- Georgia Institute of Technology, School of Literature, Communication, and Culture, Department MemberHochschule Rhein-Waal, Communication and Environment, Department Member, and 4 moreadd
- Game studies, History of Toys and Play, Television Drama, Digital Media & Learning, Interactive and Digital Media, Serious Games, and 30 moreProcedural Content Generation, LEGO, Digital Culture, Science Fiction, Social Media, SF Film and Television, Television Studies, Video Game Theory, Video Games, Cross-Media Studies, Digital Storytelling, Interactive Fiction, Digital Games, Digital Media, Digital Humanities, Digital Media And New Literacies, New Media, Videogames, Interactive Digital Storytelling, Transmedial Storytelling, Interactive Narrative, Virtual Heritage, Interactive Cultural Learning, New media and communication systems, Narrative, Oral Traditions, Narrative Theory, Cheating, Interaction design and narrative, and Media Studiesedit
- Dr. habil, Lecturer in Transmedia Productionedit
In his book Best Before: Videogames, Supersession and Obsolescence, James Newman argues that game remakes are the result of planned obsolescence imposed on gaming by commercial practices “drawing on notions of ‘halfwayness’ and hardware... more
In his book Best Before: Videogames, Supersession and Obsolescence, James Newman argues that game remakes are the result of planned obsolescence imposed on gaming by commercial practices “drawing on notions of ‘halfwayness’ and hardware and software that is always in forward
motion” (Newman, 2012, p. 82). Although this is a valid critical point on industry practices following recent and ongoing studies of fan games (Salter, 2009), ‘demakes’1 (Bogost, 2010), and deep readings of landmark game franchises (Perron, 2012; Pinchbeck, 2013), this chapter asks what we can learn from remaking as a design practice. In their previous work,
the editors of this book (Koenitz et al., 2013a) argued for an open-ended theoretical approach for the evolving field of interactive digital narratives (IDNs) in order to recognise and analyse new narrative design approaches and creative possibilities enabled by new technologies. Their observations
on the evolution of an interactive digital narrative (IDN) for over half a decade also indicated how an interactive narrative can be improved artistically by adapting technological advances into its design (Koenitz, Sezen and Sezen, 2013). In this respect, remakes provide test cases for analysing
the revisions of narrative design in games and IDNs. The term narrative design2 is here used in a broader sense to describe an ideally coherent combination of computational (i.e., artificial intelligence [AI]), interactive (i.e., game mechanics), fictional and other elements constituting the narrative
aspects of an IDN or a game. Remakes share a certain amount of components with the originals they are based on, but they also have aspects that are specifically redesigned. A comparative study between the remake and the original thus reveals the effects of elements that their narrative designs do not share.
In order to understand the consequences of remaking, the chapter introduces the concept from film and literary studies and moves it into game studies. After discussing game remakes from several perspectives, including game design, platform studies and user studies, the chapter investigates realMyst (Cyan Worlds, 2000), a remake of the classical video game Myst (Cyan, 1993), to study the effects of remaking on narrative design.
(Chapter in Interactive Digital Narrative: History, Theory and Practice)
motion” (Newman, 2012, p. 82). Although this is a valid critical point on industry practices following recent and ongoing studies of fan games (Salter, 2009), ‘demakes’1 (Bogost, 2010), and deep readings of landmark game franchises (Perron, 2012; Pinchbeck, 2013), this chapter asks what we can learn from remaking as a design practice. In their previous work,
the editors of this book (Koenitz et al., 2013a) argued for an open-ended theoretical approach for the evolving field of interactive digital narratives (IDNs) in order to recognise and analyse new narrative design approaches and creative possibilities enabled by new technologies. Their observations
on the evolution of an interactive digital narrative (IDN) for over half a decade also indicated how an interactive narrative can be improved artistically by adapting technological advances into its design (Koenitz, Sezen and Sezen, 2013). In this respect, remakes provide test cases for analysing
the revisions of narrative design in games and IDNs. The term narrative design2 is here used in a broader sense to describe an ideally coherent combination of computational (i.e., artificial intelligence [AI]), interactive (i.e., game mechanics), fictional and other elements constituting the narrative
aspects of an IDN or a game. Remakes share a certain amount of components with the originals they are based on, but they also have aspects that are specifically redesigned. A comparative study between the remake and the original thus reveals the effects of elements that their narrative designs do not share.
In order to understand the consequences of remaking, the chapter introduces the concept from film and literary studies and moves it into game studies. After discussing game remakes from several perspectives, including game design, platform studies and user studies, the chapter investigates realMyst (Cyan Worlds, 2000), a remake of the classical video game Myst (Cyan, 1993), to study the effects of remaking on narrative design.
(Chapter in Interactive Digital Narrative: History, Theory and Practice)
Research Interests:
(From introduction) ...Dijital oyunları aynı anda hem oyunsal hem de teknolojik yönleri ile ele alan Tonguç İbrahim Sezen, aynı zamanda dijital medyaya olan bakışımızı da sorguluyor. Platform, dijital teknoloji ve tasarim iliskisini... more
(From introduction) ...Dijital oyunları aynı anda hem oyunsal hem de teknolojik yönleri ile ele alan Tonguç İbrahim Sezen, aynı zamanda dijital medyaya olan bakışımızı da sorguluyor. Platform, dijital teknoloji ve tasarim iliskisini Robinett`in Adventure oyunu uzerinden inceleyen Sezen, oyunların ne sadece geleneksel meydaya yönelik yöntemlerle ne de sadece teknoloji odaklı bir bakış açısı ile anlaşılamayacağını savunuyor ve iki uç arasında dengeli bir orta yol öneriyor...
Research Interests:
"After its release of the toy series Friends in 2012, the LEGO Group, which is usually praised for the quality and educational features of its toys, has been criticized by feminist organizations for offering young girls negative social... more
"After its release of the toy series Friends in 2012, the LEGO Group, which is usually praised for the quality and educational features of its toys, has been criticized by feminist organizations for offering young girls negative social gender models. Inspired by this criticism, this article explores the social gender representation in LEGO brand toys and offers procedural literacy as an alternate perspective on the discussion. In the first session the general role of toys in creation of social gender roles has been discussed through toy studies, game studies and toy design literature. The session is followed by an analysis of the historical transformation of female characters in LEGO brand toys. In the last session the limitations of LEGO brand toys in the representation of cultural procedures and the new possibilities the Friends series has created in this regard has been discussed in relation to the critiques on social gender representation.
-
Bu çalışma, LEGO şirketinin 2012 yılında piyasaya sürdüğü Friends serisinin kız çocuklara olumsuz toplumsal cinsiyet modelleri önerdiğine yönelik eleştirilerden yola çıkarak LEGO oyuncaklarının toplumsal cinsiyet temsili ve prosedürel temsil bağlamlarında sahip oldukları potansiyelleri incelemeyi amaçlamaktadır. Bu kapsamda öncelikle oyuncağın toplumsal cinsiyet oluşturmadaki rolüne dair oyuncak araştırmaları, oyun çalışmaları ve oyuncak tasarımı alanlarındaki literatürden yararlanılmış ve bunu LEGO şirketinin ürünlerindeki kadın karakterlerin tarihsel dönüşümüne dair bir inceleme takip etmiştir. Ardından dijital medya ve dijital oyun araştırmaları kökenli bir kavram olan prosedürel okuryazarlık kavramından yararlanılarak LEGO oyuncaklarının kültürel prosedürleri temsil etmedeki sınırlılıkları ve Friends serisinin bu açıdan sunduğu yeni olasılıklar tartışılmış ve bunların toplumsal cinsiyet temsili konulu eleştirilerle olan ilişkisi sorgulanmıştır."
-
Bu çalışma, LEGO şirketinin 2012 yılında piyasaya sürdüğü Friends serisinin kız çocuklara olumsuz toplumsal cinsiyet modelleri önerdiğine yönelik eleştirilerden yola çıkarak LEGO oyuncaklarının toplumsal cinsiyet temsili ve prosedürel temsil bağlamlarında sahip oldukları potansiyelleri incelemeyi amaçlamaktadır. Bu kapsamda öncelikle oyuncağın toplumsal cinsiyet oluşturmadaki rolüne dair oyuncak araştırmaları, oyun çalışmaları ve oyuncak tasarımı alanlarındaki literatürden yararlanılmış ve bunu LEGO şirketinin ürünlerindeki kadın karakterlerin tarihsel dönüşümüne dair bir inceleme takip etmiştir. Ardından dijital medya ve dijital oyun araştırmaları kökenli bir kavram olan prosedürel okuryazarlık kavramından yararlanılarak LEGO oyuncaklarının kültürel prosedürleri temsil etmedeki sınırlılıkları ve Friends serisinin bu açıdan sunduğu yeni olasılıklar tartışılmış ve bunların toplumsal cinsiyet temsili konulu eleştirilerle olan ilişkisi sorgulanmıştır."
Research Interests:
Öz Sinema seyircisinin film karşısındaki konumu sinema tarihinin ilk günlerinden beri tartışma konusudur. Farklı sanatsal, ideolojik ve ticari hedeflerle hareket eden yönetmenler seyircinin pasif bir alıcıdan daha fazlası olabileceği... more
Öz
Sinema seyircisinin film karşısındaki konumu sinema tarihinin ilk günlerinden beri tartışma konusudur. Farklı sanatsal, ideolojik ve ticari hedeflerle hareket eden yönetmenler seyircinin pasif bir alıcıdan daha fazlası olabileceği filmler üretmeye çalışmışlardır. Doğrudan seyirci müdahalesine açık yapımlar oluşturulması bu alanda önemli başlıklardan biridir. Bu çalışmalar geleneksel olarak dallanma veya prosedürel veri işleme yöntemleri ile seyirciye önceden sınırları çizilmiş etkileşim alanları sunmuşlardır. Ancak dolaylı da olsa kavramsal olarak Üçüncü Sinema ve hayran kültürü gibi kaynaklardan beslenen ve çağdaş sosyal medya kanallarını kullanan bir dizi güncel yapım seyirci etkinliğini farklı bir şekilde yorumlamaktadır. Bunlar filmleri bir tür sosyal etkileşim ve yaratıcı üretim kaynağı olarak konumlandırmayı amaçlamaktadırlar. Bu çalışma, sinemada sosyal anlamda aktif seyirci arayışları geleneğinin tarihsel dönüşümünü ve bugün geldiği noktayı inceleyecek, çağdaş medya ekolojisi içinde dijital teknoloji ve özellikle de sosyal medya uygulamaları ile desteklenen güncel yapımların geçmiş örneklerle ilişkisini tartışacaktır.
Abstract
Since the early days of the film history audiences’ position towards film is a topic of discussion and experimentation. Directors with different artistic, ideological and commercial motivations tried and still try to make films where the audiences can be more than passive observers. One of the major trends in this field is the production of films open to direct audience manipulation. Traditionally such films offer audiences interactive experiences based on branching or procedural data processing. Yet recent productions, which indirectly conceptually draw upon sources like Third Cinema and fan culture, and use contemporary social media channels, interpret audience activity in a different way. These seek to position movies as a source for social interaction and creative production. This article will study the historical transformation and current state of socially active audience tradition and discuss the relationship between past examples and recent productions which are supported by digital technology and especially social media applications as part of contemporary media ecology.
Sinema seyircisinin film karşısındaki konumu sinema tarihinin ilk günlerinden beri tartışma konusudur. Farklı sanatsal, ideolojik ve ticari hedeflerle hareket eden yönetmenler seyircinin pasif bir alıcıdan daha fazlası olabileceği filmler üretmeye çalışmışlardır. Doğrudan seyirci müdahalesine açık yapımlar oluşturulması bu alanda önemli başlıklardan biridir. Bu çalışmalar geleneksel olarak dallanma veya prosedürel veri işleme yöntemleri ile seyirciye önceden sınırları çizilmiş etkileşim alanları sunmuşlardır. Ancak dolaylı da olsa kavramsal olarak Üçüncü Sinema ve hayran kültürü gibi kaynaklardan beslenen ve çağdaş sosyal medya kanallarını kullanan bir dizi güncel yapım seyirci etkinliğini farklı bir şekilde yorumlamaktadır. Bunlar filmleri bir tür sosyal etkileşim ve yaratıcı üretim kaynağı olarak konumlandırmayı amaçlamaktadırlar. Bu çalışma, sinemada sosyal anlamda aktif seyirci arayışları geleneğinin tarihsel dönüşümünü ve bugün geldiği noktayı inceleyecek, çağdaş medya ekolojisi içinde dijital teknoloji ve özellikle de sosyal medya uygulamaları ile desteklenen güncel yapımların geçmiş örneklerle ilişkisini tartışacaktır.
Abstract
Since the early days of the film history audiences’ position towards film is a topic of discussion and experimentation. Directors with different artistic, ideological and commercial motivations tried and still try to make films where the audiences can be more than passive observers. One of the major trends in this field is the production of films open to direct audience manipulation. Traditionally such films offer audiences interactive experiences based on branching or procedural data processing. Yet recent productions, which indirectly conceptually draw upon sources like Third Cinema and fan culture, and use contemporary social media channels, interpret audience activity in a different way. These seek to position movies as a source for social interaction and creative production. This article will study the historical transformation and current state of socially active audience tradition and discuss the relationship between past examples and recent productions which are supported by digital technology and especially social media applications as part of contemporary media ecology.
Research Interests:
Publisher: İstanbul Üniversitesi İletişim Fakültesi Yayinlari
Journal Name: Istanbul University Faculty of Communications Journal, No: 17, 2003
Publication Date: 2003
Journal Name: Istanbul University Faculty of Communications Journal, No: 17, 2003
Publication Date: 2003
Research Interests:
In this article we examine the representations of poverty in digital games. In most mainstream games either the images of the poor are used in the background to describe a game world or poverty is represented as a starting condition or a... more
In this article we examine the representations of poverty in digital games. In most mainstream games either the images of the poor are used in the background to describe a game world or poverty is represented as a starting condition or a problem to be solved. Yet in games designed as art pieces or part of social responsibility projects poverty can be explored through simulations in which the player experiences it and understands the reasons behind it. In such games the ideologies and goals of the game designers shapes the experience. All in all digital games provide a unique medium to explore the concept of poverty from different perspectives.
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
In this paper we prose a comparative analysis of the transmedial news coverage and of the Turkish journalist Cuneyt Ozdemir and his network of channels between May 31 and June 15 2013 during the Istanbul Gezi Park protests. Ozdemir is one... more
In this paper we prose a comparative analysis of the transmedial news coverage and of the Turkish journalist
Cuneyt Ozdemir and his network of channels between May 31 and June 15 2013 during the Istanbul Gezi Park
protests. Ozdemir is one of the “star journalists” of the Turkish media and is positioned between independent
and mainstream media outlets. He owns the independent dipnot.tv news website, its social media channels,
and a weekly tablet magazine. He also writes for the left wing newspaper Radikal owned by the Dogan Group
and is the producer of the daily news show 5N1K on CNNTURK Television.
During the Gezi Park protests mainstream Turkish media has been criticized both by the protesters and the
international press for not reporting the events to the general public. Although the protesters praised social
media as their main news source in early days; acts like trolling raised the questions on credibility of these
channels. In this environment independent news web sites and news agencies played a big role. At that time
dipnot.tv used its micro blog account for news feeds, video chats to create public forums, the web site for news
content and the tablet magazine for deeper analysis and opinion pieces. Ozdemir also covered the events on
his column and TV show.
In this paper we will look into these channels owned or run by Ozdemir and map their relationships and
features. How much original content did each channel create? How did they position themselves? How did they
get their readers involved? How were their content linked? By answering these and other questions we will try
to understand how alternative and mainstream news coverage creates convergent content during a crisis.
Cuneyt Ozdemir and his network of channels between May 31 and June 15 2013 during the Istanbul Gezi Park
protests. Ozdemir is one of the “star journalists” of the Turkish media and is positioned between independent
and mainstream media outlets. He owns the independent dipnot.tv news website, its social media channels,
and a weekly tablet magazine. He also writes for the left wing newspaper Radikal owned by the Dogan Group
and is the producer of the daily news show 5N1K on CNNTURK Television.
During the Gezi Park protests mainstream Turkish media has been criticized both by the protesters and the
international press for not reporting the events to the general public. Although the protesters praised social
media as their main news source in early days; acts like trolling raised the questions on credibility of these
channels. In this environment independent news web sites and news agencies played a big role. At that time
dipnot.tv used its micro blog account for news feeds, video chats to create public forums, the web site for news
content and the tablet magazine for deeper analysis and opinion pieces. Ozdemir also covered the events on
his column and TV show.
In this paper we will look into these channels owned or run by Ozdemir and map their relationships and
features. How much original content did each channel create? How did they position themselves? How did they
get their readers involved? How were their content linked? By answering these and other questions we will try
to understand how alternative and mainstream news coverage creates convergent content during a crisis.
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
(From catalog description) This meeting will develop scenarios around applying “gamification” as a method of marketing and motivation to an art institution. Güven Çatak, Diğdem Sezen and Tonguç İbrahim Sezen will present their proposal as... more
(From catalog description) This meeting will develop scenarios around applying “gamification” as a method of marketing and motivation to an art institution. Güven Çatak, Diğdem Sezen and Tonguç İbrahim Sezen will present their proposal as if they were coming from a “gamification” company, in response to a brief submitted by those who conceived Bahane. Through the gamification methods they propose and support with examples, they will discuss in detail the various ways in which art institutions form relationships with their audience (visitor/participant/guest/user…).
Research Interests:
(From catalog description) For the series of conversations entitled 3^3^3, Ali Taptık suggests a number of examples from outside the field of contemporary art to initiate a discussion on the relationship between image, text and fiction... more
(From catalog description) For the series of conversations entitled 3^3^3, Ali Taptık suggests a number of examples from outside the field of contemporary art to initiate a discussion on the relationship between image, text and fiction with his guests; writer Murat Gülsoy, scholar Tonguç İbrahim Sezen and cartoonist and artist Cem Dinlenmiş. This series, conceived as a triptych, will focus on a variety of topics such as different approaches in the use of images in literary works, narrative structures in video games and fictional devices in graphic novels, making use of three different examples at each meeting. 33^3 proposes a discussion on the potentials of these different media which, as creative and critical fields of production, command a wider spectrum of dissemination than contemporary art, and to critically consider the place allocated for them in art institutions.
Research Interests:
Panel on Game Studies as part of the Amber Arts and Technology Festival.
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Turkcell Geleceği Yazanlar - Oyun Geliştirme 101 Eğitimi: Bu eğitimde, mobil oyunlar ve öykü-anlatı ilişkisinden bahsediliyor. Mobil oyunlarda “Öykü anlatmak istiyorsanız, bunu özel kılan nedir?” sorusunun yanıtını birlikte arıyoruz.
Research Interests:
Research Interests:
As a new research domain matures, it becomes increasingly important for researchers to agree on a shared vocabulary. For researchers in Interactive Digital Storytelling, this is a particular challenge, because researchers come from many... more
As a new research domain matures, it becomes increasingly important for researchers to agree on a shared vocabulary. For researchers in Interactive Digital Storytelling, this is a particular challenge, because researchers come from many different domains and bring their own terminology with them. This workshop exposes and explores the differences in meaning and terminology of key terms such as “story” in different academic disciplines related to Interactive Digital Storytelling. In order to minimize confusion and misunderstandings in the academic discussion within the field and with outside disciplines, the workshop explores ways towards a shared vocabulary for Interactive Digital Storytelling.
Research Interests:
The workshop explores Narratology as applied to Interactive Digital Storytelling. It presents different strands in established Narratology and the foundations they are built on. Then it discusses different attempts to apply and reconcile... more
The workshop explores Narratology as applied to Interactive Digital Storytelling. It presents different strands in established Narratology and the foundations they are built on. Then it discusses different attempts to apply and reconcile Narratology with Interactive Digital Storytelling. The workshop is designed to expose these differences by applying different concepts to the analysis of different digital artifacts and open up a discussion of theory that is mindful of diverse approaches and integrates practical considerations.
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests: Video Games, Narratology, Interactive Narrative, Interactive Digital Storytelling, Interactive and Digital Media, and 8 moreInteractive Media, Interactive Arts, Digital Games, Narrative Theory, Transmedial Narratology, Game Ontology, Video Games and Narrative, and Interactive Digital Narrative (IDN)
This paper compares methods and objectives of cheating in low-tech and high-tech interactive entertainment, oral storytelling tradition and computer gaming. Oral story traditions are one of the oldest forms of interactive entertainment.... more
This paper compares methods and objectives of cheating in low-tech and high-tech interactive entertainment, oral storytelling tradition and computer gaming. Oral story traditions are one of the oldest forms of interactive entertainment. The interaction between the audience and the story- teller is a limited form of interpersonal communication and is regulated by traditions or an interaction system called "open form". Historical records and recent anthropological research data shows that in the Middle East it's not uncommon for the audience and the storytellers (i.e. naqqals or ozans) to try to influence the interactive storytelling process (i.e. changing the fate of a story character) by external dynamics, such as gifts and money. As one of the newest interactive entertainment systems, computer games are based on an interaction between the player and game system regulated by rules. These rules can be broken by several types of computer-game cheating. It is interesting...