References of "Barnabé, Fanny"
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See detailImmersion et réflexivité. L’avatar au cœur de la construction de la posture vidéoludique
Delbouille, Julie ULiege; Barnabé, Fanny ULiege; Dozo, Björn-Olav ULiege

in Audet, René; Xanthos, Nicolas (Eds.) Le personnage contemporain (in press)

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See detailDes machinimas au speedrun: Les détournements du jeu vidéo par les joueurs
Barnabé, Fanny ULiege

Conference given outside the academic context (2019)

Depuis les débuts de son histoire, le jeu vidéo a été l’objet de nombreuses pratiques de détournement et d’appropriation de la part des joueurs. Aujourd’hui encore, ceux-ci ne cessent d’utiliser les jeux ... [more ▼]

Depuis les débuts de son histoire, le jeu vidéo a été l’objet de nombreuses pratiques de détournement et d’appropriation de la part des joueurs. Aujourd’hui encore, ceux-ci ne cessent d’utiliser les jeux comme outils ou comme matrices pour produire des œuvres dérivées qui peuvent prendre des formes très variées. Fanny Barnabé y a consacré une thèse de doctorat. À travers un parcours qui se focalisera principalement sur les formes audiovisuelles de ces pratiques transformatrices (machinimas, speedruns et let’s plays), elle s’interrogera sur les rapports qui relient le jeu, la création et le détournement. [less ▲]

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See detailCulture vidéoludique !
Dozo, Björn-Olav ULiege; Krywicki, Boris ULiege; Hurel, Pierre-Yves ULiege et al

Book published by Presses universitaires de Liège (2019)

Le jeu vidéo est une pratique culturelle qui s’inscrit désormais dans notre quotidien. Déjà étudié depuis plusieurs décennies dans le monde anglo-saxon, il a plus récemment fait son entrée comme objet de ... [more ▼]

Le jeu vidéo est une pratique culturelle qui s’inscrit désormais dans notre quotidien. Déjà étudié depuis plusieurs décennies dans le monde anglo-saxon, il a plus récemment fait son entrée comme objet de recherche dans les universités francophones. Dans ce volume, le Liège Game Lab propose, à travers huit courts textes, de multiples éclairages tant sur le jeu lui-même que sur les pratiques qui lui sont associées. [less ▲]

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See detailLe détournement de jeux vidéo, un jeu en soi ?
Barnabé, Fanny ULiege

in Dozo, Björn-Olav; Delbouille, Julie; Hurel, Pierre-Yves (Eds.) et al Culture vidéoludique ! (2019)

À l’heure actuelle, il existe de très nombreuses pratiques créatives par lesquelles les joueurs s’emparent de jeux vidéo afin de produire des œuvres dérivées – qu’il s’agisse de textes, de vidéos, de ... [more ▼]

À l’heure actuelle, il existe de très nombreuses pratiques créatives par lesquelles les joueurs s’emparent de jeux vidéo afin de produire des œuvres dérivées – qu’il s’agisse de textes, de vidéos, de bandes dessinées ou même d’autres jeux créés à partir d’œuvres vidéoludiques préexistantes. Quelles sont donc ces formes créatives de réception et comment les décrire ? Quelle part du jeu original transforment-elles exactement ? Et quelle relation existe-t-il entre le « jeu » et la « création » (entre jouer et détourner, où placer la frontière) ? C’est à ces questions que le présent article tâchera de répondre. [less ▲]

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See detailLes jeux vidéo sont-ils narratifs ?
Barnabé, Fanny ULiege

in Dozo, Björn-Olav; Krywicki, Boris; Delbouille, Julie (Eds.) et al Culture vidéoludique ! (2019)

Les jeux vidéo peuvent-ils raconter des histoires ? Redéfinissent-ils la notion de récit en ouvrant de nouvelles possibilités de narration, ou ne font-ils qu’« emballer » des mécaniques ludiques dans une ... [more ▼]

Les jeux vidéo peuvent-ils raconter des histoires ? Redéfinissent-ils la notion de récit en ouvrant de nouvelles possibilités de narration, ou ne font-ils qu’« emballer » des mécaniques ludiques dans une enveloppe narrative superficielle ? La narration est-elle un aspect définitoire du médium vidéoludique, ou n’est-ce qu’un ajout cosmétique dont il peut se passer ? Toutes ces questions ont constitué l’une des premières clefs d’entrée utilisées pour étudier le jeu vidéo comme objet culturel. Dans le présent chapitre, nous tâcherons donc de retracer en quoi la relation entre jeu et narration a pu faire polémique, puis, dans un second temps, de comprendre le rôle de la notion de « récit » dans ces débats (que recouvre ce terme dans le cadre du jeu vidéo ?) et, enfin, d’ouvrir quelques pistes de réflexion sur les spécificités de la narration par le jeu. [less ▲]

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See detailIntroduction aux genres paralittéraires
Barnabé, Fanny ULiege

Diverse speeche and writing (2019)

Cet atelier vous proposera d'effectuer un parcours à travers les genres dits « paralittéraires » (c'est-à-dire appartenant au champ de la « littérature populaire » ou de la « littérature de masse »): du ... [more ▼]

Cet atelier vous proposera d'effectuer un parcours à travers les genres dits « paralittéraires » (c'est-à-dire appartenant au champ de la « littérature populaire » ou de la « littérature de masse »): du roman sentimental à la fantasy, en passant par la science-fiction ou le policier. L'histoire de ces genres et de leur place à l’Université permet en effet de mettre en question la traditionnelle opposition entre « savant » et « populaire » et de remettre en avant les rapports qu’entretient la littérature, non seulement avec les contextes sociaux dans lesquels elle s'inscrit, mais aussi avec les autres médias (presse, cinéma, bande dessinée, jeu vidéo…), avec lesquels elle ne cesse de dialoguer. [less ▲]

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See detailFrom Liège to Kyoto and Back: Creation of an International Network in Game Studies
Barnabé, Fanny ULiege

Conference (2018, December 08)

Introduced by the First Vice-Rector of the University of Liège, Prof. Dr. Eric Haubruge, who will first discuss the major challenges of digital development at the University, particularly in the field of ... [more ▼]

Introduced by the First Vice-Rector of the University of Liège, Prof. Dr. Eric Haubruge, who will first discuss the major challenges of digital development at the University, particularly in the field of education, this meeting proposes to focus on the process of building an international partnership between two research centres on video games, the Ritsumeikan Center for Game Studies (RCGS) and the Liège Game Lab (LGL). This partnership is intended to be part of a broader network of video game research laboratories around the world. It relies on the French-speaking side on the creation of a network of French-speaking laboratories since May 2018 and on the Japanese side on the national branch of Digra (Digra Japan). Ritsumeikan Center for Game Studies (RCGS) was established as part of the Ritsumeikan University Kinugasa Research Organization in April 2011. It is Japan's only academic organization in the field of game studies. The Center conducts both specialized and comprehensive research on a wide range of games and play, from traditional toys and play equipment to games that use the most recent technology. It uses the strengths of a comprehensive university and its location in Kyoto, the cradle of games in Japan, to accomplish these aims. Moreover, in order to encourage government-industry-academia partnerships further in this area, the Center has taken as its mission the proactive fulfillment of its role as a bridge between governmental/public agencies and game-related companies and organizations. Major research topics - Constructing an archive of digital games - Aesthetic research on playing and games - Research on potential social and educational applications for games - General research on the domestic and international game industries The Liège Game Lab, created in January 2016, brings together researchers from the University of Liège (Belgium) who work on video games as a cultural object using conceptual tools from literary studies and communication sciences. From an institutional point of view, the LGL is an independent and transfaculty research collective. The research of the members of the LGL converges in that they all develop a cultural and communicational approach to the videogame medium, with perspectives rooted in philosophy and literature and with a particular interest in the "margins" of the game (diversions, amateur productions, video game press, intermedia relations, peripheral or "secondary" forms of game, etc.), i.e. for the "videogame culture" as a whole. We could thus identify three theoretical axes common to the research carried out in the lab. The first consists in studying the game around the game, through peripheral video game cultural practices, i.e. studying the game where it is not obvious. The second is based on the deconstruction of the notion of immersion, used extensively in research and often without questioning it. Finally, as an extension of these reflections, the Lab's work also tends to rethink the game as a communicative act. Prof. Dr. Hiroshi Yoshida (RCGS) and Dr. Fanny Barnabé (LGL) will discuss the difficulties of building such a partnership: language is obviously the first stumbling block, even if English is suitable for the main interactions. Distance is also a problematic factor, as meetings cannot be very regular or impromptu. However, there are also subsidies, such as financial support for bilateral partnerships developed by the Fonds national de la recherche scientifique (F.R.S.-FNRS) and the Japan Society for the Promotion of Science - JSPS. Beyond the pitfalls of these practical contingencies, however, it is the intellectual and symbolic benefits that must be highlighted in this type of collaboration: new ideas emerge from the confrontation between different research traditions and a great mutual intellectual enrichment results from these exchanges. The partners are therefore sparing no effort to extend them. [less ▲]

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See detailEntretien avec Mathieu Triclot
Barnabé, Fanny ULiege; Triclot, Mathieu

in ReS Futurae: Revue d'Études sur la Science-Fiction (2018), 12

Entretien avec Mathieu Triclot sur les relations, influences et motifs partagés entre la science-fiction et le jeu vidéo.

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See detailConclusions du colloque
Hurel, Pierre-Yves ULiege; Dupont, Bruno ULiege; Barnabé, Fanny ULiege et al

Conference (2018, October 28)

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See detailLe let’s play comme fiction de seconde main : mécanismes narratifs d’un genre de détournement vidéoludique
Barnabé, Fanny ULiege

Conference (2018, October 13)

Partant des outils de la rhétorique et de la narratologie, la présente communication se propose d’étudier un genre de détournement de jeux vidéo : le let’s play. Né dans le début des années 2000 sur les ... [more ▼]

Partant des outils de la rhétorique et de la narratologie, la présente communication se propose d’étudier un genre de détournement de jeux vidéo : le let’s play. Né dans le début des années 2000 sur les forums du site Something Awful (où il prenait encore la forme de captures d’écran commentées), le let’s play désigne, aujourd’hui, la captation vidéo d’une session de jeu, durant laquelle le joueur commente ses actions à voix haute. Les vidéos ainsi produites peuvent prendre des formats divers (être diffusées en direct ou en différé ; être plus ou moins longues, plus ou moins retravaillées en postproduction…), mais elles ont généralement en commun une certaine légèreté de ton et une esthétique assez brute, marquée par l’improvisation et la spontanéité (qu’elle soit réelle ou jouée). Bien que ces productions ne se présentent pas explicitement comme des œuvres autonomes ou comme des narrations (mais plutôt comme des retransmissions de performances ludiques), leurs auteurs n’y développent pas moins une rhétorique propre et des procédés de narrativisation (interprétation de personnages, mise en récit de leur performance, traduction de leurs actions dans les termes de la diégèse du jeu, etc.) qui situent le let’s play dans un espace intermédiaire, entre la fiction ludique et le monde empirique. Or ces mécanismes peuvent produire, à l’occasion, un profond effet d’écart par rapport à la narration, au message ou à la grammaire du jeu original : pour cette raison, étudier le let’s play en tant que détournement de jeu vidéo et en tant que potentielle forme narrative constitue, selon nous, un angle fécond pour approcher l’esthétique de ce genre en construction. Notre communication (basée sur un chapitre de notre thèse de doctorat) se penchera sur un corpus de let’s play francophones traversant plusieurs sous-catégories de vidéos, afin de définir ce que pourraient être des « figures du détournement » dans le cadre du jeu vidéo. [less ▲]

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See detailIn the Margins of the Game: Some Theoretical Issues About the Video Game Paratext
Barnabé, Fanny ULiege

Conference (2018, September 24)

Presentation about the theoretical problems related to the notion of “paratext” in the field of video games and about the light that this notion brings to two central issues in game studies: the ... [more ▼]

Presentation about the theoretical problems related to the notion of “paratext” in the field of video games and about the light that this notion brings to two central issues in game studies: the definition and delimitation of the game device, and the articulation of rules and fiction. [less ▲]

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See detailTwitch Plays Pokémon: Remix as a Fictional and Playful Matrix
Barnabé, Fanny ULiege

Conference (2018, August 21)

This paper (based on a chapter of my PhD dissertation) will explore, with the tools of rhetoric and narratology, a specific case of video game reappropriation by players: the Twitch Plays Pokémon ... [more ▼]

This paper (based on a chapter of my PhD dissertation) will explore, with the tools of rhetoric and narratology, a specific case of video game reappropriation by players: the Twitch Plays Pokémon phenomenon. Launched in 2014 by an anonymous Australian programmer, this experiment consisted in making Internet users play the game Pokémon Red (originally developed for the Game Boy) on the video streaming platform Twitch (with the help of a bot retrieving the messages written in Twitch’s chat and converting them into commands). Concretely, while Pokémon Red was broadcast live online, any user could enter in the chat the name of one of the Game Boy’s keys (“A”, “B”, “up”, “down”, “Left”, “right”, “select” or “start”) and see this message be transposed into the corresponding action in the game. The principle was, in other words, to share the control of a single avatar (the protagonist of Pokémon Red) between tens of thousands of players whose objectives could be very different, even contradictory. Noteworthy in many respects, the phenomenon will be considered here as a way to apprehend the process of reappropriation (or “détournement”) of video games by players. Specifically, Twitch Plays Pokémon allows us to examine the alternation between two constituent processes of game appropriation, which are always in tension: the deconstruction of codes and the codification. Indeed, not only Twitch Plays Pokémon is a transposition of Pokémon Red (in a new media space) which redefines the original game’s meaning and functioning (including by sabotaging its gameplay, since the very control of the avatar becomes tedious), but the new device built in this way quickly became itself raw material for many other appropriations or détournements (creation of fanarts, fanfictions and memes by players; or even invention of a pseudo-mythology giving meaning to this chaotic gaming activity). Twitch Plays Pokémon thus illustrates a double movement which is characteristic of video games reappropriations: by reversing, revealing or reconfiguring pre-existing games’ structures, players’ creations deconstruct them as much as they establish them as models (worthy of being rewritten) or as norms (codified enough to be the support of new reappropriations). The derivative work can, moreover, stabilize itself in a new code, in a shared language which is also a system of rules and constraints for future creations. Twitch Plays Pokémon is no exception to this “lexicalization” process (through which the reappropriation mechanisms gradually enter the “gaming vocabulary”): on the almost anti-playful basis provided by this device have actually emerged a viable game, a fictional universe and even almost a gaming genre. Through the analysis of several “figures of appropriation” and their evolution throughout the game, I will expose this formalization process. [less ▲]

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See detailRhetoric of Let’s Play: From Play to Narrative Show
Barnabé, Fanny ULiege

Conference (2018, July 27)

This paper will explore with the tools of rhetoric and narratology a specific form of video game reappropriation by players (or “meta-play”): the let’s play videos. Although these productions do not ... [more ▼]

This paper will explore with the tools of rhetoric and narratology a specific form of video game reappropriation by players (or “meta-play”): the let’s play videos. Although these productions do not appear explicitly as autonomous works or as narratives (but rather as transmissions of a playing activity), their authors nevertheless develop a distinctive rhetoric and various “narrativization” processes (interpretation of a character, storytelling based on the gaming performance, translation of the let’s player’s actions in the terms of the game’s diegesis, etc.) which situate the let’s play in an intermediary space, between the game’s fiction and the empirical world. These formal mechanisms can construct a strong effect of deviation in relation to the original game’s narrative, message or grammar (like when let’s players exploit and twist the content of horror games in order to produce a comedic counter-narrative, for instance). This communication (based on a chapter of Fanny Barnabé’s PhD dissertation) will thus examine a corpus of English-speaking let’s plays (across several sub-categories of videos), in order to determine through which “figures of reappropriation” these videos deviate from the games that support them and, thereby, build representations of play that contribute to renewing the gaming cultures. [less ▲]

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See detailRedefining Creativity in Gaming Culture: Reviving the Situationist Concept of Détournement
Barnabé, Fanny ULiege

Conference (2018, June 25)

This paper aims to present the French concept of “détournement” and its application in the field of pop culture and, more specifically, of game studies. Although it originated in the art world and it is ... [more ▼]

This paper aims to present the French concept of “détournement” and its application in the field of pop culture and, more specifically, of game studies. Although it originated in the art world and it is closely connected to the history of the twentieth century avant-gardes, the notion of détournement is now used to describe a growing number of popular practices related to the “participatory culture” phenomenon. The advent of digital technology has, indeed, multiplied the opportunities for audience participation in the creation, to the point of deeply changing our consumption habits: practices such as remix, sampling, mashup, film editing, fanfiction, fanart, etc. are today visible and widespread on the internet. This democratization of the reappropriation of pre-existing works participates in questioning the traditional opposition between creation and consumption and is, according to Azuma, an essential characteristic of postmodern culture, where we “consume the original and the parody with equal vigor. […] In other words, irrespective of their having been created by an author (in the modern sense), the products of otaku culture are born into a chain of infinite imitations and piracy” (Azuma, 2009: 26). To apprehend contemporary cultural practices, it seems thus essential to sharpen the vocabulary allowing us to designate these forms of reappropriation: this is why I will try, in this presentation, to define the notion of détournement and to deconstruct some assumptions frequently associated with it – mainly regarding its political dimension. [less ▲]

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See detailNarratives, Détournements and Paratexts: A Literary Perspective on Video Games
Barnabé, Fanny ULiege

Conference (2018, June 08)

Présentation de mes trois principaux objets de recherche (la narration vidéoludique, les détournements de jeux vidéo et le paratexte vidéoludique) lors d'une journée d'étude rassemblant les membres du ... [more ▼]

Présentation de mes trois principaux objets de recherche (la narration vidéoludique, les détournements de jeux vidéo et le paratexte vidéoludique) lors d'une journée d'étude rassemblant les membres du Liège Game Lab et les membres du Ritsumeikan Center for Game Studies de Kyoto. [less ▲]

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See detailThe Playful Function of Paratext in Visual Novels: The Case of Doki Doki Literature Club!
Barnabé, Fanny ULiege

Conference (2018, May 26)

Doki Doki Literature Club! (Team Salvato, 2017) is a deeply ambiguous independent game: although developed by an American game designer, it uses all the conventions of Japanese visual novel; although ... [more ▼]

Doki Doki Literature Club! (Team Salvato, 2017) is a deeply ambiguous independent game: although developed by an American game designer, it uses all the conventions of Japanese visual novel; although presented as a classic dating sim and as a cute high school romance, it gradually reveals itself to be a psychological horror game; finally, although DDLC regularly asserts its status of “video game”, playing it actually consists in unfolding a linear story, and the device continuously denies player agency by preventing him or her from making meaningful choices. In doing so, this interactive work (which is at the crossroads of several media influences) questions the conditions of the playing activity and the distinctions between play and other reading practices. If we define playful actions as marked by contingency (Malaby, 2007), by the possibility of choice-making (Salen and Zimmerman, 2004), by uncertainty and risk-taking (Henriot, 1989; Bonenfant, 2013; Hurel, 2017), how can we describe play in games – like visual novels – where the interactivity is minimal and where the manipulation of the device is not a gameplay issue (unlike in other games, where the player's actions may succeed or fail)? Starting from these questions, this paper will show that, in Doki Doki Literature Club!, the contingency is actually moved out of the strict game device’s framework to be located in its paratext (i.e. in all the texts external to the device, but serving as “thresholds” framing the work; see Genette, 1997; Consalvo, 2007; Fiadotau, 2015; Švelch, 2017; Rockenberger, 2014; etc.). [less ▲]

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See detailLe Liège Game Lab: une approche du jeu vidéo comme objet culturel
Dozo, Björn-Olav ULiege; Delbouille, Julie ULiege; Barnabé, Fanny ULiege et al

Conference (2018, May 16)

Présentation du Liège Game Lab, de ses méthodes et de ses objets de recherche lors du Symposium des laboratoires universitaires de recherche francophone en études du jeu et de la ludification.

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See detailTable ronde: "Les défis de mise en place d’un laboratoire de jeu"
Barnabé, Fanny ULiege

Diverse speeche and writing (2018)

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See detailBetween Freedom and Constraint: ROM Hacking of Pokémon Games
Barnabé, Fanny ULiege

Conference (2018, March 02)

This paper aims to study a creative practice widespread in video game cultures: “ROM hacking”. By examining with the tools of rhetoric a defined corpus of ROM hacks derived from 『Pokémon』 games, the ... [more ▼]

This paper aims to study a creative practice widespread in video game cultures: “ROM hacking”. By examining with the tools of rhetoric a defined corpus of ROM hacks derived from 『Pokémon』 games, the presentation will show that the formal construction of these derivative works demonstrates less a free or subversive transformation than a fairly strict respect for the original games’ conventions. By reproducing the structure of official 『Pokémon 』games, these fan productions become mirrors revealing their internal grammar. In this way, hacks can be game analysis tools. [less ▲]

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See detailCreating From Video Games: Rhetoric of Video Game Détournement
Barnabé, Fanny ULiege

Scientific conference (2018, January 18)

This paper aims to present the theoretical frame of the Ph.D. dissertation: Rhetoric of Video Game Détournement: The Pokémon Case. The topic of this dissertation is the “détournement” of video games by ... [more ▼]

This paper aims to present the theoretical frame of the Ph.D. dissertation: Rhetoric of Video Game Détournement: The Pokémon Case. The topic of this dissertation is the “détournement” of video games by players, that is to say: the creative practices that use video games as materials or as matrices to produce derivative works. Precisely, this notion covers a diversified range of productions whose common feature is to be created from video games: mods (modifications of the game’s code by users in order to create a renewed game), fanfictions (narrative texts written by fans and based on pre-existing fictional universes), or machinimas, speedruns and let’s plays (which are various types of videos recorded inside video games). In this presentation, I will develop the notion of “détournement” and show that its interconnection with the concept of “play” raises some theoretical issues: what part of the game is transformed in these productions? From which degree of variation can play be considered as “transformative”? From which norm of the playing activity could we identify a “deviant” form of play? These are the questions I will try to answer. [less ▲]

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