we are to believe many of the journalistic accounts published in the last 20 years, the answer to that question appears to be painfully obvious.
subject: Introduction
  topic: section
subject: histoire du jeu vidéo
  topic: keywords
subject: historiographie
  topic: keywords
subject: révolution
  topic: keywords
subject: ludification
  topic: keywords
creator: Carl Therrien
creator: Martin Picard
rights: © 2014 https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2014-01-01
publication date: 2014-01-01
starting page: 1
ending page: 11

Anime’s Media Mix: Franchising Toys and Characters in Japan Minneapolis: University of Minnesota Press 2012
type: item
description: Coming from University of Minnesota Press, Anime’s Media Mix: Franchising Toys and Characters in Japan (2012) continues the publisher’s tradition of releasing academic books on anime and Japanese popular culture, such as the annual journal Mechademia (2006– today), Thomas Lamarre’s The Anime Machine: A Media Theory of Animation (2009) and translated works from Japanese such as Hiroki Azuma’s Otaku: Japan’s Database Animals (2009) and Saitô Tamaki’s Beautiful Fighting Girl (2011). In Anime’s Media Mix, Marc Steinberg sets out to explore the links weaving together media, characters and toys in Japan since the 1960s. To do so, he chooses as his centerpiece example the transmedial movements of the character Atomu (also known as Atom or Astro Boy in English), the protagonist of the Tetsuwan Atomu manga and its anime adaptation that first aired in 1963. In what Steinberg describes as a “major historical coincidence,” 1963 is also the year that the term media mix entered the marketing lexicon in Japan (p. 138).
subject: Compte rendu
  topic: section
subject: anime
  topic: keywords
subject: média mix
  topic: keywords
subject: japon
  topic: keywords
subject: études des fans
  topic: keywords
creator: Frédéric Clément
rights: © 2015 https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2015-12-01
publication date: 2015-12-01
starting page: 202
ending page: 210

The Game Freaks Who Play With Bugs – In Praise of the Video Game Xevious
type: item
description: In 1967, the large-scale American amusement device manufacturer Williams and Company4 released a pinball machine by the name of Shangri-La. In the history of pinball, 1967 was the time when cabinets were already approaching their full maturity. First manufactured in the middle of the 1930s, pinball machines evolved at a similar pace to that of the economic growth in the United States. It is during this period that they thrived to the point of becoming one of the representative devices of electromechanical game machines alongside bingo and slot machines.
subject: Traduction
  topic: section
subject: jeu vidéo
  topic: keywords
subject: xevious
  topic: keywords
subject: tibet
  topic: keywords
subject: histoire du jeu vidéo
  topic: keywords
subject: japon
  topic: keywords
creator: Nakazawa Shin'ichi
creator: Jérémie Pelletier-Gagnon
creator: Tsugumi Okabe
rights: © 2015 https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2015-12-01
publication date: 2015-12-01
starting page: 175
ending page: 201

Pachinko
type: item
description: Like the film critic Donald Richie, most Westerners visitors to Japan who notice pachinko are overwhelmed by it. Roland Barthes, in his book on Japan, Empire of Signs, devotes a short chapter to this “collective and solitary game.” (Barthes, 1982, p. 27) Once you notice pachinko you discover parlours everywhere occupying the prime real-estate at the intersections of major thoroughfares in Japanese cities. These parlours have large and glittery entrances inviting you into a space of play unlike the arcades. You are assaulted by the noise of thousands of steel balls falling through pins, and the grey smell of cigarettes burning in the small ashtrays at each console. You walk down rows of brightly decorated vertical consoles, careful not to trip on the trays of shiny balls won by players, and young aides greet you politely while you try to figure out this popular game.
subject: Articles
  topic: section
subject: jeu vidéo
  topic: keywords
subject: pachinko
  topic: keywords
subject: collection
  topic: keywords
subject: arcade
  topic: keywords
subject: pinball
  topic: keywords
creator: Geoffrey Rockwell
creator: Keiji Amano
rights: © 2015 https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2015-12-01
publication date: 2015-12-01
starting page: 161
ending page: 174

Formation et développement des cultures autour de la « Geemu ongaku » (1980-1990)
type: item
description: Cet article tente d’analyser l’histoire et la diffusion de la « game ongaku » (ou musique vidéoludique) au Japon. Malgré leur rôle essentiel dans la formation de la culture musicale des jeux vidéo japonais, deux thèmes peu abordés dans les recherches occidentales axent cette analyse : le développement de la culture vidéoludique en salle d’arcades et la naissance de la série Dragon Quest en jeu console. L’objectif : démontrer comment deux phénomènes d’une même période – années 1980 – mais de contextes différents ont définitivement établi un «âge d'or»de la musique vidéoludique japonaise et posé les fondations de ce qui deviendra la culture musicale nippone moderne.
subject: Articles
  topic: section
subject: jeu vidéo
  topic: keywords
subject: musique
  topic: keywords
subject: Japon
  topic: keywords
subject: arcade
  topic: keywords
subject: Dragon Quest
  topic: keywords
creator: Mathieu Barbosa
creator: Yôhei Yamakami
rights: © 2015 https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2015-12-01
publication date: 2015-12-01
starting page: 142
ending page: 160

Playing (with) the Trace
type: item
description: Cet article développe la manière dont les traces résiduelles de l'origine nationale d'un jeu vidéo, parfois négligées ou ignorées en raison de financement limité, peuvent être une partie éthiquement responsable de la localisation du jeu vidéo lorsque l'objectif d'une localisation n'est pas seulement l'immersion, une adaptation totale et des considérations financières, mais de la génération d'interactions culturelles. Cet article propose que les moments d'incongruité, lorsqu'un joueur rencontre (de façon inconfortable) des traces résiduelles, sont un aspect positif de la circulation culturelle par le fait qu'ils aident les joueurs à apprendre comment devenir des citoyens hybrides. Loin d'être des défaillances de la localisation, comme le prétendent les professionnels de l'industrie, cet article précise comment ces traces devraient être vues comme des succès d'une pratique responsable de la localisation.
subject: Articles
  topic: section
subject: localisation
  topic: keywords
subject: traduction
  topic: keywords
subject: interface
  topic: keywords
subject: jeux vidéo
  topic: keywords
subject: japon
  topic: keywords
subject: frontières
  topic: keywords
creator: Stephen Mandiberg
rights: © 2015 https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2015-12-01
publication date: 2015-12-01
starting page: 111
ending page: 141

Fold, Flip, Stick
type: item
description: La série Paper Mario de Nintendo est, au niveau esthétique et mécanique, centrée autour des interactions entre le plat et le solide; à son centre s'y trouve un esprit ludique axé sur la dimensionnalité et mettant l'accent sur non seulement sur le bidimensionnel ou la tridimensionnel, mais sur une dimensionnalité 2.5. A travers ce filtre, j'analyse chacun des quatre jeux vidéo de la série Paper Mario, ainsi que leurs prédécesseurs et leurs produits associés. Cette dimensionnalité 2.5, constamment thématisée dans ces jeux, nous permet de penser une conception plus holistique du "média mix", une conception qui brise non seulement les distinctions entre différents médium, mais aussi entre les mondes "intérieurs" et "extérieurs" aux jeux eux-mêmes.
subject: Articles
  topic: section
subject: jeux vidéo
  topic: keywords
subject: média mix
  topic: keywords
subject: Nintendo
  topic: keywords
subject: Mario
  topic: keywords
subject: dimensionnalité
  topic: keywords
creator: Andrew Campana
rights: © 2015 https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2015-12-01
publication date: 2015-12-01
starting page: 77
ending page: 111

Kawaii Japan: Defining JRPGs through the Cultural Media Mix
type: item
description: Malgré de fréquentes références au genre vidéoludique connu sous le nom de JRPG (Japanese role-playing game ou jeu de rôle à la japonaise) dans les travaux académiques et des fans, très peu de recherches rigoureuses furent dédiés à comprendre comment conceptualiser ce genre. Fréquemment, les JRPGs sont présenté comme une curiosité culturelle, le « J » opérant comme annexe culturel vers le genre du RPG lui-même établi et bien définit. La coordination entre gouvernement et industrie, centrale au « soft power », offre, par contre, un aperçu de la construction de ce genre en mettant l’accent sur le rôle joué par le marché au niveau de la promotion de la culture. S’inspirant de la représentation et du discours relié au sexe dans le programme Cool Japan du MEXT, cet article propose que le JRPG doit être comprit comme une partie élémentaire d’une écologie créative plus vaste qui vient à définir le Japon et sa culture outre-mer.
subject: Articles
  topic: section
subject: écologie créative
  topic: keywords
subject: jeux de rôle japonais
  topic: keywords
subject: kawaii
  topic: keywords
subject: jrpg
  topic: keywords
subject: média mix
  topic: keywords
subject: soft power
  topic: keywords
creator: Douglas Schules
rights: © 2015 https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2015-12-01
publication date: 2015-12-01
starting page: 53
ending page: 76

8-Bit Manga: Kadokawa’s Madara, or, The Gameic Media Mix
type: item
description: I would like to take the liberty of opening this article in this important journal special issue on the “Geemu et/and media mix” with a reflection on the title of my 2012 book, whose subject in many ways intersects with that of this special issue: Anime’s Media Mix: Franchising Characters and Toys in Japan.
subject: Articles
  topic: section
subject: anime
  topic: keywords
subject: media
  topic: keywords
subject: japon
  topic: keywords
subject: manga
  topic: keywords
subject: media mixte
  topic: keywords
creator: Marc Steinberg
rights: © 2015 https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2015-12-01
publication date: 2015-12-01
starting page: 40
ending page: 52

Geemu, media mix, et les études du jeu vidéo au Japon
type: item
description: Il est possible d’affirmer sans crainte que l’apport du Japon dans le développement de l’industrie du jeu vidéo est indéniable. Néanmoins, malgré l’impact de jeux et séries tels que Super Mario Bros. (Nintendo, 1985-), Final Fantasy (Square Enix, 1987-) ou Pokémon (Nintendo, 1995-), les enjeux spécifiques du jeu vidéo japonais (terebi geemu ou simplement geemu en japonais) ont su seulement provoquer l’intérêt d’un petit groupe de fans.
subject: Introduction
  topic: section
subject: jeu vidéo
  topic: keywords
subject: japon
  topic: keywords
subject: geemu
  topic: keywords
subject: loisir
  topic: keywords
creator: Martin Picard
creator: Jérémie Pelletier-Gagnon
rights: © 2015 https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2015-12-01
publication date: 2015-12-01
starting page: 1
ending page: 19 (20-39)

Les modalités de captation d’attention dans l’art immersif à l’ère de l’anthropocène
type: item
description: Notre attention, ciblée par la société hyperindustrielle (Bernard Stiegler) est l’objet d’une économie (Yves Citton), et ses modalités de capture prennent la forme de stratégies anéantissant « (...) les processus d’individuation psychique et collective qui caractérisent la vie de l’esprit. » (B. Stiegler). Nous observerons comment les artistes actuels, par leurs dispositifs immersifs, captent notre attention sur ces phénomènes disruptifs et ces stratégies de désindividuation de l’humain. Avec Tino Sehgal, la captation devient un mode de création prompt à remplir l’espace du Palais de Tokyo de poésie visuelle, sonore, et de récits imaginaires. Le spectacteur devient l’un des rouages d’une immense « machinerie » performative, entraîné par des acteurs performers à vivre différentes expériences immersives gratifiantes, teintées derelations interhumaines. Pour Maurizio Cattelan le détournement d’attention est employé comme un procédé de captation qui retarde la perception pour, in fine, nous sidérer, et dénoncer des politiques génocidaires. Piéger le spectateur au cœur même d’un white cube scénarisé, tout en choquant sa conscience, revient à l’alerter sur les dangers de la désindividuation produite par « un monde sans ombre, illuminé 24/7, amputé de l’altérité (...). » (Jonathan Crary). Enfin, à l’ère de l’anthropocène, de la disruption sociétale et de la dénoétisation planifiée par l’industrie culturelle, une alternative humaniste en marge des marchés spéculatifs internationaux, celle de la société des Nouveaux commanditaires, réhabilite l’individu psychique. Le spectateur-citoyen y est instauré en coauteur d’une œuvre fondée sur « la confiance pour s’entendre et non plus par un acte d’autorité. » (François Hers).
subject: Articles
  topic: section
subject: anthropocène
  topic: keywords
subject: attention
  topic: keywords
subject: individuation
  topic: keywords
subject: disruption
  topic: keywords
subject: dispositif immersif
  topic: keywords
creator: Mehrez Abassi
rights: © 2020 https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2020-03-01
publication date: 2020-03-01
starting page: 116
ending page: 142

Éléments naturels et espaces immersifs dans les œuvres de Doug Aitken à l’ère de l’Anthropocène
type: item
description: Au-delà d’une nouvelle ère géologique, l’Anthropocène est également une expérience et un imaginaire détournés par les artistes visuels et plasticiens contemporains. Depuis la fin du XXe siècle, des artistes, comme Doug Aitken, s’interrogent sur le rapport du visiteur de musée à l’œuvre, à son environnement. Ils créent des installations audiovisuelles ainsi que desenvironnements à partir d’éléments naturels, de faune et de flore, pour positionner le visiteur dans une situation d’immersion corporelle, visuelle et mentale afin de lui faire prendre conscience des phénomènes liés à l’écoulement du temps et aux limites de notre perception.
subject: Articles
  topic: section
subject: anthropocène
  topic: keywords
subject: installation
  topic: keywords
subject: Doug Aitken
  topic: keywords
subject: environnement
  topic: keywords
subject: immersion
  topic: keywords
creator: Marie-Laure Delaporte
rights: © 2020 https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2020-03-01
publication date: 2020-03-01
starting page: 101
ending page: 115