Game Development Reference
In-Depth Information
end on a celebratory note for players: “Good luck and remember that if you fail
to understand any of these rules, do not despair, it is only a game and as long as
everyone is in agreement, the rules can be lexible!!”
26
By not only facilitating,
but also encouraging, the players' freedom to experiment with the oicial rules
and develop their own rules, the game subtly focuses on player creativity rather
than slavish obedience. his focus on original rules facilitates the “cocreation” of
game play as I described in Chapter 2. Players become part of the
Doctor Who
universe not through the actual game play, but through the mechanics by which
the game encourages interactive creativity.
he imaginary space that
he
Interactive Electronic Board Game
embodies
is an adaptation not of
Doctor Who
itself, but rather of the
Doctor Who
experience—of being a part of the series without afecting the series.
Doctor
Who
as a television series is many things: an adventure story, a science iction
spectacular, a romance, a fantasy. Following the Doctor through time and space
is not just about being a part of an alternate world; it is also about allowing
oneself as a viewer to be positioned in multiple ways at diferent times. Just as the
genre changes, just as the narrative changes, so too does the show change.
Doctor
Who
is, in fact, and always has been, about change and renewal.
27
At the core
of
Doctor Who
is change itself, personiied by the Doctor who can regenerate
himself.
28
Players do not so much embody the Doctor as they embody the idea
of playing as the Doctor. hey do not so much recall the speciic locations, but
rather play at recalling those locations.
he
Interactive Electronic Board Game
represents a simulation of
Doctor Who
from a strategy of ludic interaction—a
strategy that encourages not just more consumption of
Doctor Who
, but also the
experience of being a part of a group for whom
Doctor Who
itself is meaningful.
Imaginative transformation is a form of ludic interaction of an experience, not
a text—a feeling, not a narrative. Imaginative transformation identiies the core
meaning of a text—the heart of what makes that text uniquely
that
text—and
ascribes onto it gameplay mechanics. Imaginative ludic interaction ofers new
ways to perform and play contemporary games.
“his song is ending, but the story never ends...”
We live in a digital age, and our media is becoming more and more digitized.
As I write this, three major video game consoles have been released that rely on
streaming services for game play. he Nintendo Wii U, the Xbox One, and the
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