infovore + realism   4

Creative Restriction and The New Realism - Front Page - Magical Wasteland
"This is not to say that real human interactions are not ritualized to the point of mechanic in some ways, but that procedural rhetoric about human life nearly always makes a specific argument: life works this way, life works that way. Counter to this, Gone Home eschews systems; in particular, it avoids systemizing anything about its characters. Instead of portraying the characters themselves, or providing a set of interactions with those characters, it presents instead a series of artifacts from the characters’ lives without trying to build mechanics around them. The family is only present through those artifacts, the shapes and shadows each member leaves behind. In a certain sense, you could say that the game sets its sights low. But it also hits its mark extremely well– and by doing so achieves something greater than a reductive mechanical take on those same characters ever could. Gone Home is not intended from the top down to be “a game about life”, as some ham-handed experiments have been– instead, it simply represents or evokes certain lives very well (and therefore naturally becomes about life). The game allows its characters to exist on a plane that we usually reserve for ourselves." This is a fine paragraph from a very astute take on Gone Home; for someone who talks so much about games as systemic media, it's good to be reminded so eloquently of all their other qualities I'm prone to forgetting.
gonehome  games  criticism  realism  narrative 
august 2013 by infovore
Kane & Lynch 2: Dog Days Hands On - Page 2 | PS3 | Eurogamer
"Just for fun, I shoot one of [the hostages] in the pillow case. The head area immediately becomes a blur of pixels, just like you'd see if you were watching some graphic amateur camerawork on the news.

The effect is unnerving. It's somehow more realistic and more disturbing than the cartoon splatter of bright red blood and bits of brain you see in most games. It taps into that part of the psyche which knows that if something's too horrible to be shown, it must be really horrible. Or is this just IO's attempt to get the game awarded a lower age rating?

"No, not at all," says Lund. "This was an idea the team came up with - wouldn't it be fun to mimic that thing about something being too graphic, that documentary style? It's a good way of showing you got that headshot in a new way."

That's marvellous (as is, from the sound of it, K&L2's take on "realism" - namely, that Police Camera Action is a more realistic aesthetic that 24).
realism  kaneandlynch  games  graphics  visualeffects  pixelation 
april 2010 by infovore
BLDGBLOG: Bloomsday
"What if Ulysses had been written before the construction of Dublin? That is, what if Dublin did not, in fact, precede and inspire Joyce's novel, but the city had, itself, actually been derived from Joyce's book?" Geoff Manaugh expands on a comment he made at Thrilling Wonder Stories; the stuff about 'quipu' is also awesome.
quipu  dublin  cities  bldgblog  joyce  bloomsday  realism  description  stories  design 
june 2009 by infovore
Immersive Fallacy « Games Are Art
"This requires a light touch. This requires respect for the gap. The gap is part of your toolset." The importance of gaps is cropping up everywhere. It's in the gap that magic happens.
immersivefallacy  games  play  realism  representation  immersion  sandbox 
june 2008 by infovore

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