Newsgames

Bogost, Ian; Ferrari, Simon; Schweizer, Bobby

doi:10.7551/mitpress/8854.001.0001

Cited by 133 publications

(64 citation statements)

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“…According to Bogost et al [2], "even if they are not games quite like Pac-Man or The Sims, infographics can become game-like, exploiting the properties of games in numerous ways: to encourage the manipulation of information for replayability, to allow pleasurable engagement with a system, or to invite exploration." Nicholas Diakopoulos [5] points out that there are several challenges with the gamification of information graphics, specially when these deal with data that is variable through time (updated, refreshed, dynamic).…”

Section: Interactivity and Its Relation With Contextmentioning

confidence: 99%

“…Most of the game-y information graphics, or playable infographics (the alike term coined by Bogost et al [2]), have been produced by news media (for example Budget Hero 13 , created by American Public Media) or marketing initiatives (SPENT by McKinney). The fact is that these organizations depend on deadlines and usually cannot invest too much time developing these types of visualizations.…”

Section: Interactivity and Its Relation With Contextmentioning

confidence: 99%

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How to Tell Stories Using Visualization

Figueiras

2014

2014 18th International Conference on Information Visualisation

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The benefits of storytelling's are long-known and its potential to simplify concepts, create emotional connection, and capacity to help retain information has been explored in different areas, such as journalism, education, and others. The necessity to incorporate storytelling in visualizations arises from the need to share complex data in a way that is engaging. Advances in technology have enabled us to go beyond the traditional forms of storytelling and representing data, giving us more attractive and sophisticated means to tell stories.In this paper, we present the results of a focus group study that was conducted with the purpose of collecting information on the narrative elements in a collection of visualizations and the possible inclusion of storytelling elements in those. In this study information about the visualizations in terms of comprehension, navigation, and likability was also collected with the intent of identifying elements that are appealing in the visualizations. Furthermore, we suggest strategies for storytelling in visualizations.

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Section: Interactivity and Its Relation With Contextmentioning

confidence: 99%

Section: Interactivity and Its Relation With Contextmentioning

confidence: 99%

How to Tell Stories Using Visualization

Figueiras

2014

2014 18th International Conference on Information Visualisation

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“…In the video game Play Madrid (about the 11M attacks), the player has to click on the candles of the people to make the flame stronger: if he stops clicking, he loses. Bogost, Ferrari, and Schweizer (2010) describe several examples and broadly categorize the concept, including interactive infographics in it. The authors' perspective is very optimistic as to what newsgames -heirs of graphic humor in the press, for their humorous and caricatured content -could contribute to journalism in the digital era.…”

Section: Spectacle Information and Political Satirementioning

confidence: 99%

It's online, it's news: appropriation of viral narratives by the digital press

Martins¹,

Fernández²,

Aguaded³

et al. 2019

CITAR Journal

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At the border between information and entertainment, memes and newsgames aresome of the news formats that, made viral in social networks, complement the informational experience and compete with the traditional news media in constructing alternative readings of the real. If in the light of Bakhtine (apud Ponte, 2004) journalism can be understood as a secondary discursive genre that feeds on primary genres, how to understand the circulation of these discourses produced from journalistic events in social networks? On the other hand, how are these narratives appropriated by the media? What functions do they play in media discourse? In this article we present some examples of products created from events of political impact for than register, by the analysis of a set of news stories, how the digital press, in the Iberian context, make use of them. The purpose of this article is to contribute to the reflection on how the information media relate to these new narratives.

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“…They argue that, as performances of historical, newsworthy and serious subjects extend to the interactive space in more playable formats, this will also encourage "new modes of thinking about news in addition to new modes of production"modes which are more active and involved. 68 At least superficially, the radio version of Invisible Belfast may be able to address the lack of seriousness that some, rightly or wrongly, attribute to gaming in these contexts. The radio format, or more accurately, the public's expectations of the radio format, can possibly afford a level of gravitas and worthiness, and even social realism, that the taken-lightly field of gaming might not obviously afford.…”

Section: Indie Game: [In]visible Belfastmentioning

confidence: 99%

“…The radio format, or more accurately, the public's expectations of the radio format, can possibly afford a level of gravitas and worthiness, and even social realism, that the taken-lightly field of gaming might not obviously afford. 69 The problem is that the invisible belfast concept up to this point has engaged a necessary degree of playfulness, having a speculative nature, and critiquing the format of news media as much as anything. 70 The radio version attempts to balance this by including both the fictional frame and real interviews.…”

Section: Indie Game: [In]visible Belfastmentioning

confidence: 99%

Invisible Belfast: Flat ontologies and remediation of the post-conflict city

Barrios-O'Neill

Hook²

2019

Convergence: The International Journal of Research into New Med

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[in]visible belfast was a research-driven indie alternate reality game (ARG) that ran for 6 weeks during the spring of 2011 in Belfast and was subsequently adapted, 5 years later into a fictional documentary for BBC Radio 4. The ARG is a participatory and dispersed narrative, which the audience play through. The text expands outward across both physical and digital platforms to create a mystery for the players using everyday platforms. The ARG is a product of media convergence and at its heart transmedial, defined by its complexity and modes of participation. The fictional radio documentary which remediated the ARG into a more simple linear structure, but possibly a more complex narrative form, retells parts of the story for new audiences. The premise of [in]visible belfast – the game and later the documentary – is itself an adaptation of writer Ciaran Carson’s novel The Star Factory (1997): a postmodern adventure through the complex psychogeography of Belfast. A trail through the labyrinthine text, which paints the history of Belfast in poetic prose. This article will map the concept’s journey from novel to game to radio, contextualising its development within its political and urban landscape and charting the remediation of the narratives as they fold out across multiple media and complex story arches. The article will draw together ideas from previous publications on ARG, transmediality and complex textualities from the authors and reflect on the textual trajectories that the remediation of the narrative has taken from the original book, through the ARG, into the radio documentary. Building upon recent approaches from environmental philosopher Tim Morton and games theorist Ian Bogost, the authors argue that Belfast’s history propels medial adaptations of a particular kind, characterised by a ‘flat’ ontology of space and time and a sort of diffuse and dark urban experience for designers/producers and players/listeners.

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Newsgames

Cited by 133 publications

References 0 publications

How to Tell Stories Using Visualization

How to Tell Stories Using Visualization

It's online, it's news: appropriation of viral narratives by the digital press

Invisible Belfast: Flat ontologies and remediation of the post-conflict city

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