The category of "making the stream of play" was the core category, and was related to the other three categories. The categories were: (a) making the flow of play, (b) waiting for the children's spontaneous participation, (c) tnaking self-maintenance, and (d) accumulating experiences. The analysis generated 4 categories and 14. The data were analyzed using the modified grounded theory approach. Nursery school teachers (JV -10) were interviewed with semi-structured interviews. The purpose of the present study was to clarify the frame of thc guidance process used by nurserv school teachers during tag games played by the classes of 5- year-olds that they were in charge of. They are essentially concerned with spatial representation and negotiation, and therefore a classification of computer games can be based on how they represent space. It starts by expanding this claim: Spatiality is the defining element in computer games. The article at hand defends the claim that spatiality is a central theme in computer games. Simulation is also a way to explore the partly unknown, to test models and hypotheses, and thus to construct and acquire new knowledge in a way narrative never could. Now, however, the mode of simulation is sued as an effective pedagogical tool that privileges active experimentation with its subject material rather than observation. And perhaps most importantly, computer games represent a new mode of aesthetic as well as social discourse, an alternative to the narrative, which has been the leading paradigm until now: the primary means to convey knowledge and experience. Prosthetic telepresence offers – and indeed demands – full perceptual immersion, yet is not dependent on technologies of audiovisual immersion.Ĭomputer games are undoubtedly the most diverse and fast-changing cultural genre that ever existed. Prosthetic telepresence operates at the ground level of the phenomenology of the body, and does not rely on imagination or fictionality. This displacement of our visual perceptual apparatus through prosthetic avatars creates a distinctive kind of prosthetic telepresence, a phenomenon that nineteenth-century philosophy could not imagine or foresee. In this way, the navigable camera, extending from the player’s eyes and fingers, re-locates the player’s bodily self-awareness – the immediate sense of “here” as opposed to “there” – into screen space. In navigable 3D environments, the main “body” of the avatar, in the phenomenological sense, is not the controllable marionette itself (for example Mario or Lara), but the navigable virtual camera, which becomes an extension of the player’s locomotive vision during play. Because they act as proxies or stand-ins for our own body within the gameworld, prosthetic avatars are crucially different from more familiar kinds of bodily extensions, like tools or musical instruments. The core idea is that when we play, directly controllable avatars like Mario or Lara Croft, as well as racing cars or other kinds of controllable vehicles, function as prosthetic extensions of our own body, which extend into screen space the dual nature of the body as both subject and object. In this paper I will give a phenomenological account of embodied presence through computer game avatars, based on Maurice Merleau-Ponty’s analysis of bodily intentionality, bodily space and bodily extensions (2002 ). In addition, this paper suggests that Hollow Knight can be considered as a playable world with gameplay's constraints and opportunities that need to be respected in order for the player to get forward in the game. Given these observations, the analysis finds that in Hollow Knight the playable character is a prosthetic extension of the player's body and that in term of spatiality, the game fits perfectly the characteristics of the genre Metroidvania and presents transformations of topographic space into topologic space. Finally, it will consider the shift from game spaces to playable worlds. Later, this paper also tackles the specificity of two-dimensional games and games played as single-player. The paper is divided in three parts (Avatar, Playability and Spatiality) that encompass first the concept of bodily-intentionality (body as object and subject), then bodily space (proprioceptive frame, egocentric frame, alleocentric frame) and finally, bodily extensions (the place of technology). This paper critically analyzes the game Hollow Knight from a phenomenological approach, the "what is it like to be.".
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