VIDEOGAMES: THE EMPTINESS AS NARRATIVE (CINEMATOGRAPHIC)
Contemporary videogames, particularly after the influence of Japanese designer Hideo Kojima, repeatedly use the emptiness in their narratives. We can observe this both plastically, in scenes that refer us to the traditional Japanese visual arts (which in turn have their origin in the Shinto emptiness), and conceptually, in scenes where there is a great amount of visual information but there is no vision of the "enemy". Mainly in the second case, the exploitation of extradiegetic space is common. Although both have their origin in the theater, the issues of the emptiness (plastic and conceptual) and the use of extradiegetical information, when we talk about video games, need to be thought coming from the cinema point of view.
VIDEOGAMES: THE EMPTINESS AS NARRATIVE (CINEMATOGRAPHIC)
-
DOI: 10.22533/at.ed.5582121107
-
Palavras-chave: Videogames; narrative; cinematographic; emptiness
-
Keywords: videogames; narrative; cinematographic; void
-
Abstract:
Contemporary videogames, particularly after the influence of Japanese designer Hideo Kojima, repeatedly use the void in their narratives. We can observe this both plastically, in scenes that refer us to the traditional Japanese visual arts (which in turn have their origin in the Shinto void), and conceptually, in scenes where there is a great amount of visual information but there is no vision of the "enemy". Especially in the second case, the exploitation of extradiegetic space is common. Although both have their origin in the theater, the issues of the void (plastic and conceptual) and the use of extradiegetical information, when we talk about video games, need to be thought coming from the cinema point of view.
-
Número de páginas: 8
- Carolina Vigna Prado
