In Chapter five, the author continues the main thrust of the thesis which argues that the suspension of disbelief should be reconfigured when theorizing videogames.
The author clearly defines that, in this chapter he will examine, “how videogames’ self-referential focusing on the suspension of disbelief reveals the features of the suspension of disbelief which are unique to videogames”.

The author then goes on to construct the argument that dissonance in videogames work with their own notion of the ‘4th Wall’ to create various kinds of affect. He explores how the 4th wall is experienced in Theatre, Film, TV and the written novel and explains how this is reconfigured in videogames. He argues that control systems and interaction devices are necessarily outside the diegesis and that the suspension of disbelief, is achieved by the players willed disavowel of presence.
The author refers to the argument he has presented in the previous two conclusions and argues that the players willed disavowel of presence is a necessary part of gaming rather than an optional state, when examined within the ludic suspension of disbelief.

The author writes in a logical, concise and convincing manner underpinned by valid academic literature and supported by respected, leading authorities within the field. The research method is qualitative and is presented within a psychological theoretical framework.

The author refers to theoretical literature while presenting evidence from videogames that serve to illustrate the suspension of disbelief as a narrative or gameplay device. Examples from videogames are presented in order to examine consumer interaction as well as video game production. Although I am unfamiliar with some of the references, this presents a valuable opportunity to extend my videogame knowledge and develop my game language.

Dr Brown, refers to academic literature such as Huizinga’s (1955) magic circle, Suits (1978) lusory attitude and Iser, Gerrig and Fine’s theories, to underpin how a ‘game-playing role’ is constructed. He does this to further define the difference between video games and other media.
The author presents his thesis in consideration of Hollywood film, TV, theatre and play theory but does not refer to animation. This could indicate a potential gap in the thesis and although animation is often considered the poor cousin of film, for me, this does not hold.

There exists a body of animators that work within the traditions of expanded animation practice. Artists such as Len Lye, Stan Vanderbeek , William Kentridge. Birgitta Hosea and Tereza Stehlikova identify themselves as animators that produce installation, projection art and kinetic sculpture, as well as animated film.

My personal experimental practice has roots in expanded animation and although I am new to the field of videogame theory, I am currently trying to locate practice-based researchers in the field. For me, the relation between practice and theory is interdependent. It could be that by exploring the intersection between videogame and expanded animation practice, new knowledge could be revealed. It would interesting to examine the 4th wall, as reconfigured as a mutable construct, through a set of expanded animation experiments.

If I applied this theory to my current project, I could examine how players suspend disbelief in the game play. In questioning how the player adopts a ‘lusory attitude’ and the ‘game playing role’; I could think about how the willed disavowel of presence and the mutable 4th wall might be harnessed to deliberately create dissonance as a narrative or game play device. For example, I could focus on the game control both in and out of the diegesis so that I can expand and contract the 4th wall for narrative and game play effect.

A key aspect of my game is the spinning of a wheel of fortune to acquire a special skill.
In the game, the player will be presented with an iPad similar to the device they are playing on. On the device a wheel of fortune game will be illustrated as a plan view of the fairground arena. It is implied that as the player spins the wheel, this action spins the game environment. The spinning of the environment is implied using visual and sound effects.

It is assumed that this will connect the player both within the game playing and out of the diegesis. In doing so, this should expand and contract the 4th wall. As an untested concept, there are risks associated with this design. I am uncertain whether harnessing ‘digital nausea’ will enhance game play or be detrimental to the user experience. I am also uncertain as to whether the iPad frame will effectively provide sufficient focus before or after the dizzying effects are applied. It will therefore be necessary to read further academic and grey literature to inform my design and develop a working prototype to acquire user data.

In Chapter five, the author continues the main thrust of the thesis which argues that the suspension of disbelief should be reconfigured when theorizing videogames.
The author clearly defines that, in this chapter he will examine, “how videogames’ self-referential focusing on the suspension of disbelief reveals the features of the suspension of disbelief which are unique to videogames”.

The author then goes on to construct the argument that dissonance in videogames work with their own notion of the ‘4th Wall’ to create various kinds of affect. He explores how the 4th wall is experienced in Theatre, Film, TV and the written novel and explains how this is reconfigured in videogames. He argues that control systems and interaction devices are necessarily outside the diegesis and that the suspension of disbelief, is achieved by the players willed disavowel of presence.
The author refers to the argument he has presented in the previous two conclusions and argues that the players willed disavowel of presence is a necessary part of gaming rather than an optional state, when examined within the ludic suspension of disbelief.

The author writes in a logical, concise and convincing manner underpinned by valid academic literature and supported by respected, leading authorities within the field. The research method is qualitative and is presented within a psychological theoretical framework.

The author refers to theoretical literature while presenting evidence from videogames that serve to illustrate the suspension of disbelief as a narrative or gameplay device. Examples from videogames are presented in order to examine consumer interaction as well as video game production. Although I am unfamiliar with some of the references, this presents a valuable opportunity to extend my videogame knowledge and develop my game language.

Dr Brown, refers to academic literature such as Huizinga’s (1955) magic circle, Suits (1978) lusory attitude and Iser, Gerrig and Fine’s theories, to underpin how a ‘game-playing role’ is constructed. He does this to further define the difference between video games and other media.
The author presents his thesis in consideration of Hollywood film, TV, theatre and play theory but does not refer to animation. This could indicate a potential gap in the thesis and although animation is often considered the poor cousin of film, for me, this does not hold.

There exists a body of animators that work within the traditions of expanded animation practice. Artists such as Len Lye, Stan Vanderbeek , William Kentridge. Birgitta Hosea and Tereza Stehlikova identify themselves as animators that produce installation, projection art and kinetic sculpture, as well as animated film.

My personal experimental practice has roots in expanded animation and although I am new to the field of videogame theory, I am currently trying to locate practice-based researchers in the field. For me, the relation between practice and theory is interdependent. It could be that by exploring the intersection between videogame and expanded animation practice, new knowledge could be revealed. It would interesting to examine the 4th wall, as reconfigured as a mutable construct, through a set of expanded animation experiments.

If I applied this theory to my current project, I could examine how players suspend disbelief in the game play. In questioning how the player adopts a ‘lusory attitude’ and the ‘game playing role’; I could think about how the willed disavowel of presence and the mutable 4th wall might be harnessed to deliberately create dissonance as a narrative or game play device. For example, I could focus on the game control both in and out of the diegesis so that I can expand and contract the 4th wall for narrative and game play effect.

A key aspect of my game is the spinning of a wheel of fortune to acquire a special skill.
In the game, the player will be presented with an iPad similar to the device they are playing on. On the device a wheel of fortune game will be illustrated as a plan view of the fairground arena. It is implied that as the player spins the wheel, this action spins the game environment. The spinning of the environment is implied using visual and sound effects.

It is assumed that this will connect the player both within the game playing and out of the diegesis. In doing so, this should expand and contract the 4th wall. As an untested concept, there are risks associated with this design. I am uncertain whether harnessing ‘digital nausea’ will enhance game play or be detrimental to the user experience. I am also uncertain as to whether the iPad frame will effectively provide sufficient focus before or after the dizzying effects are applied. It will therefore be necessary to read further academic and grey literature to inform my design and develop a working prototype to acquire user data.