![]() Hence the worlds created by Amanita Design seem to be the answer to the dominant hyper-realistic aesthetics of mainstream games. The new reality, however radically anti-realistic, does not try to pretend to be something else than itself. ![]() Every time they set a spatially complex structure in the two-dimensional environment of the game, it manages, despite its fantastic nature, to maintain its full integrity. The creators base their technique on a deconstruction of one reality, and at the same time they build entirely new worlds. Such refined structure of virtual assemblage seems to escape the concept of simulacrum. The structure of these game cluster spaces is built not only from material artefacts of human culture but also from the elements of nature. These examples are particularly interesting as the artistic technique in this case goes beyond the aesthetic aspects (visual art and music) and the narration, and actively informs the gameplay. This paper will show how the collage technique actively influences the structure of Amanita Designs’ games, such as Samorost series, Botanicula, Machinarium. Results show that this technology can make a difference in engaging and stimulating subjects' interest and feedback, but further researches are needed to deepen its scope and range of application. The proposal has been tested (pre-post interviews and play sessions) with an empirical exploration involving n:32 participants and the video games Black and White 2 and Forza: Motorsprint 5, which include data-self features. ![]() In order to enlighten their effectiveness, a multidisciplinary framework led by the core concepts of " narrative identity " and " discursive-practical consciousness " is advanced. Little efforts have been done in investigating their potential in social research and educational technology however, data-selves can serve as promising self-revealing tools toward personal identities and narrations. The focus of the article is on data-self technology in digital entertainment-virtual entities that replicate and/or are influenced by players' behaviors and actions, working as agential mirrors on the screen. We describe this creative practice as subversive narrative emergence. These vulgar and sometimes puerile videos are a critical and playful intervention into the embedded textual meaning of Gamer Poop’s chosen video games, and demonstrate that a latent representative potential exists in video game systems, rulesets, and game engines for emergent storytelling and identity-building activities. Gamer Poop takes advantage of emergence as the “primordial structure” of games (Juul, 2005, p.73) and presents to the audience moments of emergent, queer narrative - what Jenkins describes as stories that are “not pre-structured or pre-programmed, taking shape through the game play” (Jenkins, 2004, p.128). These emergent experiences are generated by players and re-inscribed onto the broader video game ‘text’, demonstrating the limitations of video game texts for identity-building activity. We discuss the potential for machinima videos to act as tools for negotiating emergent queer narratives. Across Gamer Poop’s 49 videos stable identifiers of race, gender, and sexuality are radically rewritten using post-production video editing and game modification to allow for intersexual character models, bisexual orgies, and breakdancing heroes - content not programmed into the original games. ![]() The humour in popular YouTube machinima series Gamer Poop playfully rejects the heteronormative and hypermasculine expectations that still appear inevitable and intractable in these seemingly open and inclusive gameworlds. Video games such as Mass Effect 3 (Electronic Arts, 2012), Skyrim (Bethesda Softworks, 2011) and Fallout 3 (Bethesda Softworks, 2008) have been praised for offering highly customisable and personalised ingame avatars, experiences and narrative flexibility.
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