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[…]to see the day when mass-market bookstores find it impossible to keep adequate supplies of the latest book from Stuart Hall or Michael Denning: just as The Bell Curve or See, I Told You So has sold out in many stores, so too should intellectuals in cultural studies hope to sell out. Or so I was going to say. My essay, then, as I first envisioned it, would have emphasized the differences between the New Right and the academic left with regard to the dissemination and distribution of cultural criticism: no sooner does Simon and Schuster publish Christina Hoff Sommers’s […]
[…]punctuated slap in the novel’s opening. Daley realizes that, as “Becca’s other life insinuate[s] itself toward him […] these people and enterprises all linked like street noises or evidence” (180), the two of them will eventually separate again. The slap, in other words, carries energy that brings them together and then separates them again. Conversely, the opening kinetic image of the slap carries the shadow of stasis: we are, after all, “in the darkened house.” Contained and sheltered like the animal in a shell of its own making, the woman on stage and “the man in the eighth row” are […]
[…]clout, breadth of content, and technical initiative are hallmarks of the company, allowing it to form a template of media products and services that have been widely adopted by the rest of the industry. Time Warner has aggressively deployed the most sophisticated technology in the area of interactive media. Its interactive initiatives include the Full Service Network, an advanced cable television network in Orlando, Florida and Pathfinder, one of the most extensive and prominent sites on the World Wide Web. These initiatives constitute an ongoing experimental effort to determine whether or not interactive media will be commercially viable on a […]
[…]potential of hypertext as imagined by Bush and Nelson? GL: According to people close to the latest developments in XML, it will have the strengths of SGML — essentially, tags describe a text element, such as a paragraph or book title, and one decides on formatting them from a central location. It also seems as if the Xlink protocols will finally give us one-to-many linking; now it’s up to Microsoft and Netscape to produce decent browsers that will support such features. If they do, the Web world could change at light speed. HM: Is there a danger that students and […]
[…]Golden Gate University pays a stipend for the content of each course, thus the content belong [sic] to GGU. Of course the instructor can use the subject matter content to publish elsewhere, but ggu also has rights to continue to use the material in its online courses. Please remove references to Copyright Paul S. Collins from any of your CyberCourses, or let me know where these phrases are so I can remove them. Golden Gate University had electronic rights on my work? I didn’t remember signing anything to that effect. The copyright notices, which I had blithely inserted into my […]
[…]protégés. Their weakness for formulas naturally convinces them that once they have found the latest one, it has to be a sure-fire thing. And so they go their smug and merry way, unaware that before long they may well be – like Russell’s mythical Hegel – blindsided by a planet. As for the historical eras she deals with so cavalierly, my own outlook, as I have given it here, entails the possibility that there may indeed be something like the poetic essence of an era. But all that need be said about it is what Perloff would doubtless tell you […]
[…]we can’t apply print narratology, hypertext theory, film or theater and drama studies directly to computer games, but it isn’t. Therefore the majority of the random notes and power-ups that follow will be spent modifying the presuppositions firmly based on the academic denial of helplessness. Obviously I need a strategy, and fortunately I have one: to use the theories of those would-be-colonizers against themselves. For example, as we shall soon see, if you actually know your narrative theory Those who see and wish to see narratives everywhere (to me, a serious disorder in aesthetic pattern recognition) should at least know […]
[…]communication. And theories of storytelling are (seemingly) universal: they can be applied to and explain any medium, phenomenon, or culture. So why should not games also be a type of story? In the context of computer games (and in most other contexts as well) stories and storytelling appear to be extremely old phenomena, spanning all of media history, and numerous media technologies. Show me a medium not suited to storytelling: it is probably a completely useless one. Computer games, with scarcely forty years of history, represent a mere last few seconds in the long evolutionary history of storytelling. Clearly, when […]
[…]writers worried about deadness almost as much as they worried about disorientation [Bernstein 1991]; today, we press the Back button and wonder what the fuss was about. Sooner or later, this is inevitable: we will run out of cards and the story must eventually end. But the story should have a chance to play out first; we must take care to let the story begin before it ends, to avoid stranding the reader at the start. Imagine, for example, a Card Shark hypertext that describes a twilight encounter in the garden on Tuesday night, and its dénouement in the nearby […]
[…]note: Markku Eskelinen, in his response to this essay, points out that the term was introduced to computer game studies by Gonzalo Frasca. This introduction, according to Frasca, was in the Cybertext Yearbook — a publication coedited by Eskelinen and named for Aarseth’s Cybertext [1997].) Consider some recent statements made on this issue: Interactivity is almost the opposite of narrative; narrative flows under the direction of the author, while interactivity depends on the player for motive power. (Adams 1999) There is a direct, immediate conflict between the demands of a story and the demands of a game. Divergence from a […]