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[…]in the interactive game of their telling: I lean more heavily on intuition [than plot when writing] and have been able to do that because my books tend to be based on situation rather than story. . . . I want to put a group of characters (perhaps a pair; perhaps even just one) in some of predicament and then watch them try to work themselves free. My job isn’t to help them work their way free, or manipulate them to safety – those are jobs which require the noisy jackhammer of plot. (160-61) King is a lone writer, with […]
[…]three-dimensional space with various elevations and depressions, tree lines and a few buildings to complicate troop movements and to distinguish between more and less strategic positions. Whereas Chainmail was still played using miniature knights within a war game setup, the first D&D decidedly moved underground into a complex system of passages and dungeons, and the 1977 Basic/Advanced sets scrapped the above-ground rules altogether. While Mona hints at the fact that this move was part of Arneson’s influence, he fails to explain its origin and purpose. Apparently both Gygax and Arneson were members of a ‘Castle and Crusade Society,’ but how […]
[…]first case studies built using GRIOT generate interactive poetry. GRIOT is based on an approach to computational narrative that builds on research from cognitive linguistics on metaphor and conceptual blending (Lakoff and Turner 1989; Fauconnier and Turner 2002), sociolinguistics on how humans structure narrative (Labov 1972; Linde 1993; Goguen 2003), computer science on algebraic semantics and semiotics (Goguen and Malcolm 1996; Goguen 1999). A focus in the development of the GRIOT system was on developing computational techniques suitable for representing an author’s intended subjective meaning and expression. Special attention was given to the generation of new concepts on the fly […]
[…]down on the side of the open work. Today I waver, wondering if the greater challenge, for myself and for the player, wouldn’t be in placing greater restrictions on the way the work is played. Reference Solitaire. Helen Thorington, Marianne Petit, and John Neilson. […]
[…]of the mental journey of Juvenate as the poignant goodbyes of the dying man to the lifeworld and to those he loves, his son and his wife (or lover): “Life is made of many partings welded together.” A Chinese proverb on both the entrance and exit screens alludes to the mythical theme of the eternal return: “The beginning and the end reach out their hands to each other.” The text concretizes this idea through the interleaved themes of childhood and illness, as well as through the recurrent visual motif of touching or reaching hands: the hand of the child on […]
[…]qualities of Pax, for, because of its confusing aesthetic and formal structures, it points to questions about its classification as literature and more generally about the literary in the age of the digital. Indeed, as Moulthrop tells us, the event which served as the impetus for composing Pax was a day largely informed by confusion. Delayed in Dallas-Fort Worth Airport due to unspecified dangers, travelers were forced to wait as various unspecified procedures were conducted in order to protect against some unspecified threat. The security which had “somehow been compromised” needed to be restored, yet it was unclear to the […]
[…]and the intensity and vividness of his depiction were remarkable. Turner brought with him the latest unclassified maps of Kabul and surrounding regions as published by the British military, with current safety and risk zones marked, as well as his rucksack, which supplied props for the experience. He notes: I wanted to get across to the players what it was like to be in that place at that time. I wanted to do what I always do, which is to make it more real for them. My goals in providing them with genuine props such as unclassified “mine maps,” old […]
[…]not the depth of a canvasser’s policy knowledge, which will induce the public to contribute to and join the organization. (Typically canvassers are trying to mobilize supporters; that is, trying to get the people who already agree with them to do something about it, rather than trying to change minds.) There are a number of variations on basic canvass role-plays that are used to break the monotony of practice, such as everyone practicing just one part of the rap, or doing a complete rap on totally different (or fictional or comical) issue. For example, one day I practiced a rap […]
[…]Mateas and Stern’s aims in designing Façade – questions of players’ experiences of Façade, and questions of procedural literacy. Human meaning-making practices can be thought of in procedural terms. “Procedures,” writes Bogost, “found the logics that structure behavior in all cases…when we do things, we do them according to some logic, and that logic constitutes a process in the general sense of the word,” (2007, 7, emphasis in original). This procedural view of human behavior is not new. Developmental psychology gives us the concept of scripts, or generalized event schemas. Schemas refer to mental structures that provide individuals models for […]
[…]a story and relations to emerge from a larger story world. All the meaning, for Crawford, has to come from the player’s unit operations, and that requires that they be very numerous and the simulation to handle them very complex. Andrew Stern and Michael Mateas’ Façade goes even further, assuming that in order to give the player the feeling of genuine freedom in a social situation, the game must interpret all the gestures and words the player might choose to make. In fact, of course, Façade cheats: it maps the infinity of possible input texts to a finite range of […]