By Edited by Ralf Stockmann Edited by Andreas Jahn-Sudmann
The world over popular media and literature students, social scientists, online game designers and artists discover the cultural power of desktop video games during this wealthy anthology, which introduces the newest techniques within the vital fields of online game stories and offers an intensive survey of up to date online game tradition.
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Additional resources for Computer Games as a Sociocultural Phenomenon: Games Without Frontiers War Without Tears
Even if in a game the rule system is needed to provide the player with something to experience first-hand in the first place, the fun part is watching (and hearing) the outcomes of the action, to feel the controller rattle in the heat of battle. The voyeur’s eye. This is the eye that looks at the world presented in a film or game from a safe distance. It is the visceral eye’s cool brother. Like the knowing eye, it is not easily seduced. ‘The voyeur’s eye is the mind’s eye, not the heart’s, the dispassionate observer, watching out of a kind of generic human curiosity.
The creative treatment of the work informs its documentary quality, as do the incoming expectations set for the player. For example, the Madden series of American football games is not put forth as documentary, nor is it structured as such. But it seems reasonable that one could create a documentary sports game centered on a factual circumstance. A game could present a detailed modelling of actual players’ abilities, situated around a real game (this already happens to some extent, but not such that it evokes actuality).
One exception is the innovative game Fahrenheit (2005) that works more like an interactive movie than a computer game. Another one is the Sony PlayStation game Ico (2001),4 because here the narrative is tied to the dominant basic paradigm of games: space. The game is about the escape of Ico and Yorda from a gigantic castle. That the player can only travel in one direction is a prerequisite for the dramatic design of the narrative architecture. Early in the game, Ico and Yorda arrive at the main gates of the castle only to find them closing when they advance.
Computer Games as a Sociocultural Phenomenon: Games Without Frontiers War Without Tears by Edited by Ralf Stockmann Edited by Andreas Jahn-Sudmann