Медиалог 13/2023
Medialog 13/2023
NARRATIVE AND EXPERIENCE IN HELLBLADE: SENUA’S SACRIFICE
Severina Stankeva
Резюме: Текстът разглежда наратива на видеоиграта „Хелблейд: Жертвоприношението на Сенуа“ през предложения от Жан-Ноел Тон триделен перспективистичен модел, като се фокусира върху третото му измерение – идеологическата перспектива. Той се стреми да покаже как елементите от геймплея, обикновено определяни като чисто лудически, притежават сериозна наративна роля. Играта успява да подмами играча, без да го лъже, уповавайки се на някои класически за видеоигрите отнасяния, като вярата в това, което се вижда и разказва, идентифицирането на играча с аватара и безкритичното приемане на инструкциите/информацията от играта като отнасящи се към неговите собствени действия, а не към тези на аватара. Идеологическата перспектива на героите в комбинация с така създадения „подвеждащ“ геймплей поставят под съмнение отношението игра-играч, като в същото време успяват по оригинален начин да накарат чрез дистанция от аватарa играчът да се почувства спрямо играта така, както героят се чувства в рамките на собствения си свят. Съответно ако геймплеят има послание, т.е. позволява да се семантизира независимо от и в конфликт с кинематографичните отрязъци в играта, то той сам функционира наративно и създава дисонанс, произтичащ от две различни и успоредно действащи форми на разказване.
Ключови думи: наратология, видеоигри, изваждащ дизайн, наративен дисонанс
Abstract: The text examines the narrative of the video game Hellblade: Senua’s Sacrifice through Jean-Noël Thon’s three-part perspectivist model, focusing on its third dimension – the ideological perspective. It states that the elements of the gameplay, usually defined as purely ludic, in fact play a prominent narrative role. The game manages to trick the player without lying to them by relying on classic video game relations such as believing in what is seen and told, the self-identification of the player with the avatar, and uncritically accepting the game’s instructions/information as relating to their own actions, not to those of the avatar. The ideological perspective of the characters combined with the thus created ‘misleading’ gameplay question the game-player relationship, while at the same time succeeding in an original way to distance the player from the avatar and ultimately succeeding to make the player feel towards the game as the character feels within in his own world. Accordingly, if the gameplay has a message, i.e., allows itself to be semanticized independently of and in conflict with the cinematic cuts in the game, it functions narratively and creates a dissonance resulting from two different and parallel forms of storytelling.
Keywords: narratology, video games, outmersive design, narrative dissonance
Използвана литература
AUSTIN, Jodie (2021). The hardest battles are fought in the mind: Representations of Mental Illness in Ninja Theory’s Hellblade: Senua’s Sacrifice. Game Studies, 21(4). http://gamestudies.org/2104/articles/austin
BERGE, PS (2021). Rotten and Possessed: Control and Hellblade: Senua’s Sacrifice as Models of Outmersive Game Design. Proceedings of the 32nd ACM Conference on Hypertext and Social Media, 35–44. https://doi.org/10.1145/3465336.3475094
CRAWFORD, Stella. (2019). The ways Hellblade: Senua’s Sacrifice represents psychosis. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-407525
FORDHAM, Joseph, & BALL, Christopher (2019). Framing Mental Health Within Digital Games: An Exploratory Case Study of Hellblade. JMIR Mental Health, 6(4), e12432. https://doi.org/10.2196/12432
FRASCA, Gonzalo (2001). Rethinking agency and immersion: Video games as a means of consciousness-raising. Digital Creativity, 12(3), 167–174. https://doi.org/10.1076/digc.12.3.167.3225
FUSDAHL, Thomas (2019). Vulnerability and Growth in Video Game Narratives: Approaches to Storytelling in Dark Souls 3 and Hellblade: Senua’s Sacrifice. https://ntnuopen.ntnu.no/ntnu-xmlui/handle/11250/2626670
NEITZEL, Britta (2013). Point of View und Point of Action – Eine Perspektive auf die Perspektive in Computerspielen (Том 4). Avinus. https://doi.org/10.25969/mediarep/622
THON, Jan-Noël (2006). Toward a Model of Perspective in Contemporary Computer Games Computer Games as Fictional Worlds. https://www.semanticscholar.org/paper/Jan-Noe%CC%88l-Thon%3A-Toward-a-Model-of-Perspective-in-as-Thon/daa8647f93ae4ad25c965060ef49eebff932ad17
Лудография:
Fallout (Interplay Productions, 1997), Fallout 2 (Interplay Productions, 1998), Fallout 3 ( Bethesda, 2008), Fallout 4 (Bethesda, 2015), Fallout: New Vegas (Obsidian, 2010)
Grand Theft Auto III (Rockstar North, Rockstar Games, Softclub, Capcom, Buka Entertainment, ak tronic Software & Services GmbH, 2002), Grand Theft Auto: Vice City (Rockstar North, neo Software Produktions GmbH,2002), Grand Theft Auto: San Andreas (Rockstar North, 2004), Grand Theft Auto IV (Rockstar North, Rockstar Toronto, 2008), Grand Theft Auto V (Rockstar games, Rockstar North, 2013)
God of War III (Santa Monica Studio, 2010)
Hellblade:Senua’s Sacrifice (Ninja Theory, QLOC, 2017)
The Talos Principle (Croteam, Devolver Digital, 2014)
The Witness (Thekla Inc., NVIDIA Lightspeed Studios, 2016)
Tomb Raider (Core Design, 1996), Tomb Raider II (Core Design, 1997), Tomb Raider: Underworld (Core Design, 2008), Tomb Raider: Guardian of Light (Core Design, 2010), Tomb Raider (Crystal Dynamics, 2013)
Северина Станкева е докторант по философия във Философския факултет на Софийския университет „Св. Кл. Охридски“. Интересите ѝ са в полето на наратологията, културологията, естетиката и съвременната философия.
Severina Stankeva is a PhD student in Philosophy at Philosophy Faculty at Sofia University. Her interests are in the field of narratology, cultural studies, aesthetics and contemporary philosophy.