Playing with meaning: Productive frictions between gaming and dancing in Bound

Abstract

Research into gaming and dancing has tended to highlight educational benefits, such as positive effects on problem-solving, creativity, and motivation (Hutton E and Sundar S, 2010. Can video games enhance creativity? Effects of emotion generated by Dance Dance Revolution. Creativity Research Journal 22(3): 294–303.). This article focuses on a game called Bound (2016), developed by Plastic Studios for PlayStation 4 and VR, to show how dancing can be defined as an embodied epistemology and a form of creative exploration that contributes to emotional intelligence. Using methodologies generated by Brendan Keogh, I show how and why dominant understandings of gameplay are insufficient to analyze the experience and meaning produced by playing Bound. Keogh’s theories are relevant to both game studies and dance studies and allow us to examine the fruitful intersections of game studies and screendance. Ultimately I introduce ‘choreographic thinking’ as a mode of engagement that is activated by gameplay and that resonates with Keogh’s theories: by calling attention to the choreographic potential of Bound, I demonstrate the value of noncompetitive gaming models for producing embodied knowledge.

Keywords

Choreographic thinking choreography dance studies embodied epistemology embodiment gameplay kinesthesia transmedia performance video games

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