Step into the stylish yet affordable boots of Buffy Summers: Game style and narrative characteristics of Buffy on the X-Box
- Dr Scott Knight (Bond University)
The Buffy franchise (branded property) = an entertainment supersystem, corporate risk/reduction strategy
Study of content - systematic, multi-method, multi-dimensional
Supported by IEAA
Explores:
- stories
- narrative
- objects
- character
- location
To create a baseline knowledge and expand public discourse on computer video games
- establish a dialogue with the industry
- Brand Report
- classification
- integrate quantitative and qualitative research
150 games on five different platforms in total
Cover, manual, intro graphics, gameplay, physical world, characters, narrative style.
Stigma associated with branded properties made into games.
Buffy developer: The Collective
The 'Slayer' engine - newly developed
Writer: Christopher Golden
Story seen as crucial for Buffy
"Tendancy to tackle games as a series of technical challenges, but not as a storytelling medium"
- Jenkins
3rd person action/platformer/beat-em-up
ref: Tomb Raider
An interstitial story (set in the latter half of series three)
An 'unsafe world'
An FAQ/walkthrough for this game can be found at faqs.ign.com/articles/370/370061p1.html
Dramatic and comedic tone (rare)
Characters and dialogue - Whedonesque
Linear narrative, restricted range of story information.
Depth of info:
- mostly Buffy's knowledge, but a little extra
- objective 3rd person camera
- dream sequence
All original actors except Sarah Michelle Gellar
No Faith, Joyce or Oz.
Fan feedback is positive:
850 100-word reviews give it 9.0/10
Sequel currently in post-production
Angel game in development
Cross-media adaptation: consistency/fidelity and continuity.