Comments on: Narr@tive: Digital Storytelling 2/2

By: WRT: Writer Response Theory » Blog Archive » SubEthaEdit

WRT: Writer Response Theory » Blog Archive » SubEthaEdit — Fri, 29 Jul 2005 06:52:53 +0000

[...] one by the Coding Monkeys. (For another example of the program in opertation, see these notes.) When I mentioned this application to several suits (consult [...]

By: david slomovic

david slomovic — Fri, 25 Jun 2004 03:21:03 +0000

Noah Shenker: are you the brother of Amy Shenker, who went to U of Mich? Used to go out with her when we both lived in DC a million years ago. Came across your name and freaked. If so, respond.

David Slomovic

By: Ian Bogost

Ian Bogost — Tue, 30 Nov 1999 00:00:00 +0000

Thanks for your great coverage of this conference! I was sorry I wasn’t able to attend.

Thanks too for singing the praises of SubEthaEdit, which deserves far more cred and attention than it gets.

By: B. Rickman

B. Rickman — Tue, 30 Nov 1999 00:00:00 +0000

re: the images from Patterson’s presentation, I believe they are basically press kit images free for use. The No Ghost Just a Shell project embraces some weird ideas of legal control, permission to view “One Million Kingdoms” is highly restricted, Annlee’s image can no longer be used. To me that just makes it attractive fruit for plunder.

By: zach whalen

zach whalen — Tue, 30 Nov 1999 00:00:00 +0000

Zach here (of the Survival Horror panel). I just wanted to respond to Jeremy’s question about why I chose not to talk about games like DDR. I think you’re right on when you say they are “pop interfaced through a video game.” More than that, however, the phenomenon of “rhythm games,” which I understand are much bigger in Japan, might still offer the same basic complexities (is that an oxymoron?) of paradigmatic involvement and metonymic reward/failure encouragement. But with these rhythm games, the music is foregrounded rather than supporting the visual whereas the visual (of the simulated club or whatever) in DDR is in the background. I’ve even seen one that completely inverts the /SMB/ example I talked about because each beat you get right advances an animation forward one frame.

I’m afraid the Super Mario Brothers stuff was a bit distracting, however, since my plan was to use the SMB as an example of a musical analysis that could then be applied to other games like Silent Hill or whatever else.

Noah — I’d be interested if you see any connection between what I’m getting at with music and the ideas of “playable media” and “instrumental texts” you presented on. I’m ultimately situating my ideas within a context of the “Immersion, Engagement, and Flow” essay in First Person (with music being the Fifth Business or agent that ‘teaches’ engagement and ‘affords’ immersion), and it seems that “instrumentality” first well with the flow stage.

By the way, we (sean, laurie, and i) have posted our visual/aural aids on our website at http://www.academic-gamers.org. We’ll also be posting our own notes and the full texts of our presentations as soon as we recover from our flight.

–zach

By: noah

noah — Tue, 30 Nov 1999 00:00:00 +0000

Zach, one nice thing about calling media “playable” is that it turns our attention to the way in which it’s played. I think what you drew out about the relationship between music and play certainly is in line with this sort of approach. As for the idea of instrumental texts (and textual instruments) I probably should have been more clear. They’re both approaches to making text playable that come out of the electronic writing community — so not as applicable to your project. But that’s not to say that instrumental notions of play might not have a role in your thinking. It seems appropriate, after all, when in a musical/playable context.