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[…]be expressed, while severely limiting their actual expressiveness. The command-line, programming code interface can conflict with the literary aspirations of the author. In online MOOs it is common to see verbose descriptions of spaces, whose tone and length evoke bookishness if not literary merit, combined with the restricted code of the command line. These two very different modalities create a discord, which is further heightened if the interactor is engaged in conversation with a character within the story. So IF has certain intrinsic design difficulties, a built-in awkwardness in the way it represents spatial navigation and the inconsistency with which […]
[…]make, really, if a “personality” we meet online has a single body, or instead, a computer or a group of authors behind it? If we assume that the relationship between body and personality (or role, or whatever we call it) is arbitrary (as has been argued of the relationship between sex and gender, for instance), it is surely irrelevant whether Caroline, or indeed Jill Walker, have bodies and hair. The Turing test was devised in 1950, when bodies were thought to determine our lives and the ways in which we act. Bodies and roles weren’t commonly thought of as arbitrary […]
[…]is always tension, dynamism, and a certain ambivalence in this relationship between flesh and code. To extend Hayles’ reading of Lexia to Perplexia, we might take this mediated relationship between bodies and technologies a little further: If the body of the subject engages in a kind of distributed agency in “reading” works such as Lexia to Perplexia, then what happens to the specificity of the embodied subject as marked by gender, race, language, and cultural difference? In other words, Lexia to Perplexia, in articulating a relationship between flesh and code, also puts a challenge to us: to what degree does […]
[…]that is likened to the concept of creole through the environmental neighboring of image, text and code, where the “code” operates on multiple levels. This creole embodies a circulation of “codes” and their disruption including the textual, the imagistic/graphical, and through computer-based code-related text and symbols. This “creolization” is accomplished through a series of textual puns and visual word/graphic/code plays as well as through the operative nature of the interactive encoded environment. The narrative that one gleans through navigation of this environment is associative and generates a rich conceptual field. The operative, mixed-semiotic nature of the environment enables the exploration […]
[…]and perhaps even a framework for integrating what we know about IF – assuming such a game studies theory does not react against “story” so strongly as to not admit something like IF, which generates narratives in response to typed text. To see IF as “new media,” and to add “play” and “conversation” to the ten perspectives I originally mentioned, offers thirteen ways of looking at interactive fiction, perhaps enough for a clear vision of sorts. The thirteen ways Wallace Stevens offered are, after all, also one way; they build on and speak to each other. Seeing IF as riddle […]
[…]John Tynes; Pagan Publishing. 1997. Dungeons and Dragons. Gary Gygax and Dave Arneson; Tactical Studies Rules (TSR). 1974. GURPS. Steve Jackson et al.; Steve Jackson Games. 1986. Unknown Armies. Greg Stolze and John Tynes; Atlas Games. […]
[…]version. Notice 1) The tone: you can hear the earnest “writer” trying to choose details, working to set the scene, to elicit emotion through the crude tactics of fiction writing. Here, it’s the writer as doe-eyed manipulator, so busy looking for the “meaningful detail” that the kid’s name, something that is an actual fact (arbitrary as a name is, in non-fiction) might be wrong. 2) You can see the difference a detail makes, especially when the next paragraphs read: Crystal was petite, just five-feet-one in her stocking feet. Crystal was petite, just five-feet- two in her lizard skin line-dancing boots. […]
[…]distinction between elements that are transferred and elements that are not. While he calls for a critical attitude towards computer games, he seems to believe that we uncritically introject integral virtual experiences. When acting in a simulation, we acquire skills. We will become better players and our reaction time, tactical insight and self-control may improve. Some of these skills will be transferred to the real world and there they can be used for better or for worse. However, I really do not see how killing a monster in Doom will make it any easier for me to kill another person. […]
[…]of depth or hiddenness, typically followed by a drama of exposure, that has been such a staple of critical work of the past four decades’ (8). This is because there is a certain `ease with which beneath and beyond turn from spatial descriptors into implicit narratives of, respectively, origin and telos’ (ibid). The crucial issue here is that the task cultural theory sets for itself is both unenviable and unnecessary: Beneath and behind are hard enough to let go of; what has been even more difficult is to get a little distance from beyond, in particular the bossy gesture of […]
[…]be true: neither is there `fiction.’ The categories of fiction and non-fiction belong to the critical system which I argue is found wanting in the context of `participatory media.’ Van Looy here is attesting to the significance of ongoing experiential engagement in participatory media. This is precisely the argument I make in my paper. Simon Penny, May 2004 back to Critical Simulation […]