dc.contributor.author | Antonsen, Pål Fjeldvig | |
dc.date.accessioned | 2021-07-02T09:24:56Z | |
dc.date.available | 2021-07-02T09:24:56Z | |
dc.date.created | 2021-01-29T12:29:56Z | |
dc.date.issued | 2020 | |
dc.Published | British Journal of Aesthetics. 2020, . | |
dc.identifier.issn | 0007-0904 | |
dc.identifier.uri | https://hdl.handle.net/11250/2763067 | |
dc.description.abstract | The aim of this paper is to make sense of a characteristic feature of interactive fictions, such as video game fictions, adventure books and role playing games. In particular, I describe one important way consumers of interactive fiction ‘take on the role’ of a fictional character and are ‘involved’ in the story. I argue that appreciative engagement with such works requires imagining being someone else and imagining parts of the story in a self-locating manner. In short, consuming works of interactive fiction involves imagining the story from the protagonist’s perspective. | en_US |
dc.language.iso | eng | en_US |
dc.publisher | Oxford University Press | en_US |
dc.rights | Navngivelse-Ikkekommersiell 4.0 Internasjonal | * |
dc.rights.uri | http://creativecommons.org/licenses/by-nc/4.0/deed.no | * |
dc.title | Self-Location in Interactive Fiction | en_US |
dc.type | Journal article | en_US |
dc.type | Peer reviewed | en_US |
dc.description.version | publishedVersion | en_US |
dc.rights.holder | Copyright 2020 The Authors | en_US |
cristin.ispublished | true | |
cristin.fulltext | original | |
cristin.qualitycode | 2 | |
dc.identifier.doi | https://doi.org/10.1093/aesthj/ayaa037 | |
dc.identifier.cristin | 1882318 | |
dc.source.journal | British Journal of Aesthetics | en_US |
dc.source.pagenumber | 41–52 | en_US |
dc.relation.project | Norges forskningsråd: 251218 | en_US |
dc.identifier.citation | British Journal of Aesthetics. 2021, 61(1), 41–52 | en_US |
dc.source.volume | 61 | en_US |
dc.source.issue | 1 | en_US |