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Extra resources for Clap Hands
For Craig Lindley (2003) game genres can be distinguished depending on the balance of narrative, gameplay and simulation in a game. His taxonomy involves examining the balance between simulation, gameplay and narrative in a game and between fiction/non-fiction and virtuality/ physicality. Using this taxonomy, he notes that role-playing games generally contain more narrative content than action games. Many contemporary game titles are genre hybrids and new titles may defy classification, for example, rhythm/music games like PaRappa The Rapper (1996) and Eye Toy (2003).
In media and literary studies, scholars generally differentiate between two parts of the narrative process: the story and the telling of the story. Thus, it is suggested that the story of a book can be separated from its telling, or the story of a film can be separated from its presentation in the film. The story and the way it is told in a film are referred to, respectively, as the ‘fabula’ and the ‘syuzhet’. In film what is referred to as the ‘classic’ narrative structure had emerged by the 1930s and drew heavily on the literary approach to narrative.
At the same time, he sees games as extensions of social man, as a form of popular art and reflective of the wider and changing culture from which they stem. He also sees them as a popular response to ‘workaday stress’ (1964: 250). While McLuhan conflates the medium and the message in this chapter and does not seem to allow that there might be considerable variety between different types of game content (his focus is on sports, card games and quiz shows), his argument about the role of games in society reflects those of Huizinga, Caillois and Sutton-Smith.