Search results for "C_THR86_2305 Latest Study Guide 📟 Reliable C_THR86_2305 Test Sample ⌛ C_THR86_2305 Braindumps 🥈 Open [ www.pdfvce.com ] and search for [ C_THR86_2305 ] to download exam materials for free 🤲Test C_THR86_2305 Lab Questions"
| Results 991 - 1000 of 1053
|
Page 100 of 106
|
|
Sorted by: Relevance | Sort by: Date
|
Results per-page: 10 | 20 | 50 | All
|
[…]interactive fiction” (Costikyan 13). I also agree that the “beads on a string” approach to storytelling has been thoroughly, if not completely, explored, although that doesn’t meant that future games can’t make use of the structure in innovative ways. But the most telling part of Costikyan’s essay is his sense that games and stories are two different, possibly opposing things, and that the relationship between them is one we haven’t yet fully explored. There are a variety of game structures that attempt to balance, integrate, or otherwise blend gameplay with narrative content, with varying degrees of success. From a player’s […]
[…]monsters and gathering treasure to developing characters and telling a story. My last game, for example, was a quest for spiritual truth that explored themes of self-discovery, religion, and the nature of death. But the more ambitious my games grew, the more frustrated I became with the form. For me, creating and playing these games was an art, but due to the nature of the form, that art could only be shared with a few people. In 2002, I launched the web site City of IF to bring these kinds of interactive stories to a larger audience. I started by […]
[…]of our life pursuits are structured within a dialectic of absence and presence: lack or loss leads to search and discovery, and longing – desire – is the motive and motor that sets in motion the synthesis of making present. Of course presence, defined as inclusion in either our gameworlds or our lifeworlds, always inscribes the outlines of exclusion, and thus makes present as virtual potential all that is absent, regenerating the desire that drives the endless quest of/for discovery. But as Douglass points out, all is not as it seems. The process of discovery that moves the narrative of […]
[…]game, meaning that the player directed the actions of a player character in the game by typing commands to that character in plain English, such as “ENTER THE SPACESHIP” or “PICK UP THE ELVEN SWORD.” The game would then respond with a sentence or two of text, describing what happened when the player character attempted that action. These games were typically a mix of a storyline, exploration of an interesting environment, and some puzzles – often quite hard – that needed to be solved to advance the game. I began working on Planetfall in September 1982. At that point, Infocom […]
[…]with biographical information are re-collated and used as data for the re-authoring of Magritte, to form an alter(ed).na(rra)tive to/of Magritte’s life and career. The magritte of The Brotherhood of Bent Billiard; this is not Magritte. Figure 1 – Many of the links in the piece are hidden and must be discovered by the user. Clicks may reveal certain text or graphical elements, while simply moving the mouse over certain objects may reveal entirely different information. Sometimes, once information is revealed and screen changes have occurred, there is no going back. Although the links and triggers may be variable, this gives […]
[…]it also entails psychological trauma. One of the challenges in creating Soft Cinema films is to come up with narratives that have a structural relationship to the database aesthetics. If Texas uses semi-random database retrieval to represent “info-subjectivity,” then Mission to Earth adopts the variable choices and multi-frame layout of the Soft Cinema system to represent “variable identity.” That is, the trauma of immigration, the sense of living parallel lives, the feeling of being split between different realities. To this end, in generating every part of the film, the software chooses from among a number of alternative sequences that reflect […]
[…]earlier encounters with these traps, when he was advised on-screen by the dry subjunctive narrator to “Avoid spiky poles.” There are multiple modes of narration that are channeled through the interface, including the various cinematic sequences, narrative voices, dialogues, camera controls, and the like, as well as the subtle indicators of status, location, and action implicit in the health bars, power meters, and even audio alerts. They focalize the player’s attention towards a ludic goal that, in this specific case, also supplies a significantly self-defeating moment in the Prince’s retrospective narrative. This unavoidable mistake hinders the player while making the […]
[…]to imagine themselves in whatever context they wish. They do not force the audience into uncomfortable theatrics. Instead, they allow the audience to decide what sort of theatrics, if any, they wish to add to their play style. Nor do they force them to perform actions that remove them from the core experience, unlike a LARP where you may be forced to stop a character interaction to roll dice. Instead, they provide a compelling set of game mechanics and just enough context that the players themselves become the true storytellers. And that conversion of player to storyteller is the true […]
[…]of the call of the world doesn’t sound all that different from what Critchley describes. “[E]thical subjectivity” according to Critchley, “is the experience of being affected by an other in a way that precedes consciousness and which places in question our spontaneity and sovereignty” (121). For Critchley, autonomy is an illusion, a condition for ethical life, and a goal for political action – all at the same time. He explains in this rather dense passage: “My position is that politics as an ethical practice should not assume a pre-given or taken-for-granted notion of autonomy, but is rather hetero-affectively interpellated by […]
[…]schools when students are lugging home massive tomes, working on various testing skills required to compete in the standardized tests, and sometimes have a frantic after-school life as well, filled with dance, music, and sport lessons. Puppetland would not be effective as a one-shot deal. To have the students play for one afternoon, followed up by a writing session, would be ineffectual and faddish. My experiences with the two-month-long lessons have taught me that students gain immeasurably by being allowed to develop a rich sense of the puppet world and of each other’s characters. This in-depth assault may very well […]