Audiosfery lochów, poetyki krajobrazu. Ślady estetyk romantyzmu w grach cRPG

  • Mateusz Felczak Uniwersytet SWPS
Słowa kluczowe: aesthetics, cRPG, romanticism, landscape painting, music, dungeon synth

Abstrakt

The aim of this text is to discern and analyze aesthetic tropes in selected fantasy cRPG games in the areas of visual arts and music. The analysis is con­ducted in the context of American romanticism, especially Hudson River School of painting, and musical works belonging to the dungeon synth genre. Through the enumeration and close reading of the elements pertaining both gameplay and digital landscapes, it is argued that the specific type of romantic imagery and its philosophical underpinnings may have influenced the recurring themes in cRPG games, including character development, avatar’s agency and player’s projected disposition towards the game world.

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Ludografia:

Baldur’s Gate (1998, BioWare).

Castelvania. (1986, Konami).

Chrono Trigger (1995, Square).

Dark Souls (2011, FromSoftware).

Dragon Age: Inquisition (2011, BioWare).

Gothic (2001, Piranha Bytes).

Icewind Dale (2000, Black Isle Studios).

Might and Magic V: Darkside of Xeen (1993, New World Computing).

Pillars of Eternity (2015, Obsidian Entertainment).

Secret of Mana (1993, Square).

The Elder Scrolls III: Morrowind (2002, Bethesda Game Studios).

The Elder Scrolls IV: Oblivion (2006, Bethesda Game Studios).

The Elder Scrolls V: Skyrim (2011, Bethesda Game Studios).

The Faery Tale Adventure (1987, MicroIllusions).

The Legend of Zelda (1986, Nintendo EAD).

Ultima IV: Quest of the Avatar (1985, Origin Systems).

Wiedźmin 3: Dziki Gon (2015, CD Projekt Red).

Opublikowane
2021-06-30
Jak cytować
Felczak, M. (2021). Audiosfery lochów, poetyki krajobrazu. Ślady estetyk romantyzmu w grach cRPG. Panoptikum, (24), 28-44. https://doi.org/10.26881/pan.2020.24.03