{"title":"Mechanical meaning: The relationship between game mechanics and story in ergodic theatre","authors":"Gabrielle M Greig (Lennox)","doi":"10.1177/13548565231193120","DOIUrl":null,"url":null,"abstract":"Theatre is increasingly exploring the potential of interactivity, especially as the growing experience economy reveals that people actively seek activities that offer new ways to engage with stories. The inclusion of interactive elements akin to game mechanics, which I call ergodic mechanics, shifts these performances into an intermedial sphere between digital games and conventional theatre. I use the term ergodic theatre to classify this specific subgenre of immersive theatre where the traveller works to form their path through the storyworld. Ergodic mechanics are the systems through which the traveller works or interacts. But what impact does the inclusion of ergodic mechanics have on storytelling? This question is critical to producing meaningful ergodic theatre performances and preventing interactive elements from becoming gimmicks, as some theatre reviewers have labelled them (Gardner, 2014). I interrogate the relationship between and impact of ergodic mechanics on the creation of story and meaning by examining narrative moments from The Under Presents, a VR ergodic theatre experience, and What Remains of Edith Finch and Dream, both digital ergodic theatre experiences. Analysing these case studies helps demonstrate the value of weaving ergodic mechanics with the story. When there is harmony between the interactive and story elements, the included ergodic mechanics heighten the traveller’s narrative engagement and emotional connection to the play’s characters or themes. I argue that ludonarrative harmony loops are a powerful tool that can enrich the traveller’s theatrical experience. I present an interdisciplinary approach by applying digital game theory parsed through dramaturgy to address the nuances of telling meaningful and engaging stories in ergodic theatre. Analysing the incorporation and dramaturgical function of interactivity highlights the potential of ergodic mechanics in intermedial ergodic performances. Furthermore, creating ludonarrative harmony is central to ergodic theatre’s continued success and growth as a storytelling medium.","PeriodicalId":47242,"journal":{"name":"Convergence-The International Journal of Research Into New Media Technologies","volume":"57 1","pages":""},"PeriodicalIF":2.4000,"publicationDate":"2023-08-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Convergence-The International Journal of Research Into New Media Technologies","FirstCategoryId":"98","ListUrlMain":"https://doi.org/10.1177/13548565231193120","RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q1","JCRName":"COMMUNICATION","Score":null,"Total":0}
引用次数: 0
Abstract
Theatre is increasingly exploring the potential of interactivity, especially as the growing experience economy reveals that people actively seek activities that offer new ways to engage with stories. The inclusion of interactive elements akin to game mechanics, which I call ergodic mechanics, shifts these performances into an intermedial sphere between digital games and conventional theatre. I use the term ergodic theatre to classify this specific subgenre of immersive theatre where the traveller works to form their path through the storyworld. Ergodic mechanics are the systems through which the traveller works or interacts. But what impact does the inclusion of ergodic mechanics have on storytelling? This question is critical to producing meaningful ergodic theatre performances and preventing interactive elements from becoming gimmicks, as some theatre reviewers have labelled them (Gardner, 2014). I interrogate the relationship between and impact of ergodic mechanics on the creation of story and meaning by examining narrative moments from The Under Presents, a VR ergodic theatre experience, and What Remains of Edith Finch and Dream, both digital ergodic theatre experiences. Analysing these case studies helps demonstrate the value of weaving ergodic mechanics with the story. When there is harmony between the interactive and story elements, the included ergodic mechanics heighten the traveller’s narrative engagement and emotional connection to the play’s characters or themes. I argue that ludonarrative harmony loops are a powerful tool that can enrich the traveller’s theatrical experience. I present an interdisciplinary approach by applying digital game theory parsed through dramaturgy to address the nuances of telling meaningful and engaging stories in ergodic theatre. Analysing the incorporation and dramaturgical function of interactivity highlights the potential of ergodic mechanics in intermedial ergodic performances. Furthermore, creating ludonarrative harmony is central to ergodic theatre’s continued success and growth as a storytelling medium.
戏剧越来越多地探索互动性的潜力,特别是随着体验经济的发展,人们积极寻求提供新方式参与故事的活动。包含类似于游戏机制的互动元素(我称之为遍历式机制)将这些表演转变为介于数字游戏和传统戏剧之间的中间领域。我用“遍历式戏剧”这个词来分类这种沉浸式戏剧的特定亚类型,在这种戏剧中,旅行者努力形成他们在故事世界中的路径。遍历机制是旅行者工作或互动的系统。但遍历式机制对故事叙述有何影响?这个问题对于制作有意义的戏剧表演和防止互动元素成为噱头至关重要,正如一些戏剧评论家所标记的那样(Gardner, 2014)。我通过研究《the Under Presents》(VR遍历式戏剧体验)和《What Remains of Edith Finch and Dream》(两者都是数字遍历式戏剧体验)中的叙事时刻,来探究遍历式机制对故事和意义创造的关系和影响。分析这些案例研究有助于展示将遍历式机制与故事相结合的价值。当互动性和故事元素之间存在和谐时,所包含的遍历式机制会提高旅行者的叙述参与度以及与戏剧角色或主题的情感联系。我认为,叙事和谐循环是一个强大的工具,可以丰富旅行者的戏剧体验。我提出了一种跨学科的方法,通过运用数字博弈论解析戏剧,以解决在遍历戏剧中讲述有意义和引人入胜的故事的细微差别。通过对互动性的结合和戏剧功能的分析,突出了遍历力学在中间遍历表演中的潜力。此外,作为一种讲故事的媒介,创造戏剧叙事的和谐是遍历戏剧持续成功和发展的核心。