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[…]system of classicism, he yet found it to be melancholic and depressed. The recent upsurge of critical interest in Benjamin’s work reinforces the sense that contemporary fiction is once again allegorical in its return to history, and that we, too, are experiencing a decay like that of the German baroque period and postwar Germany with their accompanying depression (note the current extensive use of Prozac). Even though historical novelists are trying to revise history, to bring it into accordance with the full experience of previous lives, they keep falling into the trap of what the art historian Benjamin Buchloh refers […]
Eskelinen makes some compelling points in “Towards Computer Game Studies” that traverse ground that has remained virtually untrammeled, surprisingly so, given the recent, explosive growth of PC and videogames — in 2001, Americans began to lay out more cash for interactive games than for evenings at the cinema. And Markku’s uses of both Genette and Aarseth help make games like Tetris and Civilization III intelligible in theoretical terms. In the end, treating all computer games as if they fell tidily into a single genre is a heroic gesture, intended to lay the foundation for a sound critical understanding of what […]
[…]“Is It Possible to Build Dramatically Compelling Interactive Digital Entertainment?” Game Studies 1, no. 1 (2001). http://gamestudies.org/0101/bringsjord/. Cawelti, John (1976). Adventure, Mystery, and Romance. Formula Stories as Art and Popular Culture. Chicago: University of Chicago Press. Cayley, John (1995). Speaking Clock. http://www.shadoof.net/in/incat.html#CLOCK. Eskelinen, Markku (2001). “The Gaming Situation.” Game Studies 1, no. 1 (July 2001). http://gamestudies.org/0101/eskelinen/. Hayles, N. Katherine (2001). “Cyber|literature and Multicourses: Rescuing Electronic Literature from Infanticide.” Electronic Book Review 11 (2001). http://altx.com/ebr/riposte/rip11/rip11hay.htm. Joyce, Michael (1991). afternoon. Watertown, MA: Eastgate Systems. Juul, Jesper (2001a). “Games Telling Stories? A Brief Note on Games and Narratives.” Game Studies 1, no. 1 […]
[…]know stories and storytelling,” he writes, telling a tale very much out of school. “So why be critical when we can be important instead?” There is a wonderful, naked-emperor-outing cynicism in this jibe, an audacious move against humanism’s unacknowledged strategies of self-promotion. At the same time one may also detect a touch of critical reflection, at least if one is a certain sort of lapsed narratologist (like Aarseth) or misbegotten fiction writer (like me). The ironic “we” implies reciprocity, and with it a sense of history. Though now we assume the mantle of wisdom, we may have played our own […]
[…]radically different position can be invaluable simply by forcing the rest of the field to do more critical thinking. If we “naturally” assume that games are cultural texts without questioning that assumption, then we will have very little chance of finding out what is unique about them. We might as well be studying the use of computer graphics in advertising, or the latest Star Wars episode. Only by asking ourselves what games are not, or what they need not be, can we find out what they really are. There are of course reasons why we might not want to do […]
[…]Gernsback’s writings precede the work of a growing number of artists who tinker with code or hardware to create art. These digital tinkerers experiment with medium affordances and, like Gernsback (although often extrapolating and diverting from a tool’s or medium’s original purpose) they too aim to see beyond the conventional and familiar. They also speculate about possibilities while considering media constraints as chances to explore the unknown. In a similar way to Gernsback’s followers, they expose the layered materiality of their devices by tinkering with digits, wires, screens and metaphors. The Perversity of Things successfully examines different aspects of Gernsback’s […]
[…]body’ in a VR environment is the same as ‘the body’ in the real world?” This kind of critical questioning is immediately generative of critical and experimental artworks. The places where dataworlds and the material world intersect, referred to in Europe as “mixed reality boundaries” and in the US more often as “augmented reality,” is a littoral zone, which is and has been a key site for exploration by artist-engineer types for a quarter of a century at least, with key works by Myron Kreuger, Paul Sermon, Jeffrey Shaw and many others. (I hesitate to employ the simple term “artist,” […]
[…]addressing complex social, political, and personal issues. · To improve our understanding of and critical vocabulary for analyzing, playing, and creating games. My favorite aspect of the essay is that Frasca actually proposes specific design strategies for realizing these goals. His pragmatic synthesis of theory and practice is a rare delight in the mushy swamp of new media criticism. I am underscoring my support of his goals to clue you in that the criticisms that follow are coming from the heart. I’m not the enemy: I’m the loyal opposition. The engine which fuels my critique, more than anything else, is […]
[…]mainstream media. “Biohazard Pikachu” is mostly about humor, pleasure, and play, but is also a critical commentary on Nintendo’s production of sanitized cuteness. This kind of appropriation and remaking seems to be at the heart of what Frasca envisions for the videogame community, and is something that cross-cuts media genres, as studies of fan communities have amply demonstrated (Penley 1991; Jenkins 1992; Tulloch and Jenkins 1995). The productions of fan culture are just one piece of the dead serious economic and social negotiations around popular culture, and the ongoing political struggles between producers and consumers. For example, adult action entertainment […]
[…]“videogames of the oppressed” but the top-down approach is also needed. We will not see critical videogames until major games are developed by biased authors that understand that fun is not the only thing that can be conveyed through this medium. back to Critical Simulation […]