Epic Life: Assassin’s Creed and Ubiculturality

Dec 04, 13 Epic Life: Assassin’s Creed and Ubiculturality

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The historical stories told within the animus of Assassin’s Creed are about the clash of cultures. The Assassins and the Templars are represented in the game’s version of history by those same Assassins and Templars (Assassin’s Creed), the forces of enlightenment and repression in Renaissance Italy...

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Epic Life: the verbs of the past and Assassin’s Creed

Nov 06, 13 Epic Life: the verbs of the past and Assassin’s Creed

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In my last two posts about the shooting mechanic, I tried to demonstrate that an understanding of immersion as the player’s identification with the ruleset that conditions his or her performance can help us find ways that even as entrenched a mechanic as shooting can, together with the shaping of player-immersion and...

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The Mechanics of Power Fantasy: two examples

Oct 16, 13 The Mechanics of Power Fantasy: two examples

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I’m going to use two examples in this post, Call of Duty and Mario Kart, in order to further my continuing humanistic analysis of the shooting mechanic. In my last post I argued that the concept of “emersion” might be very useful as a way to describe variations of the mechanic, and the cultural effects of those...

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Epic Life: The Mechanics of Power-Fantasy

Sep 11, 13 Epic Life: The Mechanics of Power-Fantasy

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How then do we understand our relationship, as players, to the games that for better or worse constitute mainstream game-culture? It would be easy enough to sidestep this question, and instead focus on the amazing things that the enormous “rest” of game-culture is doing. For the future of game-culture, indeed, we should...

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Epic Life: Immersion and Identification in AAA Games–a prelude

Aug 21, 13 Epic Life: Immersion and Identification in AAA Games–a prelude

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My next task, as I see it, is to take my definition of immersion as identification with a practomimetic ruleset and demonstrate its usefulness for understanding the kinds of practomime we encounter most frequently. As I never tire of pointing out, the vast majority of what we call art is practomimetic: we, as the audience, perform...

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