“Agency, then, goes beyond both participation and activity. As an aesthetic pleasure, as an experience to be savored for its own sake, it is offered to a limited degree in traditional art forms but is more commonly available in the structured activities we call games. Therefore, when we move narrative to the computer, we move it to a realm already shaped by the structures of games. Can we imagine a compelling narrative literature that builds on these game structures without being diminished by them? Or are we merely talking about an expensive way to rewire Hamlet for the pinball machine?” (382)
- Navigation 1: Story in the Maze
- Navigation 2: Rapture of the Rhizome
- Giving Shape to Anxiety: “Violence Hub”
- Journey Story & Problem SolvingJanet Murray says that games, “can be experienced as a symbolic drama.” (393) Can you take the elements of an existing story and turn it into a game? Use one or more of the techniques listed above to make a new version of “The Blue Umbrella” (http://vimeo.com/93015909) that gives the “interactor” agency in the construction of a narrative.
Navigation 1: Story in the Maze
– find path, facing what is frightening and unknown
– story symbolizes the journey through which an agent learns to survive
– the maze is a tool for producing patterned gameplay;
the game environment is an open space. the goal is the cafe.
the agent must start someplace away from the cafe and navigate until they arrive at the cafe (complete the goal). a game designer can render different dimensions of challenge by complicating a player’s ability to navigate the space.
in horror games players usually don’t have good control over the camera angles, pov as a maze, there should be “dead-ends;” paths that seemed to lead the player to the goal, but that fail to do so and force the player to turn back.
paths can also be riddled with other obstacles that risk annihilation for the player. if players can experience character death, one dimension of a successful player will be the ability to remember the patterned happenstance of an obstacle so that they may anticipate a means by which to overcome the obstacle.
is this still a “love” story? what makes a “love” story? the pursuit?
why is it that we love?
the symptoms of a love story do not predicate one; there are many reasons to pursue another person. what separates love from other pursuits? why is it that we objectify love as the pursuit of another person? do we need to pursue in order to love?
love is an abstract concept; love is episteme
if gameplay is our text, and it is in reading the text that we come to infer and understand patterned metaphors and meaning. the only reason we interpret the blue umbrella story as a love story is because the narrators use and relate
symbols that other films have expressed as “loving” or characteristic of “love”
in other contexts, the blue umbrella is not a love story. considering the context of the blue and red umbrella’s interaction, this story could also be interpreted as “creepy.” is the red umbrella representative of a real person?
the behavior of the red umbrella could be interpreted as strange, tolerant of a specific form of street harassment. other actants in the city enabling a kind of pursuit that defies the “natural”