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[…]toys ó about whom the player could not really suspend disbelief. A number of people have been working very hard over the years on ìnonlinearî or interactive narrative. It is my contention that these efforts cannot move forward to merge film and games, and that we will not be able to find a way to create an intermediate agency that will allow the viewer to find their way into caring about characters, until we provide a way that characters can act well enough to embody an interactive narrative. For this reason, and to lay the groundwork for interactive media that […]
[…]theme; sharing the trauma but providing a glimmer of hope, an inspiration, a feel-good reason for grouping together stories about certain types of personal and/or intimate tragedies. Let me stop right now and say: YES, THEY ARE ALL TRAGIC, UNDESERVED AFFLICTIONS AND ALL POINT TO SOMETHING GONE TERRIBLY WRONG WITH HUMAN SOCIETY Since FC2 is a publisher of non-commercial fiction, it certainly wouldn’t seem apt to do an anthology with a selling hook, especially a popular one, no matter how noble the editorial motivation for choosing the particular victimization as a motif. So an anti-theme anthology seemed […]
[…]of passage” (the preceding is from the “Feminism” chapter of a recently published college critical theory textbook). Do women write about, or only about, nurturing and mothering? Or is this what they’re expected to write about, and thus what gets noticed and published? In her groundbreaking introductory essay to Chick-Lit, Cris Mazza says she used the word “post-feminist” in her call-for-manuscripts without defining it, to see what it would produce. Mazza acknowledges that she took a risk in using such a word, and realizes that the project could have thus been construed as “anti-feminist.” But the risk was a necessary […]
[…]exploration of the new genres. But I think our best contribution as scholars would be to provide a critical theory of games, with a discerning and analytical vocabulary. Such a theory would help both game designers and ourselves understand and respect the unique potential of the rich and diverse field of gaming. Bryan Loyall responds Janet Murray […]
[…]between stories and games, but rather to recombine and reinvent their primitive elements. In working to build these systems we have found that this is not just useful, but necessary. Interactive drama allows us to tell stories that we couldn’t tell before. It combines strengths and elements of stories and games, and is both and yet neither. If we are to reach the potential of expression that it offers, we must work directly in the new medium to explore, experiment and build. Janet Murray […]
[…]way of dealing with the limitations of the current state of a medium. I am looking forward to (and working on) an interactive medium which contains virtual actors capable of greater fidelity in the direct representation of a character’s mood, personality, and intentionality. I am also quite eager to see what Will Wright will do with such tools in The Sims III or IV. I suspect that he will find ways to use his non-linear botanical garden as a vehicle to allow people to explore character in new and fascinating ways. back to Cyberdrama […]
[…]The Johns Hopkins University Press Eskelinen, Markku (2001) “The Gaming Situation” in Game Studies 1. http://www.gamestudies.org/0101/eskelinen/ Frasca, Gonzalo (2001) “Ephemeral Games: Is it barbaric to design videogames after Auschwitz?” in Cybertext Yearbook 2001. Research Centre for Contemporary Culture, University of Jyväskylä. Also available at: http://www.jacaranda.org/frasca/ephemeralFRASCA.pdf Kelso, M.T., Weyhrauch, P. & Bates, J. Dramatic Presence. PRESENCE: The Journal of Teleoperators and Virtual Environments, Vol 2, No 1, MIT Press. Also available at: http://www-2.cs.cmu.edu/afs/cs.cmu.edu/project/oz/web/papers/CMU-CS-92-195.ps Brenda Laurel responds Michael Mateas […]
[…]upon which to build a theory of interactive media. Ludologists generally come out of game studies [e.g. Avedon and Sutton-Smith 1971], take the computer game as the paradigmatic interactive form, and seek to build an autonomous theory of interactivity (read: free of the English department), which, while borrowing from classical games studies, is sensitive to the novel particularities of computer games (this is sometimes described as a battle against the colonizing force of narrative theory, as Eskelinen does in First Person). Both camps take issue with an Aristotelian conception of interactive drama, finding it theoretically unsophisticated, an impossible combination of […]
It seems that Jane Douglas never got as far as the title of my piece. Otherwise she would have understood that I was addressing computer games, not interactive art. I don’t think Richard Schechner’s “I don’t think” carries the intellectual weight it was perhaps intended to carry. In fact I don’t think it even qualifies as a commentary. Together these two cases of non-communicative self-promotion show the current sad state of discussion on and around computer games: you can say pretty much anything you like if you don’t care to define the concepts you use. Douglas and Schechner won’t or […]
[…]its purported subjects. First published in France in 1986 and culled from manuscripts Genet was working on when he died, Prisoner of Love, in a translation by Barbara Bray, has been republished by New York Review of Books. Hailed by Edward Said as a “grand and fearless” account of a struggle that even before the intifada of 1987 has seemed doomed, Prisoner of Love moves seamlessly between polemical deduction and poetic meditation. Genet’s narrative is more philosophical than psychological, flashing back in time from his first two-year “visit” to the West Bank in 1971, during King Hussein’s offensives against the […]