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Mark Bernstein explains that games have many lessons to learn from other artforms that speak to, and teach us, what it means to be human. The bidding has hardly begun, but the cards are tricky and the players, unless they communicate precisely, are headed for trouble. Before we rush toward a theoretization of games, we might wonder whether games are a coherent category. Celia Pearce tells us that the highest aspiration of narrative in games is āto engender compelling, interesting play.ā It is, of course, no small or simple task to coax a smile, yet surely the artist might sometimes [ā¦]
[ā¦]four ānaughtyā concepts, the definitions I presented somehow fall short of being truly useful. For example, Crawford would prefer that my concepts help him dismiss the idea of branching narratives as a design direction for a successful āgame-story.ā How should I respond? On the one hand, branching stories are not games. And the choose-your-own-adventure books that I read as a younger kid continue to be a source of inspiration for me. In any case, I do heartily agree with Crawfordās implicit critique of branching stories: that games should pursue narrative structures that take advantage of their status as dynamic and [ā¦]
[ā¦]timeā adopted by Bolter and Grusin in their global survey of media history, which he proposes to study in the almost immobilized āarchival timeā of Foucaldian genealogy. Yet the different pace of such Foucaldian case studies is the only way, argues Kirschenbaum, to unveil the way history is made. Largely agreeing with Kirschenbaum, in his globally positive appreciation of Remediation as well in his critiques, I would like to add here some small remarks, which to me do not seem incompatible with his own appeal for a Foucaldian turn in media studies. True, the media history (essentially the ānew mediaā [ā¦]
[ā¦]design is transparent design (Bolter and Grusin seem to have a particular dislike of Nielsen [2000] and Norman [1998]). But the fact that a theory āXā proves to be wrong does not imply at all that the opposite theory is rightjo (though this is exactly the stance that Bolter and Gromala are taking throughout the whole book). Moreover, the opposition of transparency/hypermediacy (in the metaphoric terminology of Bolter and Gromala this becomes: mirror/window) remains unclear. It is not clear whether the mirror-like stance of āreflectivityā (in Windows and Mirrors there is no room any longer for the concept of āhypermediacyā) [ā¦]
[ā¦]present two card games which are exercises in hypermedia. Each game is an attempt, in its own way, to combine what we usually think of as āgameā with what we usually think of as ānarrative.ā It is not clear whether the two game/story approaches they propose would lead to fun or interesting or other edifying experiences, but both certainly provide food for thought. Iām particularly intrigued by the notion posited in Card Shark of starting with an overabundance of possible paths, and creating the experience as a careful pruning away of potential paths, mainly through the use of ordering-condition constraints, [ā¦]
[ā¦]People often dream of things they canāt have, and wouldnāt want to have if they could [Tolkein, 240]. If the player is a hero, she must by definition struggle against the world model. The boundaries and limitations of the world model become by definition the hero-playerās chief concern. back to Hypertexts and Interactives [ā¦]
[ā¦]of new interactive situations, beyond the keyboard/clicking that most people are limited to today. However, I believe that what people learn online, managing their e-networked lives, as they do their physically networked lives, will carry over into other kinds of physical computing situations. Unanswered in any of these realms, if they be electronic, is how to preserve scuff marks and grease stains. Paper and cloth preserve these for a few hundred years, stone a few thousand. One can transiently impress oneās (reading/writing) history on an electronic network. Maybe where this quest leads is to an emergent (i.e. entirely different) kind [ā¦]
[ā¦]Eskelinen is criticizing comprises a small portion of the storymaking that goes on in pop life. [ā¦] What we donāt know about the āreal lifeā of computer games are the social circumstances that surrounds, and to a large degree guides, their playing. That is, what āotherā 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 donāt [ā¦]
[ā¦]playing any interactive game, for example, can require periods where we necessarily shift into and out of engagement mode. Some of Richard Schechnerās response, interestingly, itself describes both modes separately. When we follow Darryl Strawberryās exploits on the diamond, weāre immersed. When we, however, track his story through rehab, remission, the courts, and seedy halfway houses, weāre engaged. Watching Maggie Smith play a repressed spinster in Lettice and Lovage or Washington Square is immersive. Pondering what Smithās repressed spinster persona brings to Washington Square via The Lonely Passion of Judith Hearne or The Prime of Miss Jean Brodie is engaging. [ā¦]
[ā¦]morph from a word-for-character English translation of a classical Chinese quatrain by Wang Wei to a free adaptation of the same poem by myself. 17.sidebar.2.āfleshā is what I call a transliteral register (playing on āregistrationā in printing). the successive phases of transliteral morphs from the word āincarnateā to the words āto,ā āmake,ā and āfleshā are overlayed, then the source words, slightly misregistered, are set in white over the ensuing mass of black letter shapes. āfleshā was produced for the exhibtion āResoluteā at the Platform Gallery, London, 1 January, 2000. āfleshā was a new yearās resolution. back to Literal [ā¦]