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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Epic Life: Immersion and Identification in Papo & Yo redux

Aug 07, 13 Epic Life: Immersion and Identification in Papo & Yo redux

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In an intensely personal game like Papo & Yo, I think the connection between immersion and identification becomes more obvious than it is anywhere else. To play Papo & Yo is to identify with the game’s designer, Vander Caballero, because the player-character of the game, Quico, is a metaphor for Caballero himself, and...

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