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On And Then There Were None

[…]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. […]

Editors’ Introduction to “Computational Fictions”

[…]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 […]
Read more » Editors’ Introduction to “Computational Fictions”

Jeff Tidball Responds to the Second Person Collection as a Whole

[…]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 […]
Read more » Jeff Tidball Responds to the Second Person Collection as a Whole

Patterns and Shade

[…]level, the materiality of the keys is not what you want either – you need the information encoded in them, the patterns that allow them to mesh with the patterns encoded in the lock of your car, your office, and your apartment door. The keys are the material substrate for the articulation of information within patterns of presence and absence (the notches and grooves cut in the keys); but also, their absence is an event articulated within a pattern that forms the superstructural information of their presence. You may assume that their loss has not been articulated by randomness, and […]

On Savoir-Faire

[…]has stopped, and other bits of routine maintenance; it finishes with diagrams of a clock’s inner workings that are almost embarrassingly intimate and far too complex for you to follow. >reverse link lavori to repair Bending your will and all your attention, you manage to make a reverse-link between The Lavori d’Aracne and Clock Repair, feeling their properties begin to merge together. >read repair The book now turns out to be all about how to construct different types of time-keeping device and false clock using nothing more than household objects and the power of the Lavori. How often this is […]

Error, Interface, and the Myth of Immersion

[…]a love affair turned bad, like Emma Bovary or Anna Karenina.” Comparing media forms is a natural critical impulse in an increasingly transmedia world. Ryan rightly notes that certain types of plot better lend themselves to various modes of narration, and that the failure in Murray’s original example is really the failure of immersion. The myth of the Holodeck exists in part because the Holodeck is presented as a non-mediated environment, a truly immersive world, lacking interfaces of control Outside an invisible oral/aural call and response to the computer at the borders of the narrative.: truly in all respects the […]

Pax and the Literary in the Digital Age

[…]resists this traditional reading of literature, for even if one were to crack open the internal working of Pax and independently read the database of textual pieces Moulthrop has coded, such an action would in no way approach the event of reading his work – not only would it eliminate the chronological borders and flow of the work, but, as per Moulthrop’s description, Pax relies upon a random value generator, and so could not be ultimately ordered (153). Thus he has ensured that Pax only exists as a literary event, a textual instrument being played in a literary way, rather […]

On Itinerant

[…]to implicate the participant as a charged body in public space whose movement and presence become critical agents in structuring the meaning of the work. The primary theme of alienation and the plight of the social outcast is played out through a series of physical tableaus and boundary crossings enacted by the participant as she walks through the urban landscape listening to a patchwork of location-specific spoken narratives delivered in different voices. My hope was to cast the participant into a cycle of alienation and ambivalence as the point of view in the story shifted across narrator, creature, doctor, and […]

On Adventures in Mating

[…]the ways the scene builds to another choice. For example, the audience enjoys watching the scene code-named “Seduction.” However, they are also elated when the woman announces that, if the man doesn’t stop wooing her, she will either kiss or slap him. The “cruel” part of the fate role is exemplified by the audience’s delight in controlling whether or not this living human being – separated from them only by a stage and the social constructs of traditional theater – is embraced by soft lips or repeatedly smacked across the face. The nature of the show caused a great deal […]

Me, the Other

[…]also occasionally have individual goals that cause them to cooperate or compete within the group. The Gamemaster (GM) – the person who is responsible for setting up and administrating the game progress and often telling the story as it develops – influences the process by choosing which NPCs may appear and by giving the different characters different challenges and goals, and can ultimately determine the entire outcome of the game, depending on how much power the group has agreed to put in the hands of the GM. If our dwarf tries to stab the human he has been paid to […]