infovore + choice   12

inkle » In a garden of forking paths…
"We don’t want readers to “master” our inklebooks: we want readers to nurture them. The stories they contain are precious, fragile things, that like any good story might turn at any moment." Yeah, this - moving away from "what happens" to "how it happens" as a tenet for interactive fiction.
joningold  inkle  interactivefiction  choice 
february 2012 by infovore
House-sized stories for Kindle | Fiction is a Three-Edged Sword
Jon is smart, and one of the best writers of interactive fiction (in all its forms) that I know. So I am looking forward to this.
joningold  kindle  choice  narrative  interactivefiction 
october 2011 by infovore
On the controversial 9/11 image known as ”The Falling Man”: Observatory: Design Observer
"I’m aware on some level that a photograph is misleading but at the same time we have to remember that photographs are just a frame in time. By its very nature the medium is misleading. We don’t know what is happening outside the frame, we don’t know what happened before the frame, we don’t know what happened after the frame. So I carry in my head two feelings about the Falling Man. On the one hand he was no different than the other jumpers on the day but at the same time I hold onto the essential truth that the image represents." Sontag's "moment selected at the exclusion of other moments" again.
photography  choice  editing  unknown 
september 2011 by infovore
D Nye Everything: The two and a half deaths of Miranda Lawson
"I got my Miranda. I also found out how many times I'll kill the same person in order to get my way, which is also helpful." Great stuff from Dan on Mass Effect 2, and the hoops we go through to make NPCs like us.
games  masseffect2  choice  narrative  dangriffiths 
march 2010 by infovore
Click Nothing: Live and Let Die
"Ultimately, when I reject narrative techniques in favor of ludic ones, what I am really saying is that I reject traditional authorship. I reject the notion that what I think you will find emotionally engaging and compelling - and then build and deliver to you to consume - is innately superior to what you think is emotionally compelling. By extension, I reject the idea that I can make you feel the loss of a friend in a more compelling way by authoring an irreversible system than you could make yourself feel by playing with a system wherein a friend can be both dead and alive simultaneously and wherein his very existence can be in flux based on your playful whim... This discussion is not about how to make a game more meaningful. It is about how games mean." Yep, I still want to marry Clint Hocking.
games  narrative  choice  farcry2  clinthocking  media  stories 
july 2009 by infovore
Versus CluClu Land: The Game Made Me Do It
"So perverse as it might sound, I'm going to plead for less choice in video games. It's a paradox: by limiting the player's discretion, you can expand the narrative possibilities of the medium. Coercion can create a kind of emotional heft that you can't achieve within the confines of the empowerment-myth." All true, and FC2 is a fantastic example of this. But: this is just one way of making games. More of this, yes, but don't forget all the other approaches.
games  farcry2  choice  freedom  iroquoispliskin  coercion 
february 2009 by infovore
Don’t worry, it won’t hurt you. « Groping The Elephant
"For all the talk of immersion and realism it seems gamers still want games that provide for them, that make them the centre of the action, the pivotal agent in the events of the world, the nexus around which everything is focused." And this is one of the big conflicts within games: you have to make the player feel wanted whilst they're playing the game, make them feel the centre of attention, because without them the game is nothing. But at the same time: can you still tell stories that aren't about them? I expand a little in the comment on the blogpost proper.
games  play  narrative  choice  farcry2  attention  fallout3  focus  selfcentered 
january 2009 by infovore
Out of your control. « Groping The Elephant
"In one moment the game had broken the tacit agreement between us. It had failed to respect my character decisions, it had made a pretense of allowing me to define whether Faith violent or not only to pull the rug away at the vital moment and strip all control from me. It lied. Any actions I might have taken to avoid combat up to then were for nothing. It had failed to show me respect so had lost mine." Breaking the unwritten contract with the player is definitely a bad thing, and I didn't notice this - but only because I'd not been aiming for the "no kills" achievement.
games  choice  contracts  freedom  mirrorsedge  pacifism 
january 2009 by infovore
The Brainy Gamer: Second thoughts
"But succeed or fail, my awareness of game design is omnipresent, and I like it that way. It enriches my experience of playing. The in-world experience remains my first thought, but my second thought is nearly always focused on the system, especially when that system demonstrates originality or beautiful execution. I don't think I'm the only gamer who behaves this way." No, but it requires a certain degree of awareness of the medium to think about the second; the first is much more immediate, and the second is about an engagements with games, rather than a particular game.
games  fallout  openworld  choice  freedom  design  narrative 
november 2008 by infovore
Patsquinade - How my not-great plot happened: a mini post-mortem
"An interesting article at Rock, Paper, Shotgun tackles BioWare's tackling of issues tackling modern society, tackling one of my Mass Effect plots in the process. I responded in the comments, and after looking at how much I yammered on, I figured it was worth posting here as a look inside how these things get into the game, and why some things that seem dumb get done." Patrick Weekes follows up the RPS post criticising his own plot elements with some frank self-criticism, and some interesting explanations; a reminder of how hard creating any kind of meaningful choice can be.
rockpapershotgun  writing  games  masseffect  bioware  criticism  postmortem  plot  story  narrative  choice 
august 2008 by infovore
Morality Tales - BioWare Versus The Issues | Rock, Paper, Shotgun
"I think, in these fleshed out circumstances, an RPG could be the most remarkable place for getting to grips with matters like abortion and euthanasia. I think _because_ they’re the sorts of subjects it’s completely pointless to talk about in the pub, because it inevitably descends into people entrenching themselves in their currently held position and then hurling stones at the other side, that the RPG would be a space in which the emphasis of thought and consideration would be squarely on you." John Walker on the problem with BioWare's attitude to morality, and some potential solutions.
bioware  rpg  writing  morality  narrative  games  choice  play  debate  issues 
august 2008 by infovore
Games Without Frontiers: Games Give Free Reign to the Douchebag Within
"What the hell is wrong with me? There are a lot of ways to win at Civilization Revolution that do not involve taking a happy, peaceful city and reducing it to a smoldering gravesite filled with radioactive trinitite." Clive Thompson on a case of Walter Mitty syndrome.
games  psychology  play  choice  wishfulfilment  escapism 
august 2008 by infovore

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