The Game of Game of Thrones

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THE GAME OF GAME OF THRONES The Transmedial World of A Song of Ice and Fire and its Video Game Adaptations Winter School Transmedial Worlds in Convergent Media Culture University of Tübingen, February 24-28, 2014 Felix Schröter, University of Hamburg [email protected]

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"The Game of Game of Thrones. The Transmedial World of A Song of Ice and Fire and Its Video Game Adaptations". Presentation at the Winter School "Transmedial Worlds in Convergent Media Culture", February 24-28, 2014, University of Tuebingen.

Transcript of The Game of Game of Thrones

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THE GAME OF GAME OF THRONES

The Transmedial World of A Song of Ice and Fire and its Video Game Adaptations

Winter School Transmedial Worlds in Convergent Media Culture University of Tübingen, February 24-28, 2014!

!Felix Schröter, University of Hamburg!

[email protected]

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Overview

• (Almost No) Theory

• Looking For Games In All The Wrong Places

• Three Case Studies In Five Minutes

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(ALMOST NO) THEORY

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Medium-Specificity Thesis

“A transmedia story unfolds across multiple media platforms, with each new text making a distinctive and valuable contribution to the whole. In the ideal form of transmedia storytelling, each medium does what it does best [...]”

- Jenkins 2006, Convergence Culture, 95-96

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Medium-Specificity Thesis

“While it is clear that stories can be passed between a novel and a movie and back, it is also clear that not everything passes equally well.”

- Juul 2005, Half-Real, 48

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Medium-Specificity Thesis

“We do not want to claim that some media forms are better at presenting worlds than other, though we believe that each media form has particular advantages.”

- Klastrup/Tosca 2004, “Transmedial Worlds”, n. pag.

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Medium-Specificity Thesis*

Video games contribute to the representation of transmedial worlds in a medium-specific

way, relying on their distinctive combination of narrative, ludic, and social features.

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Limited Adaptability Thesis

“Most often, transmedia stories are based not on individual characters or specific plots but rather complex fictional worlds which can sustain multiple interrelated characters and their stories.”

- Jenkins 2007,“Transmedia Storytelling 101”, n. pag.

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Limited Adaptability Thesis

Mythos: the establishing conflicts and battles of the world

Topos: setting (history and geography)

Ethos: explicit and implicit ethics, world laws, characters' moral codex

- Klastrup/Tosca 2004, “Transmedial Worlds”, n. pag.

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Limited Adaptability Thesis

“However, the ultimate success of a transmedial cyberworld depends on how the designers are able to implement and expand on the mythos, topos and ethos of the ur-transmedial world.”

- Klastrup/Tosca 2004, “Transmedial Worlds”, n. pag.

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Limited Adaptability Thesis*

Not every transmedial world lends itself to being instantiated in every medium.

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(Almost No) Theory

• Medium Specificity Thesis

• Limited Adaptability Thesis

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If different media contribute to transmedial worlds in such a medium-specific way, that not every transmedial world is equally adaptable in every medium, then there must be some transmedial worlds that translate easily to

video games while others do not.

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Some fictions lend themselves particularly well to an adaptation as a video game, namely those

that feature a distinctive game logic.

(Almost No) Theory

The novel-based transmedial world of George Martin’s A Song of Ice and Fire is such a world.

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LOOKING FOR GAMES IN ALL THE WRONG PLACES

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What Is a Game?

“A game is a system in which players engage in an artificial conflict, defined by rules, that results in a quantifiable outcome.”

- Salen/Zimmerman 2004, Rules of Play, 83

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Narrative and Game Logic

“Such narratives reveal the arbitrariness of the particular choices made, and the possibility of making other combinations which would create alternative stories.”

- Kinder 2002, "Hot Spots, Avatars,and Narrative Fields Forever”, 6

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Narrative and Game Logic

“Die Figurengruppe eines Mehrfigurenspiels wird nicht […] aus den Merkmalen der Einzelfiguren konstituiert, sondern […] aus dem Spielziel, das unterschiedslos für die gesamte Figurengruppe gilt.”

- Venus 2007,“Teamspirit”, 314

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Narrative and Game Logic

“In contrast to most games, most narratives do not require algorithm-like behavior from their readers. However, narratives and games are similar in that the user, while proceeding through them, must uncover its underlying logic - its algorithm […] which the writer used to create the settings, the characters, and the events.”

- Manovich 2001,The Language of New Media, 225

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The Game of Game of Thrones

“When you play the game of thrones, you win or you die. There is no middle ground.” - Cersei Lannister, A Game of Thrones

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“The wars, the intrigues, the great bloody game, and me in the center of it.” - Tyrion Lannister, A Clash of Kings

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The Game of Game of Thrones

“Too many strange faces, […] too many new players. The game changed while I lay rotting in my bed, and no one will tell me the rules.” - Tyrion Lannister, A Storm of Swords

“I might have to remove her from the game sooner than I’d planned. Provided she does not remove herself first. […] In the game of thrones, even the humblest pieces can have wills of their own. Sometimes they refuse to make the moves you’ve planned for them.”

- Littlefinger, A Feast For Crows

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THREE CASE STUDIES IN FIVE MINUTES

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Game of ThronesCyanide/Atlus 2012

• action role-playing game

• set in parallel to A Game of Thrones

• gameplay alternating ‚chapter-based‘ between two protagonists

• focus on real-time combat, cut-scenes, dialogue, character progression

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Game of Thrones (Cyanide/Atlus 2012)!27

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Game of Thrones (Cyanide/Atlus 2012)!28

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Game of Thrones: AscentDisruptor Beam 2013-2014

• online/Facebook game

• spans 3 books (yet): A Game of Thrones –A Clash of Kings – A Storm of Swords

• focus on ‚social features‘, progression, time investment

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Game of Thrones: Ascent (Disruptor Beam 2013-2014)!30

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Game of Thrones: Ascent (Disruptor Beam 2013-2014)!31

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Game of Thrones: Ascent (Disruptor Beam 2013-2014)!32

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Game of Thrones: GenesisCyanide/Focus Home Entertainment 2011

• real-time strategy game

• starts 700 years before A Game of Thrones, but also covers books 1-3

• single- and multiplayer mode

• focus on resource management, underhand tactics, real-time combat

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Game of Thrones: Genesis (Cyanide/Focus Home Entertainment 2011)!34

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Game of Thrones: Genesis (Cyanide/Focus Home Entertainment 2011)!35

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Game of Thrones: Genesis (Cyanide/Focus Home Entertainment 2011)!36

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Three Case Studies in Five Minutes

Mythos

Topos

Ethos

Game Logic

Game of Thrones *Action RPG

Game of Thrones: Ascent *Online/Facebook

Game of Thrones: Genesis *RTS

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Some fictions lend themselves particularly well to an adaptation as a video game, namely those

that feature a distinctive game logic.

Three Case Studies in Five Minutes

The novel-based transmedial world of George Martin’s A Song of Ice and Fire is such a world.

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Thank you!

Felix Schröter [email protected]

felixjs www.felixschroeter.de