Search results for "critical code studies working group"
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[…]characters. This step helps players develop their characters more thoroughly and engages the whole group in each player’s story. For the gamemaster, however, it’s an opportunity to be sure that the free-form nature of character creation hasn’t left the character missing important details. Question and answer is important for: – Engagement: Listening to a player talk about their character is widely recognized as dull. It’s like listening to someone recount a dream: it means a lot more to the talker than to the listener. The Q&A process, however, turns the monologue into a dialogue. It makes character exposition much more […]
[…]world – like, let’s get out of this confinement, Thoreau kind of thing. Seems to be a theme working its way in from the fringes. MZD: And looking for real sources of empowerment, real sources of freedom. Not simply becoming part of the rock-n-roll revolution, which has already been corporatized by these cannibalistic groups that orchestrate and entangle teens, sell them this idea that they’re liberating themselves. KB: Punkwear at the Gap. MZD: Exactly. KB: Commodifying the rogue. MZD: What’s the album again? KB: Funeral. “If my parents are crying, then I’ll dig a tunnel from my window to yours. […]
[…]is the eloquent phrase “eternal networks”). This DJ/VJ writing style makes way for a kind of critical overwriting that, at its core, is underwritten by the creative unconscious. Think of it as a mash-up of open content, social software, critical media literacy, and manifest hackerdom. It’s fully invested in narrative thinking, in processing the digital art persona as a distributed political fiction. Rosi Bradiotti, in the introduction to her book Nomadic Subjects says: The nomadic subject is a myth, that is to say a political fiction, that allows me to think through and move across established categories and levels of […]
[…]characters who must work together to solve a murder that one of them committed. The members of the group are assigned characters, each of whom knows certain key facts about the others. They take turns to present pieces of evidence that can be canceled out or combined to form chains of means, motive, and opportunity, until one character has their guilt “proven” to the satisfaction of the group. Each Youdunnit case is about a specific murder – the specifics of the crime and the various potential murderers are all detailed – but can be played multiple times with different outcomes, […]
[…]body counts, gratuitous obscenities, and treacherous women. ‘[S]tandardized formulas were grouped around equally standardized themes, such as the council, the gathering of the army, the challenge, the despoiling of the vanquished, the hero’s shield, and so on and on’ (Ong, 1982:23). Even so, street-level credibility did not guarantee memorable, dramatic performances. Words had to flow. Bards, across the globe, were duty-bound to rock a house party at the drop of a hat. Their skills and exploits were later documented in printed accounts such as The Mwindo Epic (West Africa), The Tale of the Heike (Japan), the Bible (for example, in […]
[…]Twofers or conjoined twins are sufficiently present and visible that they form a distinct minority group, demanding civil rights and proclaiming pride in their identities – San Francisco, in particular, is a haven for twofers, just as it is in actuality for gays and lesbians. Half Life is narrated (or, more accurately, written, since the process of writing the text we read is itself narrated within that text) by Nora, who feels alienated both from the twofer community, and from “singleton” (i.e. “normal,” unicephalous) society. Her twin, Blanche, has been asleep since childhood (since puberty? this is hinted but not […]
[…]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 […]