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In contrast to the US and recently Europe, Japan appears to be unsuccessful in establishing new industries. An oft-cited example is Japan's practical invisibility in the global business software sector. Literature has ascribed Japan's weakness – or conversely, America's strength – to the specific institutional settings and competences of actors within the respective national innovation system. It has additionally been argued that unlike the American innovation system, with its proven ability to give birth to new industries, the inherent path dependency of the Japanese innovation system makes innovation and establishment of new industries quite difficult. However, there are two notable weaknesses underlying current propositions postulating that only certain innovation systems enable the creation of new industries: first, they mistakenly confound context specific with general empirical observations. And second, they grossly underestimate – or altogether fail to examine – the dynamics within innovation systems. This paper will show that it is precisely the dynamics within innovation systems – dynamics founded on the concept of path plasticity – which have enabled Japan to charge forward as a global leader in a highly innovative field: the game software sector as well as the biotechnology industry.
Connecting narrative worlds
(2014)
Starting with the debate between ludologists and narratologists this essay tries to show that there is a narrative aspect in computer games which has nothing to do with background stories and cut scenes. A closer analysis of two sequences, taken from the MMORPG Everquest II and the adventure game Black Mirror, is the basis for a distinction between three aspects of this kind of narrative in computer games: the sequence of activities of the player, the sequence of events as it is determined by the mechanics of the game and this sequence of events understood as a plot, that is as a sequence of chronologically ordered and causally linked events. This kind of narrative is quite distant to the prototypical narrative which is the basis of most of the narratology. But actually all media, not only computer games, need their own narratology.