This article relates to the 2018 CSDH/SCHN conference proceedings. This paper outlines Michael Iantorno’s and Melissa Mony’s experiences with quantitative game analysis by summarizing the first year of development of the prototype ludomusicological database GameSound. To further the discussion, this article also summarizes and analyzes the work of fellow digital humanities scholar Jason Bradshaw, who applied intriguing types of tool-based analysis to BioShock Infinite. To conclude, the paper hypothesizes where this type of research could lead in the future: both for GameSound and for other projects using similar methods and methodologies.

This thesis examines the destabilization of a hierarchical ordering of human vs. nonhuman agency found in digital media which present a surge of “animacy” – perceptible qualities of “agency, awareness, mobility and liveness” (Chen 2012). It examines one webtoon (The Bongcheon-Dong Ghost 2011) and two video games (Undertale 2015 and Doki Doki Literature Club 2017), which push at the boundaries of their respective media forms by channeling technical/computational forces (e.g. Javascript or memory storage) into character animation; “animation” in a doubled sense: both as the fusion of discontinuous instants afforded by the mechanical succession of images as well as the production of a social Other possessing qualities of life and agency (Silvio 2019). The result is a perception of agency (and thus animacy) that resists the categorization of both the character and the media object. Challenging dominant structures and theories of comic readership, video game play, or “database consumption” (Azuma 2009) respectively, these works argue against the control that the human operator is presumed both to have and to require as part of a framework which constitutes the works themselves as media objects. This thesis further argues that the structures critiqued and challenged by these works index a broader conceptualization of human action in the world, predicated on “animacy hierarchies” which are buttressed by binaries of human/nonhuman, animate/inanimate, moving/still, subject/object, and will/determination. By adopting an animist logic, in which images/media/characters might potentially act in unforeseen ways, these works challenge and destabilize such binaries.

In this paper we develop the concept of design bleed, a standpoint approach to game design. We adopt the terminology of bleed from the Nordic community around live- action role-playing games and use it as a lens on game development. Based on our own experiences in developing two game jam games, Lovebirds and Get Your Rocks On, we identify four ‘ingredients’ for bleed-inspired game design. We develop design bleed as a community affirming design practice which can be used as a tool for carving out shared standpoints. We suggest that this is particularly productive for game designers at the margins, as it has potential to be creatively and emotionally healing but can also invite expressions for political resistance to normative game culture.