The analogy is imperfect, but if we compare that difference in progression style between the epics to the different kinds of scenario deck(s) in the LCGs, and the difference among books (really, more properly, oimai [‘threads’]) within the epics to the different mechanics in each game among differing scenarios, the broad shape of a comparison begins to appear.
“But tell me, and tell me true, whether you saw any of the mighty heroes who went to Troy at the same time with yourself, and perished there.” Thus speaks King Alcinous of the Phaeacians, when Odysseus has claimed himself to be too tired to continue the marvelous tale of
In this post I outline an argument for trying to study immersion as I described it in my last post. To put that argument simply, the reason to study immersion as identification is that to do so allows us cultural traction over an essential part of the experience of practomime–a
I think it’s fairly easy to see that the story of an adventure video game comes to be about the person playing the game—especially when we think of the various sorts of games that fall into the RPG (role-playing game) category in one way or another, in which a player
The beginnings of practomimes, whether oral traditional epics or narrative video games, can, I think, tell us a great deal about some fascinating similarities and differences among how performers through the ages–bards, storytellers of all kinds, video gamers–expressed themselves artistically. Such comparisons seem to me to pay huge dividends not
There’s a wonderful moment in Book 8 of the homeric Odyssey when Odysseus treats Demodocus, one of the two bards in the Odyssey (we’ll meet poor Phemius, the other one, very briefly later in this post) pretty much the way a gamer treats his or her controller, fulfilling the fantasy