37 Matching Annotations
  1. Nov 2022
    1. Of course, the value of this use of RI in games has been convincingly demonstrated by the success of several MMORPG (Massively Multiplayer Online Role Playing Game) titles, of which Everquest (Verant, 1999), Ultima On-line (Origin, 1997) and World of Warcraft (Blizzard, 2004) are now classic examples. It is important to recognise that these games have a clear lineage back through text-only online MUDs (multi-user dungeon), and then back to non digitally mediated, face-to-face roleplaying games, where RI systems were/are the norm for example: Dungeons & Dragons (Gygax and Andersen, 1974).

      That is an interesting backtrace!

    2. Both the producers and the consumers of games expect each version to be audio-visually bigger, richer, smoother, and so forth (Magal in Valve, 2004 p.63).

      Generalized as such, I can't argue with it :)

    3. However, this “more powerful representation” only remains more powerful until the human eye sees something more sophisticatedly rendered (Darley, 2000, p.28). The games Myst and realMyst demonstrate this effect particularly well, since the two titles are actually the same gameplay/narrative/world

      Nonetheless, the opposite can be true as well, or so I believe. Sometimes, re-issues of games trigger strong responses of disliking and favouring the original graphics.

    4. The success of the earliest, crudest forms of Myst and Doom reveals the truth that all forms of audio-visual rendering, including text and photographic images, depend on a sensationally sophisticated technique of finally smoothing out all of their technical limitations. That technique is, of course, the individual human’s capacity to fully rendering it in their own imaginations (Miller, 1997)

      Offloading technological deficiency into the human by processes of approximation.

    5. Some industry observers characterised Myst’s non violent, story based puzzle solving adventures as “an antiquated style of gaming"

      Now that's an interesting take, that I would love to see rooted in it's historic context

    6. However, in what is possibly Myst’s greatest aesthetic achievement, the creators of Myst used the original designed intention of CD technology (to stream audio files) to overcome this visual stillness (Fargo, 2003; Miller, 2002). The visual gaps are filled in with a continuous soundscape

      A beautiful example of creative usage of tech to work with an aesthetic "problem" that was caused by tech

    7. A good illustration of the increase in computer capacity between 1993 and 2008 (and the resulting sophistication of the audio-visual rendering) is that the original demo for Doom is only 2.3 Megabyte. The 2004 remake of Doom, titled Doom 3, has a downloadable demo of 460 Megabytes. Another measure of the difference is that Doom contained only 54,000 lines of code, while Doom 3 has 785,000 (Kent, 2004).

      Measuring technological complexity

    8. The cause of the difference between the audio-visual aesthetic of Myst and Doom is a pragmatic one, imposed by a limitation in technology. Doom did not have cartoon style characters due to a lack of imagination or technical skill on the part of the designers at id Software. Myst did not have still images because Cyan’s designers were limited in their vision and ambition. Both companies solved the enormous technical limitations of the early 1990s in order to make their virtual worlds manifest as best was possible at the time (Halifax, 2002) (Miller, 2002).

      Could it be argued, that historic-technological limits are always in place? As well as in the present, and we'd need to remove the historic then, but the premises are the same?

  2. Oct 2022
    1. Fantastic culmination of several strands that I followed closely in the past years. The multispecies discourse, storytelling, community, composting and other practices.

    2. And yet, while it is important to reroot mythologies that have been deracinated from their original ecosystems, reclaiming their forgotten earth-based wisdom, we cannot return to the folk traditions of our distant ancestors. We can, instead, reclaim mythtelling as a way of asking our more-than-human network of allies for more feral suggestions on how to dismantle the dominant paradigms driving climate collapse.

      Important: no returns possible.

    3. Mycorrhizal fungi map the relationships in a forest just as myths map the specific relationships of a community rooted in place. SOPHIE STRAND
    1. Insgesamt ist das Spiel extrem nah an den Filmen gebaut, was allein anhand der Bildsequenzen deutlich wird, allerdings sind die Level ungleich verteilt: Der Spielteil zum ersten Film besteht aus zwölf Leveln, der zweite und dritte haben je nur acht Level, die aber besonders im dritten Teil viel kürzer als die des ersten wirken, weshalb man spätestens ab Spielteil drei die Filme kennen muss, um der Handlung noch richtig folgen zu können. Außerdem wurden viele, auch für die Handlung zentrale, Filmszenen nicht in das Spiel aufgenommen, sodass sich die Spielhandlung, wie sie oben zum grundlegenden Verständnis vorgestellt ist, nur mit Vorwissen aus den Filmen rekonstruieren lässt.

      Transmediale Relationalität

    2. IV – Ideologische Mythen in Darkwood:

      Rhetorische Analyse im Sinne von Barthes Mythologien

    3. Spielmechanik

      Formale und subjektive Analyse der Spielmechanik

    4. Das Audio-Visuelle Setting

      Formale und rhetorische Analyse der Aesthetic

    5. We are really inspired by old sci-fi Russian writers like the Strugatsku brother, who wrote ‘Roadside Picnic,’ which became ‘STALKER and David Lynch movies,”

      Transmedial relationality

    6. Mit einem Flammenwerfer gelingt es dem Fremden, das Böse zu besiegen, auch wenn er dabei selbst umkommt, gemeinsam mit den meisten überlebenden Dorfbewohner*innen.

      Spoiler!

    7. II – Produktanalyse:

      Narrative

    8. I – Produktionsanalyse:

      Entstehungsgeschichte

  3. Sep 2022
    1. There was always a notebook next to us for this, and we took screenshots whenever possible. These notebooks resembled diaries in a way.

      Reflexion, as in thematic analysis after Brown and Clark

  4. Aug 2022
    1. “Don’t you think dreams and the internet are similar?”

      😍

    2. Kon parodies the “boy genius” recklessness of Silicon Valley disruptors in the character of Dr. Kōsaku Tokita, the DC Mini’s inventor, whose excessive weight and childlike obsession with toys underscore his shrugging off of moral responsibility for his invention.

      That's actually a pretty accurat depiction of the boys of Silicon Valley…

    3. In a move that prefigures the dizzying consequences of social media avatars and deepfakes, Mima finds that the “real Mima” of the internet has become realer to Mima than herself.

      A visionary telling of social media.

    4. On the internet, Mima learns, illusions can become real, or at least can become indistinguishable from reality.

      "On the internet men are men, women are also men and kids are actually cops." or so the saying went…

    5. Mima’s stalker, who goes by Mimania (or Memania), creates a website called MimasRoom.com where he details his obsession by posing as Mima on the internet.

      It's fantastic that this site still exists!

    6. I wanted to read this article because I love Kon's movies and I'm curious what the link to social media is.

  5. Nov 2021
    1. Similar concerns — about invasion and irradiation — have accompanied other new technologies, from electricity to radio to, not long ago, 4G. The electromagnetic spectrum, in its material ambiguity, lends itself to multiple imaginaries and applications. To regulators and carriers, it’s real estate to be parceled up and sold; it’s territory to be fought for. To technoenthusiasts, it’s an ethereal realm of possibility and opportunity. To others, it’s a commons. As Greta Byrum suggested to me, public airwaves are like public lands, and we have to ask who should benefit from their use. To still others, it’s the Wild West: With cars, pacemakers, and mobile payment apps all linked through the ether, some worry (as this New Yorker article details) that the 5G world presents new opportunities to shady entrepreneurs, hackers, and cyberterrorists. And to some members of the public, electromagnetic waves are an invasive, penetrating, irradiating force, blasting us with the data of billions of connected objects.

      In this, the electromagnetic spectrum joins other natural resources to be negotiated in political arenas

    2. The Chinese government has created infrastructures and incentives to expedite 5G innovation and to deploy Chinese gear (and the web services that run on it) around the world, particularly as part of their Belt and Road Initiative.

      and politics

    3. 5G, we see here, is not just an issue of connectivity and convenience. It’s also about landscape, real estate, aesthetics, public resources, energy, equity, and governance.

      entangled complexities and wicked problems

    4. This helps explain why the carriers are so eager for us to share their vision for a better tomorrow

      shaping public opinion

    5. the advent of 5G will allow entrepreneurs to create new technologies and products that we don’t even know we need yet

      how to see infrastructure like an entrepreneur

    6. The new network has also been framed as a critical infrastructure for the “smart city.”

      The virtual swapping backing into the real

    1. intellectual property theft

      https://www.bunniestudios.com/blog/?p=4297

      "Gongkai is more a reference to the fact that copyrighted documents, sometimes labeled “confidential” and “proprietary”, are made known to the public and shared overtly, but not necessarily according to the letter of the law. However, this copying isn’t a one-way flow of value, as it would be in the case of copied movies or music. Rather, these documents are the knowledge base needed to build a phone using the copyright owner’s chips, and as such, this sharing of documents helps to promote the sales of their chips. There is ultimately, if you will, a quid-pro-quo between the copyright holders and the copiers."

    1. It claims to know the public through an algorithmic assessment of their complete traces

      Reminds me of Seeing like an infrastructure by Nick Seavers and how music recommender system measure people only through their interaction with the algorithm.

    2. For instance, one substantial revision occurred in May 2010 when Twitter announced it was removing Justin Bieber from the Trending Topics list.

      And thus admit they can manually interfere with Trends.

    3. Twitter has repeatedly stated that their Trends algorithm is not a simple measure of volume

      It doesn't help then, that they add the amount of tweets with a given # then. There is a problem of explaining the inner workings as well.

    4. Most importantly, we have not fully recognized how these algorithms attempt to produce representations of the wants or concerns of the public, and as such, run into the classic problem of political representation: who claims to know the mind of the public, and how do they claim to know it?

      But do they want to represent the wants or concerns of the public?