Computer Games as a Sociocultural Phenomenon: Games Without by Edited by Ralf Stockmann Edited by Andreas Jahn-Sudmann

By Edited by Ralf Stockmann Edited by Andreas Jahn-Sudmann

Across the world popular media and literature students, social scientists, online game designers and artists discover the cultural capability of desktop video games during this wealthy anthology, which introduces the newest ways within the imperative fields of online game stories and gives an intensive survey of latest online game tradition.

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What the voyeur’s eye needs can be found on the level of interface. There it takes its pleasure from a richly imagined special world, full of enticing things (Boorstin, 1995, p. 12). In films, this world is brought alive by careful mise-en-scène. In games, the world also needs a credible physique. Wading through water must feel different from walking on solid ground. Games are specialized at providing voyeuristic pleasures 30 Game Design and Aesthetics due to the fact that their most important narrative paradigm is not character but space.

That the player can only travel in one direction is a prerequisite for the dramatic design of the narrative architecture. Early in the game, Ico and Yorda arrive at the main gates of the castle only to find them closing when they advance. This establishes a long-term goal of the game. As the player Emotional Design of Computer Games and Fiction Films 27 progresses, the castle’s architecture becomes more and more transparent, allowing for hypothesis-building about the course of the journey. Seeing the drawbridges that cannot be reached at the moment but will have to be let down later, and being able to speculate where they might lead, has a dramatic pull effect that gets stronger the closer one gets to the end.

145) notes: ‘In documentary we deal with the actual, and in one sense with the real. But the really real, if I may use that phrase, is something deeper than that. ’ The illusion of photographic material as raw today seems a bit naïve – even within mainstream documentary film. We no longer possess an unwavering faith in the factuality of the photographic image over alternate means of representing reality. And as a flipside to our willingness to question the indexical and iconic claims of film, we are also increasingly willing to extend indexicality to non-filmic media.

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