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[…]you this really long story. But if by chance she does catch your attention she will shake your hand and introduce herself and she will begin to tell you the most fantastic tales of riding in a boat on the Nile, of riding in a gondola in Venice, and just about the time you think boats are all this woman has on her mind, that is all she is going to talk about she starts telling you about how she wrote letters to Herman Hesse and HE WROTE BACK so she wrote this really long book about his life, and […]
[…]always did” (79). Only such an overwhelming love for a leader could have driven these soldiers to tolerate such extremes of adversity. This is the type of emotion that is neglected in traditional history. Even though Winterson’s character Henri serves in Napoleon’s army for eight years, he provides us with precious little in the way of typical historical detail. Instead, he discusses at great length Napoleon’s passion for chicken, and what it was like to kill the birds for him and to put on his boots in a hurry to serve the Emperor his chicken. Henri describes twice in the […]
[…]on their own, whether bad or good, hopeful or dead-end, progressive or destructive. We [the editors] hope that women aren’t only what society has made them and that there is some individual identity to work with. ————————————————- In victim-fiction, a perfectly nice, promising person encounters IT. Incest, rape, mugging, sexual harassment, drug/alcohol addiction, sexual discrimination. The now-victim then begins to struggle with the AFTERMATH. Eating disorders, more addictions, self mutilation, low self-esteem, dangerous passivity that allows further harassment or abuse. And that’s the story’s movement/intensity. Sample of the typical cover letter we received: ————————————————- Please consider my story […]
[…]privilege the digital nature of a videogame rather than its game structure. Just as Aarseth is uncomfortable with what he (mistakenly) sees as my attempt to assimilate digital gaming experiences into the category of story, I am uncomfortable with attempts to assimilate all participatory narratives into the category of game. Some digital environments, like the IF traditions that Nick Montfort describes, or like online text-based role-playing environments, are only marginally gamelike. Without demeaning gaming in any way, I would rather leave the category of participatory artifacts more open. Hence the need for a term like “interactor” or “participant” (which Bryan […]
Figure 1.sidebar.1: The areas of game and story have both independent and overlapping features, and for our discussion the areas of contest and puzzle are equally relevant. Figures 1.sidebar.2 – 1.sidebar.3: Thinking about nondigital overlap cases, in multiple directions, may be a particularly fruitful activity. Figure 1.sidebar.4: When we get to the digital medium, we find a medium that can accommodate the features of all these nondigital examples. Figure 1.sidebar.5: We can also think of the game/story axis as a player focus/plot focus axis. Figure 1.sidebar.6: But what if we take a step back, and reconsider the notion that game […]
[…]a game designer I try to envision an interesting landscape of possibilities to drop the player into and then design the constraints of the world to keep them there. Within this space the landscape of possibilities (and challenges) need to be interesting, varied, and plausible (imagine a well-crafted botanical garden). It is within this defined space that players will move, and hence define their own story arc. My aspirations for this new form are not about telling better stories but about allowing players to “play” better stories within these artificial worlds. The role of the designer becomes trying to best […]
[…]Eskelinen is criticizing comprises a small portion of the storymaking that goes on in pop life. […] What we don’t know about the “real life” of computer games are the social circumstances that surrounds, and to a large degree guides, their playing. That is, what “other” stories are the players enacting? Fans of sports or movies engage with other like-minded people. They not only follow and collect the lives of their heroes, they enact their own lives in some kind of dependence on the lives of those they adore and follow. How can computer games do likewise? Virtual heroes don’t […]
[…]without confining its scope to any one media form. In fact, the term ludology was introduced to computer game studies in the Cybertext Yearbook According to Gonzalo Frasca, who is credited with introducing ludology and operates ludology.org. Markku Eskelinen is coeditor of the Cybertext Yearbook, with Raine Koskimaa. — named for Aarseth’s term — and has been partly popularized by the community around the journal Game Studies, of which Aarseth is the general editor. Aarseth’s theoretical positions were influenced by those of Stuart Moulthrop, whose work as a critic and artist (which rose to prominence with the dual 1991 publications […]
[…]abstraction. One has only to consider a text like Neal Stephenson’s In the Beginning Was the Command Line to appreciate this warning. In my defense I can only suggest that process and implementation will ultimately count more than polemics and theory. We do not yet know in material, social terms how work in configurative media can best contribute to molecular culture and the reformation of the social bond. The present essay represents only a bare start; plentiful questions remain. Should we begin our work and thinking with existing game genres? Should we limit game experience to individual players, or rather […]
[…]is, software which can be understood as an intentional entity, like a human or animal, responding to and pursuing goals in an environment. In particular, SS-AI replaces “autonomy” with “communication” as the driving design consideration in the construction of agents. Within the AI community, the debate between situated and Good Old Fashioned AI (GOFAI) is organized around the notion of an agent. Historically, situated AI appeared as a reaction to recurring problems appearing in GOFAI in the design of complete agents, particularly robots. In recent years much AI research has been organized around the metaphor of “agent,” to the extent […]