This article compares LUNA’s in-game library to real-world libraries and examines the influences of real-world library design in the game. I also discuss the puzzle and how it turns the player and characters into various library roles and librarian models, such as patron, reference desk librarian, and roaming librarian. Finally, Lai discuss the trope of the magical library, and how this trope allows audiences to appreciate the library as a place of mystery, as well as place of knowledge.
The analogy is imperfect, but if we compare that difference in progression style between the epics to the different kinds of scenario deck(s) in the LCGs, and the difference among books (really, more properly, oimai [‘threads’]) within the epics to the different mechanics in each game among differing scenarios, the broad shape of a comparison begins to appear.
The LCG’s unique way of doing epic — that is, of allowing its player to perform their own recomposed elaborations of the storyworlds’ narrative materials — stems from the nexus of the ludic and the narrative to be found in these scenario-making cards. There’s a deceptively simple comparison to be made with what we know as the books of the Iliad and the Odyssey, which almost certainly originate in individual songs that a bard might have sung on a given occasion.
Distorted takes on indigenous culture and experience abound in games – some egregious, others more subtle. As we will see, some developers even strive to challenge colonialist assumptions; yet, many of the design and narrative choices they make remain problematic. Challenging these blinders will require a new set of game development practices, based on direct collaboration with indigenous developers.
The historical problem space framework (HPS) is a holistic, medium-sensitive, design-focused framework for analyzing and understanding, designing, and teaching with historical games. It is, above all, meant to focus practically on how designers craft historical games, based on an understanding that games are mathematical, interlocking, interactive (playable) systems.
Let’s start with the cards themselves. They work like epic formulae (e.g. the “cunning” in “cunning Odysseus”) but with game-mechanics, and with pictures, some of them lovely and some merely serviceable. In homeric epic, certain formulae — the epithets every student remembers, like podas okus “swift-footed,” periphron “thoughtful,” and polumetis
This is a guest post by Alvina Lai. Alvina holds an MS in Library and Information Science from Pratt Institute, and a BFA in Photography and BA in Creative Writing from The New School. Their writing appears in The Mary Sue, Brooklyn Botanic Garden, and the NYT’s “Metropolitan Diary”; all
As I discussed in my previous article, the idea that there is a direct, linear relationship between science and technology, also known as the “assembly line” model favored by policymakers (Kline, 1995), though often taken for granted in videogame mechanics, doesn’t stand up to even a passing glance at history.
Science is a fairly significant element in strategy games. Some, like Civilization, even feature a “Science Victory” as one means of winning, making science not just a means to an end, but an end in itself. In pretty much any game with a central tech tree mechanic, investing in science
This interview is the part three of a three-part series on teaching historical game studies at the undergraduate level, and the second half of our interview with Julien Bazile. In this interview, we discuss with Julien his research into Ubisoft’s Assassin’s Creed franchise, the use of historical sources in game