jayantsjadhav

[jayantsjadhav]

Digital Media: Sources and Significance [Academic Blogs]

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10. Twine and Interpersonal Dynamics in Hypertextual Gaming

The low barriers of Twine have made it a vital tool in the domain of autobiographical game design. Anthropy (2012), in Rise of the Videogame Zinesters, makes the case for do-it-yourself game design, suggesting games should reflect a range of experiences instead of commercial pressures. This blog is a reflection on a recent Twine project I completed that explores gender dysphoria and memory. The formal structure of Twine, with branching links, hidden text, and player choice, is a metaphor for the fractured nature of lived experience. Anthropy's emphasis on individual narrative allowed me to frame vulnerability as content instead of a weakness. I also investigated other Twine projects, such as Depression Quest (Quinn, 2013), where limited choices are a reflection of cognitive limitations. The poignancy lies in this simplicity rather than despite it. This blog has opened my eyes to considering text-based interactivity as a powerful narrative tool and to embracing emotion and subjectivity as important considerations in the design process.

Reference: Anthropy, A. (2012). Rise of the Videogame Zinesters. Seven Stories Press. Available at: sevenstories.com. (2016). Hearts and Hands. [online] Available at: https://sevenstories.com/books/3162-hearts-and-hands

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[jayantsjadhav]

Digital Media: Sources and Significance [Academic Blogs]

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9. A Sicart Analysis of Player Creativity in Minecraft

Minecraft (Mojang, 2009) is often cited as the paradigm sandbox game; however, Sicart’s (2014) Play Matters explains the basis for such a claim. He argues that play goes beyond systems limitations, existing both as expression and as ethics. Players create meaning through play in Minecraft through such tasks as building a world, changing systems, and role-playing. Sicart’s “appropriative play” is also highly relevant—game mechanics are manipulated by players to express personal stories, test different identities, or engage in activism. Educational uses of Minecraft, for instance, are used to teach about historical events or social phenomena. Reflecting with this blog led me to consider my games and whether they engender or stifle creative play. For one of my prototypes, I added a toolkit allowing for level and dialogue remodeling and thus reframing my role as “author” to that of facilitator. Sicart’s scholarship redescribes game design as a type of open-ended authorship, where player input is necessary for completion of the piece.

Reference: Kücklich, J. (2005). Precarious Playbour: Modders and the Digital Games Industry. [online] The Fibreculture Journal : 05. Available at: https://five.fibreculturejournal.org/fcj-025-precarious-playbour-modders-and-the-digital-games-industry/.

[jayantsjadhav]

Digital Media: Sources and Significance [Academic Blogs]

8. Player Agency in The Witcher 3

In The Witcher 3 (CD Projekt Red, 2015), the player's choices have profound effects on the story in complex and often unpredictable ways. Using Sicart's (2014) claims in Play Matters, I considered how gameplay and ethical nuances are encouraged through game mechanics and not through pre-defined outcomes. Sicart argues that play is by nature relational, ethical, and expressive. In The Witcher 3, players are not presented with deliberately simplistic "good" or "bad" choices; they must weigh implications, grapple with guilt, and experience learning by doing. For example, an altruistic choice to help a villager could ultimately lead to chaos. Reading this weblog prompted me to consider how I could include moral ambiguity within my own branching stories. Instead of presenting binary decisions, I have come to create moral systems based on developing allegiances and their resultant repercussions. Sicart's theoretical model reconsiders agency as not the control of outcomes but as meaningful interaction with systems— a compelling argument for narrative game design.

Reference: Sicart, M. (2013). Beyond Choices: The Design of Player Agency in Interactive Narrative. Game Studies, 13(2). Gamestudies.org. (2025). Game Studies - Issue 1302, 2013. [online] Available at: https://gamestudies.org/1302

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[jayantsjadhav]

Digital Media: Sources and Significance [Academic Blogs]

7. Accessibility in UI/UX: Inclusive Design Principles

Accessibility is often overlooked in the field of game design, though it is vital to promoting inclusive design. Drawing on Gee’s (2003) theory of affinity spaces and learning principles, I evaluated how user interface/user experience (UI/UX) can enrich a diverse range of players. Gee emphasizes that effective learning spaces encourage engagement and flexibility. Applying this model to design, I focused on aspects such as visual clarity, control remapping, and audio cues. In a recent project in Unity, I included subtitles, high-contrast user interfaces, and haptic feedback, testing with neurodivergent participants. This methodological experiment revealed how design choices can enable—or hinder—access to game worlds. In addition, Gee’s concept of semiotic domains encouraged me to look beyond the purely functional: the user interface not only operates as a tool but also communicates tone and underlying values. This inquiry enriched my understanding of accessibility as an underlying design philosophy instead of a checklist. It encouraged me to view inclusive mechanics as inherent parts of thoughtful game design instead of optional additions.

Reference: Schreiner, M. (2019). Accessibility and Inclusion in Game Design: Practical Insights for Developers. Game Developer. (n.d.). Design recent news. [online] Available at: https://www.gamedeveloper.com/design.

[jayantsjadhav]

Digital Media: Sources and Significance [Academic Blogs]

6. Are AAA Games Politically Neutral?

This article explores how large video game studios, like Ubisoft, claim political neutrality amidst obviously ideological narratives within their games. The idea of critical play developed by Flanagan (2009) provides a lens for understanding this trend: she argues that video games have the ability to challenge dominant ideologies through design. Games like Far Cry 5 and The Division depict explicitly politicized settings—from religious extremism to government collapse—while developers insist that the works are apolitical. This denial not only demonstrates a commercial desire to avoid controversy but also undercuts the medium's ability to work as critical art. Independent developers, on the other hand, often embrace political messaging, perhaps due to their decreased commercial pressures. I compared these trends to my own practice, observing that even seemingly trivial decisions (for example, representing marginalized individuals or simulating systemic discrimination) carry political weight. This blog reaffirmed the knowledge that design is never neutral; every game mechanic, system, or narrative choice has embedded values. Therefore, I hope to approach the messages my games convey with intention and criticality.

Reference: Ubisoft's Games Are Actually Political, Says CEO PC Gamer (2019) Available at: https://www.pcgamer.com/ubisofts-games-are-actually-political-says-ceo/

[jayantsjadhav]

Digital Media: Sources and Significance [Academic Blogs]

5. Designing with Identity: Queer Representation in My Work

Taking theoretical cues from Anthropy (2012) and Butler (1990), I aim to incorporate queer representation into my video games, carrying this consideration over to character design, narrative structure, and player agency. Anthropy advocates for the use of video games as a platform for personal narrative, calling for underrepresented developers to share their stories using accessible software like Twine. Furthermore, Butler's performative gender has shaped my character design, leading to identities that are responsive and flexible to player interactions. In my latest Twine project, the representation of the player's gender identity is presented as fluid, shaped by player responses instead of preselected choices. This design consideration disrupts binary paradigms common to mainstream gaming. This project forced me to re-examine critically common assumptions in character development—namely, how user interface, dialogue, and mechanics can reinforce or disrupt normative structures. Close study of these theorists has shown that inclusivity is more than a matter of visibility; it is a matter of who gets to tell stories and how systems can accurately mirror lived experience.

References: Anthropy, A. (2012). Queer Games Avant-Garde. Available at: https://auntiepixelante.com/queer-games Butler, J. (1990). Gender Trouble: Feminism and the Subversion of Identity. Routledge.

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[jayantsjadhav]

Digital Media: Sources and Significance [Academic Blogs]

4. Ludonarrative Dissonance in Tomb Raider (2013)

In Tomb Raider (2013) we see Lara Croft's emotional vulnerability alongside simultaneously playing her as a skilled assassin, a significant example of ludonarrative dissonance. Juul’s (2005) definition of the "half-real", outlining the division of gameplay systems and narrative content, helps to identify the cause of perceived dissonance. When the narrative describes Lara’s apprehension and inexperience, gameplay quickly makes her a capable fighter. The contrast produces a dissonance between the themes negotiated by the text and player action. Juul’s model led me to evaluate my own projects critically, wherein tonal elements and gameplay systems sometimes showed discrepancies. In one of my prototypes, my goal was to project vulnerability through story; however, it included highly rewarding gameplay systems that unwittingly undermined the message. The reflective process shed light onto understanding that player experience is shaped equally by both text content and gameplay interaction – a key factor in developing story-driven games.

Reference: Juul, J. (2019). The Art of Failure: An Essay on the Pain of Playing Video Games. MIT Press. Available at:Game Developer. (n.d.). news. [online] Available at: https://www.gamedevelophttps://www.gamedeveloper.com/latest-newser.com/latest-news.

[jayantsjadhav]

Digital Media: Sources and Significance [Academic Blogs]

3. The Procedural Argument in Papers, Please

Papers, Please (3909 LLC, 2013) presents a powerful political statement through its mechanics instead of dialogue. Using Bogost’s (2007) procedural rhetoric theory, I analyzed how the game “argues” by forcing players to engage with morally complex bureaucratic decisions. Bogost claims that games can be persuasive through their systems instead of traditional narrative, and Papers, Please is an exemplary example of this concept. Players are forced into the role of a border inspector with limited resources, confronted with the necessity of prioritizing personal interests over morality. The cyclical structure and rising complexity of the rules create sensations of frustration and complicity, enabling players to feel the emotional weight of routine de humanisation. This revelation changed my approach to socially focused games: I moved away from dependence on cutscenes to mechanics that instantiate ideological conflict. In a recent project about climate change, I remodeled the resource economy to represent��ecological decline, matching gameplay mechanics to thematic relevance — a choice directly inspired by Bogost’s theory.

Reference: Hunicke, R., LeBlanc, M. & Zubek, R. (2004) ‘MDA: A Formal Approach to Game Design and Game Research’, Proceedings of the Challenges in Games AI Workshop, Nineteenth National Conference on Artificial Intelligence. Available at: https://www.cs.northwestern.edu/~hunicke/MDA.pdf (Accessed: 20 June 2025).

[jayantsjadhav]

Digital Media: Sources and Significance [Academic Blogs]

2. My Game Jam Submission: Storytelling through Environmental Design

During a recent 48-hour game jam, I created a platformer that told its story entirely through the environment. Inspired by Nitsche’s (2008) discussion of spatial storytelling, I designed a derelict world where each level revealed aspects of a lost civilisation—without a single line of dialogue. Ruined temples, decaying tech, and weather effects conveyed history, tone, and character. Nitsche’s theory on the expressive function of 3D space helped me visualise architecture as narrative device. For example, verticality signalled sacredness while confined corridors evoked oppression. I also experimented with lighting to guide player emotion, taking cues from Nitsche’s analysis of spatial transitions. This project taught me to think of every element on screen — architecture, layout, lighting — as narrative. It shifted my perspective from storytelling through text to storytelling through design. I now approach level design as scriptwriting with shapes and shadows.

Reference

Jenkins, H. (2004) Game Design as Narrative Architecture, in N. Wardrip-Fruin & P. Harrigan (eds) First Person: New Media as Story, Performance, and Game. Cambridge, MA: MIT Press, pp. 118-130. Available at: https://mitpress.mit.edu/books/first-person (Accessed: 20 June 2025).

[jayantsjadhav]

Digital Media: Sources and Significance [Academic Blogs]

1.The Visual Semantics of Journey and Player Affective Experience

Journey (Thatgamecompany, 2012) is a paradigmatic example of how minimalist design can trigger deep emotional engagement. Applying Isbister’s (2016) model of emotion through design, I conducted an analysis of the game's wordless story, adaptive music, and nameless avatars, which collectively construct strong emotional bonds among players. Isbister highlights the importance of aesthetic principles in shaping emotional experiences during game play. Through Journey, the player's motion and cooperative goals create a sense of togetherness without dialogue, thus complementing Isbister’s contention that game design can generate empathy. This observation has directly influenced my approach to prototyping character interactions; as a result, I have started focusing on environmental storytelling and non-verbal cues instead of text exposition. Significantly, Journey's musical system responds dynamically to game event dynamics, which strengthens emotionally intense moments. My plan is to apply similar strategies by using adaptive audio within Unity. Studying Journey has enhanced my understanding of how emotional trajectories can be developed through spatial design, auditory features, and cooperative game dynamics.

Reference

Isbister, K. (2016) How Games Move Us: Emotion by Design. Cambridge, MA: MIT Press. Available at: https://mitpress.mit.edu/books/how-games-move-us

[jayantsjadhav]

Digital Media: Sources and Significance [Critical Analysis]

Critical Analysis: Bogost's Concept of Procedural Rhetoric

Introduction

Ian Bogost’s Persuasive Games (2007) is a foundational text in game studies that introduces the influential concept of procedural rhetoric, a theoretical framework that reconceptualizes how video games communicate meaning. In Chapter 1, Bogost articulates procedural rhetoric as the art of persuasion through rule-based systems, emphasizing that games “make claims about how things work” not through traditional linguistic or visual rhetoric, but through the procedural logic embedded in their mechanics and player interactions. This marks a significant shift in understanding games as expressive media—not merely entertainment or storytelling tools but systems that argue through their operation.

Critical Discussion

At the center of Bogost's argument is the idea that games have an inherent procedural nature; they are comprised of processes with formal rules and systems that respond dynamically to players' actions. Rhetoric has traditionally been conceived as the art of persuasion using language and symbols; Bogost reformulates this concept as persuasion through procedures—basically an interest in how rules and systems can reflect arguments about real-world processes. The combination of procedurality and rhetoric into the concept of "procedural rhetoric" enables scholars and practitioners to both analyze and design games as a medium that can encapsulate ideologies, social critique, or political positions within their underlying structures.

A key advantage of Bogost's approach is its focus on the physical realization of argumentation through game mechanics. Unlike other media, which convey persuasive content through textual, visual, or auditory channels, video games realize their stories through the interactive engagement of game participants in the game world. Players take an active role, as opposed to the role of passive observers or analysts of the content, since they confront the implications and constraints of the game rules directly. This participatory role has the potential to produce a deeper understanding and empathy for complex social or political issues.

Bogost illustrates this idea through a game that simulates the workings of airport security. Players take on the role of security agents responsible for deciding which passengers to inspect according to either capricious or biased criteria. This gameplay dynamic forces players to experience the infuriating and morally dubious nature of these systems, not through overt verbal condemnation, but by immersing them in the inherent randomness and injustice that define such protocols. As such, the rhetorical structure of the game is embedded in the player's own sense of frustration and complicity, thus making the argument experiential, not didactic.

This systematic model of rhetoric has had a significant influence on the fields of game design and game studies. Bogost's theorization provides an analytical model through which the game Papers, Please (2013) can be studied, in which the player takes the role of an officer at a border checkpoint in a fictional totalitarian regime. Through the repetition of document checking, ethical dilemmas posed by conflicting bureaucratic demands, the game is able to illustrate both the dehumanizing effect of bureaucratic oppression and the ethical trade-offs made by those who live in such contexts. The game's mechanisms are carefully integrated with its overall message as an exemplary case of procedural rhetoric in action. The game's argument is not so much stated but lived by the player, and highlights the ability of game mechanisms to transmit dense social critique.

However, in spite of its compelling nature, Bogost's idea has several criticisms and limitations. A common criticism argues that procedural rhetoric could exaggerate the coherence of player interpretations. Video games are open systems that support a variety of play styles, some of which might be contradictory or counter to the authors' intended meanings. Players might be attracted to acquiring mastery in game play or enjoying the game rather than interpreting the rhetorical arguments, which could possibly hide or undermine the intended meaning. This means that procedural rhetoric does not guarantee persuasion; instead, it is a mechanism subject to the player's engagement and interpretation.

In addition, some scholars argue that procedural rhetoric might veil ideological narratives behind seemingly impartial game systems. Rather than revealing the underlying power dynamics, some games might integrate ideological inclinations in ways that fail to urge players to critically consider their implications. Bogost recognizes these complexities; however, he insists that procedural rhetoric remains a powerful tool for both analysis and design, especially due to its focus on the political and persuasive potential inherent in game mechanisms.

Bogost's theoretical framework offers significant creative and analytical direction to practitioners working in the field. In my own academic research, specifically within the area of socially responsible game design, the idea of procedural rhetoric has changed the very way I approach conveying complex ideas. Previously, I relied heavily on story cutscenes and text-based exposition to present environmental topics within a student project. Inspired by Bogost’s theory, I re-examined the ability of game mechanics to represent the salient message. I redesigned the core gameplay loop so that player actions directly led to the depletion of non-renewable resources, making ecological collapse an inevitable result of unsustainable behavior. This design forced players to directly interact with the cause-and-effect relationships between their actions and environmental consequences, effectively turning the system itself into a rhetorical statement. This shift brought the project from a passive narrative structure to one defined by active, systemic communication.

Bogost's theoretical model offers avenues toward enhanced critical media literacy. By theorizing games as tools of persuasion, players and critics can recognize the ideology within gameplay beyond narrative or visual elements. This awareness is crucial in an environment where video games increasingly contribute to political and social discussion. Many of today's games, for example, grapple with issues of work, disparity, surveillance, and self. Examining the work through the prism of procedural rhetoric clarifies how those games make their case not exclusively through narrative or visual methods but through the system-based processes they utilize.

Conclusion

In the broader academic landscape, procedural rhetoric has influenced a wide range of fields—from political game design to education and activism. It provides a vocabulary for articulating how games function as argumentative media, which has been leveraged in analyzing games like This War of Mine, Detroit: Become Human, and various indie games with strong social messages. Bogost’s work bridges theory and practice, encouraging game designers to harness mechanics deliberately to engage players with critical issues, fostering reflection and empathy. Despite its powerful transformational potential, procedural rhetoric still generates a great deal of discussion. The range of player reaction suggests that the effectiveness of a game's rhetorical claim will vary significantly. Some players will resist or reject the underlying message a game presents, while others will reinterpret it in unexpected ways. This variability rather suggests that procedural rhetoric should be considered only one aspect of meaning creation within games, an aspect that is complemented by narrative, visual, and aural rhetoric. In summary, Ian Bogost’s definition of procedural rhetoric is a landmark development within the fields of game studies and design theory in the 21st century. By foregrounding games as expressive systems that make arguments through their defined rules and mechanics, Bogost revolutionizes the way we understand and design video games.

His theoretical approach has practical implications for designers seeking to inscribe meaning into gameplay, as well as critical importance for researchers and players seeking to interrogate the ideologically embedded presuppositions of games. Procedural rhetoric resists passive media consumption in favor of active engagement and a high degree of critical analysis, thus precipitating innovation in game design that is responsive to political and social contexts. By foregrounding the persuasive dynamics of play, Bogost’s approach inevitably expands the range of conceptual forces being communicated and the effects being produced through games.

[jayantsjadhav]

Digital Media: Sources and Significance [Reader]

12. Kücklich, J. (2005). Precarious Playbour: Modders and the Digital Games Industry. Fibreculture Journal, 5. Jesper Kücklich's "precarious playbour" provides a thorough analysis of the complex interplay between work and modding communities and their relationship with the commercial gaming market. His work highlights the significant creative contribution made by the modders, often done without due compensation or even notice, and hence provoking serious ethical issues around authorship and exploitation. This critique has enhanced my understanding of the existing tensions between industry governance and player creativity, specifically in initiatives hosting user-generated content and promoting community participation. The propositions made by Kücklich challenge me to be critical about issues of work and fairness in game production, hence promoting a more socially responsible approach to design and collaboration. His work is crucial in the process of comprehending the changing political and economic dynamics in digital game culture.

[jayantsjadhav]

Digital Media: Sources and Significance [Reader]

11. Salen, K. (2007). The Ecology of Games: Connecting Youth, Games, and Learning. Cambridge, MA: MIT Press. Salen's work in The Ecology of Games looks at the operational dynamics of games on a larger cultural and societal level. Her focus on gamesas learning environments and as social ecosystems has helped me better understand how the internal game processes and the external social context influence the player's experience. This view is particularly relevant to designing multiplayer or educational games promoting cooperation and inclusivity. Salen's interdisciplinary approach drawing from game design and educational practices as well as cultural studies has led me to reflect on how games engage with vast webs of meaning and how they have an impact on them. Salen's scholarship contributes to the development and critical questioning of games as context-dependent practices beyond individual play.

[jayantsjadhav]

Digital Media: Sources and Significance [Reader]

10. Nitsche, M. (2008). Video Game Spaces: Image, Play, and Structure in 3D Worlds. Cambridge, MA: MIT Press. Michael Nitsche's Video Game Spaces offers an extensive analysis of spatial design in three-dimensional game spaces, making it highly relevant for game developers and visual artists alike. Nitsche's critique explains how camera dynamics, architectural layouts, and spatial compositions influence aesthetic aspects but have an impact on gameplay mechanisms and narrative advancement as well. This integrated approach has allowed me to critically assess my own 3D level design through tools like Unreal and Unity while raising considerations about how spatial dimensions influence the navigation of players, the tempo of control, and emotional investment. Nitsche's theoretical work helps bridge the gap between visual artistic expression and gameplay utility where spatial narrative becomes crucial in the development of engaging and immersive player experiences. His scholarly work remains an invaluable resource in understanding the interstice of form and function in digital spaces while offering actionable recommendations for the enhancement of creative practices and methodologies for increasing the level of player interaction.

[jayantsjadhav]

Digital Media: Sources and Significance [Reader]

9.Anthropy, A. (2012). The Emergence of Video Game Zinesters. New York: Seven Stories Press. Anna Anthropys Rise of the Videogame Zinesters is a passionate call for democratizing game design, emphasizing accessibility and the power of personal storytelling. Her advocacy for DIY game creation resonates deeply with my work on autobiographical and small-team indie projects, validating the importance of diverse voices and intimate narratives in gaming. Anthropy critiques the often homogeneous, commercialized approaches of AAA studios, encouraging creators to embrace tools like Twine and RPG Maker to craft meaningful, story-driven experiences outside mainstream norms. This book has inspired me to prioritize authenticity and personal expression in my designs, demonstrating that games can be powerful mediums for individual and marginalized perspectives. Rise of the Videogame Zinesters remains a vital manifesto for indie developers and players alike, championing creativity, inclusivity, and innovation in game culture and design.

[jayantsjadhav]

Digital Media: Sources and Significance [Reader]

8.Sicart, M. (2014). The Significance of Play. Cambridge, MA: MIT Press Miguel Sicart's Play Matters steers beyond traditional game design approaches by exploring play as an intrinsic aesthetic and philosophical activity. His approach highlights the inherent creativity, importance, and volatility of play as highly valuable in studying player agency across free-form, sandbox, ormodifiable games like Minecraft. Sicart's unique approach and convincing arguments challenge traditional definitions of games as fixed systems, calling for the recalibration of the role of player creativity and authorship on interactive experiences. This perspective has had a significant impact on my scholarship by highlighting the importance of acknowledging the malleable nature of play over attempting to map outcomes. Play Matters offers a groundbreaking framework for the processes by which players construct meaning and interact with games on their own agendas, making it a scholarly benchmark when studying the vast cultural and experiential import of play within digital media. Its philosophy has bearing on practical design considerations while inspiring my creative and analytical processes.

[jayantsjadhav]

Digital Media: Sources and Significance [Reader]

7.Flanagan, M. (2009). Critical Play: Radical Game Design. Cambridge, MA: MIT Press. In "Critical Play," Mary Flanagan discusses the concept of "critical play," whereby game mechanics are used intentionally to critically examine and challenge dominant social norms and ideologies. This theory is of particular relevance to the study of politically driven independent games and is an inspiration to my work that tackles current issues like climate change and mental health. Flanagan places critical play in context by mapping the historical trajectory of activist and experimental games, thus deepening the understanding of the development of game art as a vehicle for social commentary. Her approach forces designers to push beyond the boundaries of entertainment, using games as tools for reflection, resistance, and conversation. The book is a successful integration of theory and practice, making it a required text for both creators and scholars who are concerned with the transformative potential that lies in games. Flanagan's work inspires me to create interactive projects that encourage critical thinking and support meaningful engagement with complex subjects.