3 Matching Annotations
  1. Last 7 days
    1. The hostile spaces he moves through after a plane crash in a remote icy landscape become a gauntlet not just of physical survival but of metaphorical endurance: the struggle of living with a crushing regret. Permalife games are difficult in an entirely different way than games requiring skill or strategy, requiring players to enact the motions of continuing existence, even in the face of survival under (or complicity with) the evils of that existence.

      Outlandish I found this claim crazy, adding depth I had never considered to games with "no consequences". In this way, it contradicts itself. There are consequences. They' re knowing what happened is fully your fault. If anything, the consequence is more scarring than any "death" could be.

    2. Stripping the violence from a first-person shooter, however, often results in a strange interstitial kind of experience, something in-between and unrecognizable. O’Connor’s review of the tourism Quake mod highlights some of the unsuitability of these environments to casual exploration. The architecture of these games in their original form is a means to the end of success in combat: to the extent the player notices it at all, it is while looking for places to hide, physical obstacles, routes for evasion or ambush. Details are designed to be glanced at briefly, not lingered over.

      I find it interesting that calmer games like walking sims originated from more violent and action-packed games like first-person shooters. Wanting to explore a world usually unavailable due to actions and conflict is common in human beings. It’s like setting a pack of cookies on a table, saying no one can eat it, and then leaving. Surely no one will miss one cookie in the pack. It’s the same concept for these shooter games. Players are busy running around, surviving, and fighting, so they don’t get to actually appreciate the world they are in (by design). It makes a part of their brain curious to experience the world they are already in without the pressures of battle, so a modder will take a cookie form the pack and eat it, opening up the rest of the pack for other people to enjoy. That’s when they realize the game they were praising for graphics and immersion is actually just a rough sketch, raisin cookies when they thought they were chocolate chips. This creates a sense of disappointment. I can see how walking sims were born from it. To cure the disappointment players felt when they realize the game they loved isn’t as polished as they thought. But without the allure of fighting, walking sims need something else, some other temptation. So, they promise ice cream with the cookies, sprinkling lore and stories into their world. Finding out pieces of the story give players their dopamine boost while satisfying their curiosity for adventure. The article then mentioned punishments within the game and how walking sims remove that and instead explore living with the consequences of your actions. This adds more depth to the ice cream and cookies players have been enjoying before, forcing them to either love or hate them more intensely.

  2. Jan 2026
    1. multithreaded web story achieves coherent dramatic form by shaping our terror into a pattern of exploration and discovery

      While terror and anxiety can be driving factors, in just the context of this section, it is an incomplete motive. More than fear can drive a player. It could be curiosity, challenge, or anger. So, while fear is the simplest form to control, it is not the only one possible to create drama.