![]() This stands in contrast to certain understandings of myth which may position it as a narrative genre or a socioreligious function of ‘primitive’ societies. What is important is how these elements are placed in relation to one another. It can include phenomena as diverse as systems, rules, customs, behaviours, rituals, stories, characters, events, social roles, motifs, spatial configurations, and so on. From this perspective, mythology is not limited to any genre, medium or cultural context. Frog outlines mythic discourse analysis as a method which focuses on the comparison of mythic discourse over time and across cultures.īarthes and Frog broadly share an understanding of mythology as a particular way of communicating an understanding of the world through discourse. Frog’s mythic discourse approach understands mythology as “constituted of signs that are emotionally invested by people within a society as models for knowing the world” (2021a, p. Otherwise arbitrary relations between things are made to seem obvious and natural. This mode of expression has naturalisation as a key feature, by which the arbitrariness of second-order signification is masked. The Barthesian approach establishes myth as a mode of expression rather than as an object, a mode that is therefore prevalent in all forms of media and meaning-making. Mythology here is understood primarily from two theoretical perspectives: Roland Barthes’ theory outlined in Mythologies (1972/2009) and Frog’s (2015, 2021a) understanding of mythology in cultural practice and discourse from a folklore studies perspective. Finally, I reflect on these analyses and on mytholudics as an approach. With this established, I apply mytholudics in ten analyses of individual games or game series, split into two lenses: heroism and monstrosity. I call my theorisation and analytical approach mytholudics. ![]() This is then operationalised as a method for the analysis of games. This is expressed through a cycle showing how mythology is embedded into the production of games as well as how it impacts the playing and interpretation of games. The central question is: how does a mythological approach help to understand the way games make meaning? I first theorise mythology as it applies to games and play. This dissertation outlines a mythological framework for understanding how games produce meaning.
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