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- First Person
- First Person: New Media As Story, Performance, And Game
- First Person: New Media as Story, Performance, and Game
Access options available:. ISBN: First Person is not only a book in the traditional or narrow sense of the word: It is part of a multimedia research program that combines a hard-copy publication form the volume I shall review here and a web site "in progress" that defines itself as a "remediation" of the book. It is important to take into account this double structure when evaluating the form and content of First Person , first, because most of the dialectical and dialogical opportunities of the book only reach real maturity in combination with the web site, and second, because the structure of the book itself is in many ways an anticipation of the argumentative and scholarly network constructed by ebr.
[PDF] First Person: New Media as Story, Performance, and Game [Read] Online
Account Options Entrar. Obter livro impresso. Electronic games have established a huge international market, significantly outselling non-digital games; people spend more money on The Sims than on "Monopoly" or even on "Magic: the Gathering. Even bestselling author Stephen King achieved disappointing results with his online publication of "Riding the Bullet" and "The Plant. And isn't it likely that the truly significant new forms of electronic literature will prove to be like games so deeply interactive and procedural that it would be impossible to present them as paper-like "e-books"? The editors of First Person have gathered a remarkably diverse group of new media theorists and practitioners to consider the relationship between "story" and "game," as well as the new kinds of artistic creation literary, performative, playful that have become possible in the digital environment.
One common metaphor for Interactive Storytelling has been the notion of Interactive Dramas, in which players assume the first-person role of the main character in a digitally mediated narrative. This model allows for a new formulation of the notion of agency, by shifting the concept of the reader from a player-centric model to a performer-centric model. We also show how we can conceive of interactions between performers and authors as being governed by the same rules that are in play between multiple performers in a piece of improvisational theatre. We connect this idea to a phenomenological theory of human computer interaction and cognition which foregrounds the role of communication and commitment between interactors. Unable to display preview. Download preview PDF. Skip to main content.
All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means including photocopying, recording, or information storage and retrieval without permission in writing from the publisher. Library of Congress Cataloging-in-Publication Data First person: new media as story, performance, and game! Includes bibliographical references and index. ISBN hard: alk. Wardrip-Fruin, Noah.
Table of contents. Please choose whether or not you want other users to be able to see on your profile that this library is a favorite of yours. Finding libraries that hold this item Dedication and Acknowledgments x Introduction xi Contributors xiii I. If We Can Talk to Things. What Do We Say?
Electronic games have established a huge international market, significantly outselling non-digital games; people spend more money on The Sims than on.
First Person: New Media As Story, Performance, And Game
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The relationship between story and game, and related questions of electronic writing and play, examined through a series of discussions among new media creators and theorists. Electronic games have established a huge international market, significantly outselling non-digital games; people spend more money on The Sims than on "Monopoly" or even on "Magic: the Gathering.
First Person: New Media as Story, Performance, and Game
ISBN: In many places—even the back cover of the book— First Person: New Media as Story, Performance, and Game is presented or reviewed as a book on the current debate about the emerging field of game studies. That is how it starts, diving into the discrepancy among ludologists and narratologists and giving Henry Jenkins some space to introduce games as narrative spaces, an attempt to provide a constructive framework for the dialogue among the extremists.
Она двигалась вслепую, скользя на гладких ступеньках, и скопившаяся влага капала на нее дождем. Ей казалось, что пар буквально выталкивает ее наверх, через аварийный люк. Оказавшись наконец в шифровалке, Сьюзан почувствовала, как на нее волнами накатывает прохладный воздух.
Я требую выпустить меня отсюда. В ответ - тишина. Его руки крепче сжали ее шею. - Я сейчас ее убью. Сзади щелкнул взведенный курок беретты. - Отпусти ее, - раздался ровный, холодный голос Стратмора. - Коммандер! - из последних сил позвала Сьюзан.
Request PDF | On Jan 1, , Margaret Noori published First Person: New Media as Story, Performance, and Game, and: Second Person: Role-Playing and.
- Она смотрела ему прямо в. Хейл наклонил голову набок, явно заинтригованный такой скрытностью. И, как бы желая обратить все в игру, сделал еще один шаг. Но он не был готов к тому, что произошло в следующее мгновение. Сохраняя ледяное спокойствие, Сьюзан ткнула указательным пальцем в твердокаменную грудь Хейла и заставила его остановиться.