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[…]dimension. Perhaps the disinclination that players have to experiment with “variant character groups or settings,” or to adopt a “‘Raid on Innsmouth’-style multiple-character” model stems from the lack of interest in switching from one cipher to another. In a game where revelation of the forbidden knowledge is paramount, player character traits – cherished and nurtured in other RPGs – hold little long-term attraction beyond what they contribute to discovering the forbidden knowledge. I admit that this point is debatable since players have individual reasons for playing an RPG, but if all Investigators exhibit an ability to ascertain the Mythos there […]
[…]on faults in its organization or its limits (Vollmann’s self-limitations, one could also say). Critical writing, or academic writing, works to explain how Poor People (and Expelled from Eden) doesn’t work, or does work, or how Vollmann tries and succeeds at getting this or that right, falls down here and there, and so forth. These purposes have value at all times, but they are not the only values. Critical writing will rarely get anyone excited about a work, or be taken up by it, except, possibly, philosophically or as a text to be treated with theories. The excitement will be […]
[…]35, otherwise known as “The Harem”): Table2 The NPC design documents are written in “pseudo-code” – less precise than actual computer code, less poetic than a screenplay – for the AI programmer, who will use it as a sort of blueprint to write the actual code that will make the characters move and speak in the game. Looking Back Overall, I’m delighted with the way POP turned out and the various ways we succeeded in weaving the story into the gameplay. I’m particularly happy with the voice-over narration and story-within-a-story; they offer a special satisfaction and reward for those who […]
It’s official: the field of game studies is obsessed with storytelling. One can’t argue with Costikyan’s summary of the Game Developers Conference. This year’s GDC included literally dozens of panels, presentations, and roundtables in which everyone from career developers and academics to players and fans discussed the role of stories in games, including some very familiar arguments. Is there a place for storytelling in game development? Which is more important, narrative or game design? Can you have good stories and good gameplay at the same time? At one point, during a particularly fractious argument between two developers, the person sitting […]
[…]and some puzzles – often quite hard – that needed to be solved to advance the game. I began working on Planetfall in September 1982. At that point, Infocom had released five text adventures. These games were minuscule by today’s standards, driven by the capacity of computer floppy drives; the original release of Planetfall was only 108 kilobytes – about as many bytes as a medium-sized image on a Web page. In those early games, there were numerous NPCs (non-player characters), such as the Wizard and Demon in Zork II or the various suspects in the mystery game Deadline. One […]
[…]of his metaphorical schema: Conservatives know that politics is not just about policy and interest groups and issue-by-issue debate. They have learned that politics is about family and morality, about myth and metaphor and emotional identification. They have, over twenty-five years, managed to forge conceptual links in the voters’ minds between morality and public policy. They have done this by carefully working out their values, comprehending their myths, and designing a language to fit those values and myths so that they can evoke them with powerful slogans, repeated over and over again, that reinforce those family-morality-policy links, until the connections […]
[…]– even though the publication of The Liquidators means he has written twice as many novels as critical studies – his criticism still provides a useful entrance to his fiction. In particular, it’s worth considering a lecture, entitled “False Pretenses, Parasites, and Monsters,” that LeClair gave at Illinois State University, and which appears now in the electronic book review. Discussing both print and electronic fiction, LeClair defined “parasitic” novels as works that “rely on and admit within themselves to relying on earlier novels.” Beginning with an epigraph from Absalom, Absalom!, and embedding multiple references to Faulkner’s book, The Liquidators is […]
[…]“‘Who Are You, Literally?’: Fantasies of the White Self in White Noise.” Modern Fiction Studies 45.3 (1999): 755-787. Fitzpatrick, Kathleen. The Anxiety of Obsolescence: The American Novel in the Age of Television. Nashville: Vanderbilt UP, 2006. —. “Author Response.” Resource Center for Cybercultural Studies. Oct. 2007. 1 Mar. 2008 Franzen, Jonathan. “Perchance to Dream.” Harpers Apr. 1996: 35-54. hooks, bell. Yearning: Race, Gender, and Cultural Politics. Boston: South End, 1990. Huyssen, Andreas. After the Great Divide: Modernism, Mass Culture, Postmodernism. Bloomington: Indiana UP, 1986. McHale, Brian. Constructing Postmodernism. London: Routledge, 1992. Möckel-Rieke, Hannah. “Media and Memory in Thomas Pynchon’s Vineland.” […]
[…]books like Tabbi and Wutz’s Reading Matters, Fuller’s Media Ecologies, and the ebr‘s own “critical ecologies” thread, this “medial turn” is not usually seen as a fundamentally ethical issue. Critics are most likely to appeal to the media ecology to analyze the novel’s struggle to remain culturally relevant, or perhaps to invoke McLuhan and claim that changes in media transform the nature of subjectivity and perception. Instead of being merely a matter of media history or some abstract change in the contours of the self, Lethem shows that how we engage with the range of contemporary media is a way […]
[…]in question is Frans de Waal’s Primates and Philosophers: How Morality Evolved. Cavalieri’s critical review centers the book around de Waals’ claim “that all the social animals, humans included, are ‘good natured,'” and that the traits of “empathy, sympathy, a sense of fairness and an appreciation of right and wrong” (Cavalieri) are taken from and shared with the animals around us. Cavalieri is critical both of this “Veneer” theory of ethics and of de Waal’s apparent lack of boldness regarding both his claims and his willingness to look at empirical data provided by comparative psychology or cognitive ethology. Springing from […]