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Gonzalo Frasca (born 1972) is a game designer and academic researcher focusing on serious and political videogames. His weblog, Ludology.org, was an important〔Loftus, Tom. ("The year in gaming" ), "MSNBC.com", December 22, 2003, accessed January 29, 2011.〕 publication during the early 2000s for academic researchers studying video games (see ludology for more information). The concept of ludology refers to the study of the videogame medium in terms of its defining aspects, such as game rule and mechanics. For many years, Frasca also co-published Watercoolergames with Ian Bogost, a blog about serious games. Frasca was born in Montevideo, Uruguay, where he established Powerful Robot Games, a videogame studio. In video game theory, Frasca belongs to the group of so-called "ludologists", who consider video games to be simulations based on rules. They see video games as the first simulational media for the masses - which means a paradigm shift in media consumption and production. Frasca's game studies are evolved from the work of Norwegian game academic Espen J. Aarseth. Beginning in December 2004, Frasca has studied games at the Center for Computer Games Research at the IT University of Copenhagen. He received his PhD in Videogames studies on August 2007. His most famous game is the art game, September 12, a response to the 9/11 attacks. It is based on the political argument that a direct military response will only increase the likelihood of further terrorist attacks on the West. In spite of being controversial at its launch, it is now recognized as a notable early example of both political videogame and newsgame (a term Frasca is credited with coining to refer to a videogame based on real, newsworthy events).〔Bogost, Ian et al. "Newsgames: Journalism at Play", MIT Press 2010, p. 13〕 In 2009 it received a Lifetime Achievement Award by the Knight Foundation.〔Goldfin, Jessica.("Knight News Game Awards" ), "The Knight Foundation Blog", May 29, 2009, accessed January 29, 2011.〕 ==Simulation versus Narrative: Introduction to Ludology (2003)== This work expands on concepts of narratology and ludology as modes for framing game analysis. These concepts were established initially by Frasca in his 1999 text (Ludology meets Narratology: Similitude and differences between (video)games and narrative ). He defines ludology as the play-oriented aspects of games, such as mechanics and control schemes. Narrative aspects provide a context for the play-oriented features within the gamespace. As noted in the text's introductory paragraphs, Frasca's writing on ludology was spurred by a desire to address the inadequacies of games studies literature.〔Frasca, G. (2003).Accessed June 5, 2013.〕 He states that games studies literature of the late 1990s and early 2000s involved the framing of game analysis within dramatic and narrative frameworks. This could include the framing of games within understandings of film and written literature. There was no existing model to consider games on their own terms (namely play and interactivity); a significant limitation in academically engaging with the medium. Interactivity is an intrinsic facet of the medium, however, no formal academic discipline existed which could address it. Through the proposition of a ludic framework, Frasca aims to encourage analysts to consider how play elements interact and convey meaning.This model of game analysis works similarly to Espen Aarseth's theoretical framework of digital textual analysis involving the reading of texts as cybernetic systems. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Gonzalo Frasca」の詳細全文を読む スポンサード リンク
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