From time to time, we receive an interesting mail in our mailbox. Michael McKenny’s mail is one of those, so we will post it integrally, below. Michael analysed the limits of postmodern theory. He argues that postmodern theory is not sufficient for a proper understanding of the gaming experience. The following is an excerpt from his BA Thesis, aptly titled “Paradigm shifts” (2009). If you also have an insightful contribution to make to our blog in particular and our research program in general, send an email to: email@example.com. Meanwhile, enjoy the following post
– the editors.
In this early part of the twenty first century, the medium of videogames appears to be growing into a level of maturity, as it moves out of the fringes of society and into the realms of popular culture. The evolution of new such forms of communicating a narrative to the masses has profound implications for society, as Marshall McLuhan speculates: “Societies have always been shaped more by the nature of the media by which men [and women] communicate than by the content of the communication” (McLuhan and Fiore 1996: 8).
- Frasca, G (2003) ‘Simulation versus narrative: Introduction to ludology’ in Mark J.P. Wolf and Bernard Perron (eds) The Video Game Theory Reader. London: Routledge pp 221 – 236
- McLuhan, M and Fiore, Q (1996) The Medium is the Massage: An Inventory of Effects (Digitalized edition. 1st edition 1967). San Francisco: Hardwired
- Simons, J (2007) ‘Narrative, games, and theory’ in Gamestudies.org. Vol. 7 No. 1 (August) [online] available at http://gamestudies.org/0701/articles/simons accessed on 01.05.2009
“I Graduated from the University of Bolton in 2009 with a first class BA(hons) degree, joint between Film Studies and Business Studies. I am due to begin an MA in Film Studies at the University of Bradford, but have to wait until September 2011 for personal and financial circumstances to allow. I currently write for Film&Festivals Magazine, providing feature articles and film festival coverage. My particular areas of interest concern contemporary popular mythology; particularly how new technologies and accompanying cultural paradigm shifts are forcing us to revise (though not reject) previous interpretations of myth in popular culture.”