By Dani Cavallaro
This e-book describes the thematic and structural qualities of a up to date and renowned improvement in the realm of anime: sequence tailored from visible novels. visible novels are interactive fiction video games during which gamers creatively keep watch over judgements and plot turning points.
Endings regulate in accordance with the player's offerings, supplying a motivation to replay the sport and go for replacement judgements every one time.
Pictorial sumptuousness, plot intensity and refined characterization are important points of the medium. Anime in keeping with visible novels capitalizes at the father or mother games' attributes, yielding thought-provoking yarns and intricate personalities.
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Additional info for Anime and the Visual Novel: Narrative Structure, Design and Play at the Crossroads of Animation and Computer Games
This requires them to negotiate at each turn a bundle of character interrelations in which their own decisions constitute communicative and expressive actions rather than purely functional strategic moves. The Air anime spin-off (TV series; dir. Tatsuya Ishihara, 2004–2005) is heir to the stylistic traits found in the parent game, faithfully perpetuating their impact and indeed enhancing their dramatic scope by disposing them within an explicitly narrative mold. At the same time, the anime smoothly transposes the visual novel’s formal strengths into absorbing spectacle, abundantly maximizing the principles of multiperspectivalism and open-endedness within a tapestry where the mundane and the supernatural seamlessly coalesce.
You can actually live in a harmonious, close contact with nature — this [is] very unique to Japan” (Ando). The chapters to follow pursue the ideas advanced in the course of the present chapter by articulating a theoretical model that makes it possible to address visual novels and their animated offshoots in relation to broader debates pivoting on four interrelated categories: narrativity, interactivity, immersion and graphic presentation. The argument proceeds from the premise that visual novels are fundamentally games and that a recognition of their ludic identity is instrumental both in grasping their formal and graphic specificity and in enjoying the challenges they pose.
As Gonzalo Frasca maintains, the notion that “Ludologists are supposed to focus on game mechanics and reject any room in the field for analyzing games as narrative, while narratologists argue that games are closely connected to stories” and should be studied, at least partially, “through narratology” is the product of “a series of misunderstandings and misconceptions” (Frasca 2003). In fact, Frasca elsewhere proposes, “ludology could be used along with narratology to better understand videogames” and should be seen “not to replace the narratologic [sic] approach, but to complement it” (Frasca 1999).
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