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[…]looked at him curiously, let go of the pendant and nodded. “The ad was very explicit. It’s a code, you know. I don’t lie in the ad. I said who I was and what I wanted. I’m divorced, have been for eleven years. I don’t want another husband, nor do I want a Long Term Relationship. Secret encounters, occasionally, purely physical. Only one requirement.” “Well-endowed,” Kenneth managed, still leaning forward into his frozen smile. “Exactly. These ads are sometimes successful, sometimes not. This time, I fear, not.” Kenneth didn’t really want this woman, but he couldn’t stop now. “You haven’t […]
[…]and Walter Benn Michaels) this electropoetics release proceeds from the premise that literary studies must come to terms with the fact that it is no longer business as usual – No matter how you look at it, speed is a morally coded concept. With its etymological roots tied at the groin to success, to think speed is to invoke a java applet alternating flashing SPEED / All Others Pay Cash. that writing in the information/digital age both upsets humanist assumptions and makes clear the ways in which the information/digital age upsets many of our assumptions about time and space, body […]
[…]than the (sometimes quite distant) approximations Jackson unearths from comparative religious studies. Here’s a quotation from philosopher of science Bas Van Fraassen that says it more clearly: There is a reason why metaphysics sounds so passé, so vieux jeu today; for intellectually challenging perplexities and paradoxes it has been far surpassed by theoretical science. Do the concepts of the Trinity, the soul, haecceity, universals, prime matter, and potentiality baffle you? They pale beside the unimaginable otherness of closed space-times, event-horizons, EPR correlations, and bootstrap models. (258) This, in short, is the problem that Jackson has. Religion is presented alongside mathematics, […]
[…]However, I think it’s very likely that story-game designers will eventually discover that it’s critical for the former (emotional investment in character and story) to be different and separate from the latter (investment in winning). If they are not discrete, one or the other – probably the story – becomes the redheaded stepchild. That is to say, we will be exactly where we are today, with story-games whose narratives consist of nothing more than accounts of connected events. Perhaps the most interesting tension that could arise in a story-game would be a tension between a player’s ego-based interest in winning […]
[…]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 total control over the outcome of his story. Many Storytellers fancy themselves to be a kind of “performance novelist,” acting out […]
[…](Imps, Mancubi, Pinky Demons, etc.) Marines Mars base Moving through corridors Opening doors Color-Coded keycards Triggered events Different levels With these lists, I was able to focus in on the things that board games were good and bad at, and the things I needed to retain the Doom “identity.” Obviously the board game wasn’t going to be able to rely on any sort of animated graphics or sound. Additionally, there was no way to capture the freewheeling adrenaline blast of the computer game – board games simply played too slowly for that. However, board games had their strengths. They were […]
[…]but nonetheless, as the player solves subplot after subplot, he always has the feeling that he is working toward it by increasing his character’s skills. Hence, in a role-playing game, an obstacle is never just an obstacle, but also an opportunity to reach a higher level or find a magical sword which will later serve to finish the ultimate quest. Turnau (2004) notes that the growth idea is also present in Tolkien’s work, especially in Lord of the Rings which he describes as a “sort of cross between Arthurian legend and the Bildungsroman.” However, he notes a profound difference between […]
[…]life is a worthy one, in my opinion. I’ve presented here only one example of story and gameplay working together, instead of being segregated. Gameplay and story need not be at odds with one another. And story need not be confined to the ghetto of cinematics. Reference And Then There Were None. Awe Games. […]
[…]to operate incorrectly. There are limits to what this proceduralism can accomplish. A competent group of Dungeons & Dragons players can simulate any eventuality and deal with any action or communication attempted by the players, while even the best computer RPG can barely prevent the dialogue of computer-controlled characters from becoming painfully repetitious. Any action too far outside those already imagined by a computer game’s design team is usually either met with an uninteresting response or is simply impossible to carry out. But this is only to say that given our current state of technological advancement, there are things that […]
[…]However, I think it’s very likely that story-game designers will eventually discover that it’s critical for the former (emotional investment in character and story) to be different and separate from the latter (investment in winning). If they are not discrete, one or the other – probably the story – becomes the redheaded stepchild. That is to say, we will be exactly where we are today, with story-games whose narratives consist of nothing more than accounts of connected events. Perhaps the most interesting tension that could arise in a story-game would be a tension between a player’s ego-based interest in winning […]